Butikk

EM46 / 2009

Bjørn Aksdal og Geir Egil Larsen er de to, som på litt ulike måter har arbeidet mest med meråkerklarinetten og tradisjonen etter spelmannen og instrumentmakeren Harald Gilland i Meråker. Begge har lært både spill og repertoar direkte av Gilland. Geir Egil var hos Harald Gilland allerede i 1979, mens Bjørn kom til Meråker første gang i 1980. Bjørn har, i tillegg til at han har spilt og funnet fram nye melodier på instrumentet, gitt ut et hefte og skrevet flere artikler om meråkerklarinetten. Han var også ansvarlig for utgivelsen av en kassett med arkivopptak av Harald Gilland i 1988. Begge har gjort flere opptak med Gilland, og disse opptakene har vært utgangspunkt for flere radioprogrammer som har vært sendt på NRK. Geir Egil har brukt klarinetten mye opp gjennom årene, ikke minst på så godt som alle de mer enn 1200 konsertdagene han har gjennomført for Rikskonsertene i Norge og delvis Sverige, samt på turneer i Finland. I tillegg har både han og Bjørn benyttet meråkerklarinetten på flere tidligere plateutgivelser.

ENG
In Meråker, a parish situated north-east of Trondheim and close to the Swedish border, an old and very special home-made folk clarinet is found. The tradition of both making the instrument and playing on it has been brought up to date by Harald Gilland (1912-1992), a local industrial worker and a fiddler. When he was a child, Gilland received a clarinet from his father, who also told him that such instruments were in use by shepherd boys as late as the 1880s. The Meråker clarinet, as it is now called, went out of use early in this century. In the 1950s, Harald Gilland and some of his colleagues caused a revival of the instrument by making a modernised version of it. Over the next years, Gilland developed the clarinet even more, but he still maintained its archaic type of scale. Originally a solo instrument, the Meråker clarinet could now also be used in ensemble playing.

Around 1980, people outside Meråker became aware of this instrument through a very popular television program, which featured Gilland and his clarinet. Soon after, recordings of the instrument were also to be heard in the different folk music radio programmes. In the 1980s, quite a lot of Meråker clarinets were distributed by Gilland throughout Norway and even abroad. In Trondheim, Ringve Museum now took such an interest in the instrument that it started to sell Gilland’s clarinets to its visitors, and a music cassette was made to present the sound, playing style and repertoire of the instrument.

Around 1990, an instrument strongly reminding of the old Meråker clarinets, was found in a museum in Elverum in Østerdalen. The instrument was soon named the Østerdal clarinet, as an equivalent to the name Meråker clarinet. The instrument maker Magnar Storbækken from Tolga started to make good playing copies of the instrument, which he sold to musicians.

After Harald Gilland died in 1992, a few craftsmen who had learnt from him still made some clarinets during the next years. Additionally, Magnar Storbækken developed a special variant of the instrument. However, the production of Meråker clarinets was very limited, and the public interest for the instrument decreased strongly during the 1990s. Today, the situation for the Meråker clarinet is far from positive, and only a handful of musicians keep the tradition alive. It is even difficult to find new good instruments, and there are no recordings available presenting the sound and the repertoire of the Meråker clarinet.

Geir Egil Larsen and I have both learnt the tradition of playing the Meråker clarinet directly from Harald Gilland. We think that this traditional instrument contains many musical qualities which should be passed on to new generations of folk musicians. Therefore, we decided to make this CD to promote the public interest in the Meråker clarinet, as well as honouring the memory of our teacher, Harald Gilland.

Bjørn Aksdal

EM03 / 2000

THE JEW’S HARP WORLD

SVEIN WESTSTAD, JOHN WRIGHT, TRAN QUANG HAI, LEO TADAGAWA

The CD presenting traditional and innovative Jew’s Harp music from different parts of the world! Jew’s Harptraditions in Europe and Asia from Norway and Ireland to Siberia, Japan and Indonesia! Together with friends – John Wright, Trân Quang Hai and Leo Tadagawa – Svein Westad, who in recent years, has emerged as one of our most outstanding Jew’s Harpists,. We encounter the Jew’s Harp primarily as a solo instrument, but there are also examples of innovative ensemble play between several Jew’s Harps and between the Jew’s Harp and instruments such as the Hardanger fiddle, the Norwegian zither, cither and indian tablas, not to mention song. Dancers were invited to gives extra vitality to the tunes.

EM91 / 2012

After many years working with old recordings of “munnharpe” [mouth-harp, jew’s harp] playing, I have now been looking into other traditional Setesdal repertoire that can also be suitable for playing on the instrument.

This album presents “new” jew’s harp pieces/ tunes that are based on traditional fiddle and vocal material from Setesdal.

In developing these, it has not always been my goal to make exact copies of the traditional fiddle versions. Fiddle and jew’s harp differ in many ways, so I have felt no need to bind myself completely. This has probably also been the case for musicians in generations past. On old recordings one finds jew’s harp versions of tunes that are quite different from the fiddle versions, even from the same area. One can also find harp pieces/tunes that contain elements from a variety of fiddle tunes.

Daniel Sandén-Warg contributes as a guest- artist on the album, playing four tunes on Hardanger fiddle.

The album’s “bonus-CD” – exclusively jew’s harp and recorded at the same time as the “main CD” – contains newer versions of tunes presented on my earlier albums.

The accompanying booklet contains information, in Norwegian and English, about all the music on the CDs.

Etter at eg i mange år har granska eldre arkivopptak med munnharpespel, har eg dei siste åra konsentrert meg mest om å leite etter anna folkemusikk-stoff frå Setesdal som òg kan vere høveleg å bruke på dette instrumentet. Eg har no spela inn ei plate som inneheld mange ”nye” munnharpeslåttar og anna “nytt” tonestoff, basert på fele- eller vokaltradisjonen. For slåttane har det ikkje alltid vore eit mål å lage så nøyaktige munnharpeversjonar av feleslåttane som råd er. Dei to instrumenta er ulike på mange vis, så eg kjenner meg ikkje heilt bunden til feletradisjonen. Slik har det nok òg vore i eldre tid. På gamle arkivopptak kan ein finne munnharpeformer som er temmeleg ulike feleformene frå same området. Samstundes finn ein munnharpeslåttar som inneheld element frå fleire ulike feleslåttar. Daniel Sandén- Warg deltek på plata som gjesteartist, med fire slåttar på hardingfele.Det fylgjer òg med ein ”bonus-CD” til utgjevinga. Her er det berre munnharpespel. “Bonus- plata” vart spela inn samstundes med “hovudplata” og inneheld nye versjonar av slåttar eg tidlegare har gjeve ut. Heftet inneheld informasjon om alle slåttane og stevtonane på platene. Teksta er på norsk og engelsk.

Nordi-Brokke, 14. april 2012, Sigurd Brokke

EM109 / 2015

EM67 / 2013

Balochi folk music is very much a living, dynamic music form, and is used on all kinds of occasions. New lyrics and melodies are constantly being created and absorbed into the repertoire, side by side with older traditional material. Demonstration of this aspect was primary for Padik, when the group entered into this recording project. The resulting CD is a mix of older and newer Balochi folk songs. Padik performs songs using zahirig (scales/modes) called kebla, keblai, mihanag, rudbari, sorna, and gole zahirig. Abdulrahman has composed melodies to several poems by Balochi poet Aziz Dadiar, who now lives in Nybro, Sweden.

Padik was created in 2001 by Rostam Mirlashari, Abdulrahman Surizehi and Swedish fiddler, Ellika Frisell. Various percussionists have played with the group,amongthemSebastianNotini,RafaelSida and Fredrik Gille. Today, Padik consists of Mirlashari, Surizehi and Hardanger fiddler Anne Hytta. Tabla drummer Nafees Irfan is the percussionist on this recording. The quartet has played concerts in much of Europe and the Arabian Peninsula. In 2010 they performed on BBC Persian in London as part of the celebration of Newroz [Persian New Year celebration that coincides with the spring equinox].“Padik” is a name for the little ankle jingles worn by Balochi women as part of their traditional dress.

The musicians: Abdulrahman Surizehi from Saravan, Iran, now living in Oslo, Norway, is without dispute the grand maestro of the benjo, a type of keyed zither from Balochistan. Considered a living legend by music lovers of Iran, Pakistan, Afghanistan and parts of India, he has been awarded the prestigious “Preis der Deutschen Schallplattenkritik” and the Norwegian Folk Music Awards’ prize. Rrecordings with Golbang, numerous folk music recordings in the Balochi world and three solo releases on Etnisk Musikklubb. Surizehi also builds instruments, both for his own use and for other performers of the benjo.

Padik’s lead singer, Rostam Mirlashari is from Zahedan, Iran, and is now living in Stockholm, Sweden. He performs traditional and modern music from Balochistan. Mastering a variety of traditional singing techniques, he adds shimmering depth to the group’s sound. Mirlashari founded and performs with the highly successful world music group Golbang,.Mirlashari “must have one of Sweden’s most beautiful and seductive voices”. He has appeared several timesonVoiceofAmerica,BBCandonSwedishnational television and radio.

Anne Hytta is a Norwegian Hardanger fiddler soloist who also plays with various ensembles, such as her trio Slagr and the international folk string quartet Tokso. . She has studied Balochi music with Abdulrahman Surizehi with whom she has performed in numerous concerts. The Norwegian Hardanger fiddle and the Balochi soroud both have sympathetic under- strings. When Anne’s Hardanger fiddle playing is woven into Balochi music, the resulting sound is not “cross-over”, but traditional Balochi with a delightful, slightly exotic twist.

Nafees Irfan belongs to the new generation of musicians from Pakistan. He is a skilled musician in the classical Pakistani music tradition and has a vast knowledge of folk music.

EM06 / 2001

VIRTUOSO HARDANGER FIDDLE MUSIC

HARDANGER FIDDLE: KNUT HAMRE, TERJE CHRISTIAN HANSEN, ØYSTEIN ROMTEVIT, LEIV SOLBERG, LARS UNDERDAL

Torgeir Augundson Øydgarden, known as Myllarguten (the Miller’s son), is the most distinguished Hardanger Fiddle player in the history of Norwegian folk music. He led an adventurous life, and he was the first player of traditional folk music to earn the respect of the contemporary cultural elite. He was the fiddler at numerous wedding celebrations. What are the distinct characteristics of Myllaren’s style of playing the fiddle? Myllaren had a large repertoire. He probably played most of the fiddle tunes (slåtter) from Telemark in his time. He learned, reshaped and transformed a rich treasure of fiddle tunes from the Western regions of Hardanger and Voss, both significant centres for the Hardanger Fiddle tradition at the time. Myllarenalso created a large number of new fiddle tunes, but it is difficult to determine precisely which of the tunes he played were transformed and which were created by him. At any rate, the musical material coming from him is enormous. Subsequent players in the tradition have further developed much of this material. Myllaren established what was to become the most common system in the Hardanger Fiddle tunes; several small motives interlocking and inviting for improvisation and elaboration. Although this claim is arguable, it would be fair to say that Myllaren’s contribution consisted of developing and refining the system of interlocking and improvising tunes. He may have changed the beat in the special dancing tune telespringaren. His brilliant way of using the bow was also significant, especially the powerful and exuberant strokes.

EM23 / 2005

Adama Barry: Flutes, Song in Frence, Fulani and Moré

Hassan Mahdi: Oud, Djembe, Song in Arabic

Amir Saion: Oud, Darbuka, Song in Arabic

Naheddi is a Fulani word meaning creativity and resourcefulness in a situation with little spare time, material benefits or peace but where man in spite of this is able to create fine music. Amir Saion and Hassan Mahdi originally came from Iraq. They now live in Norway. Adama Barry from Burkina Faso visits Norway frequently. They all perform songs in Arabian, Fulani and French. Amir Saion plays the traditional Iraqi string instrument Oud together with the Arabian percussion instrument Darabuka. Adama plays Fulani music on the traditional flute Duliaru. Hassan Mahdi plays the West African drum Djembe. The music consists of traditional songs and rhythms from Burkina Faso and Iraq, as well as compositions by the musicians themselves.

EM19 / 2005

FOUR EXPERIENCED MUSICIANS DO KLEZMER WITH PASSION AND ENERGY

Since 2000 Urban tunélls klezmerbandhas given new life to an old musical tradition, the klezmer music. The four experienced musicians do so with passion and energy. Idiosyncratic interpretations are conveyed by the beautiful sounds of clarinet, accordion, double bass and piano. They play the klezmer music with respect and awareness of the cultural legacy.

Urban tunélls klezmerband presents exquisitely folk music rooted in Eastern Europe, the Middle East and Asia through creative arrangements and warm-hearted vigour. The clarinet player Morten Michelsen urged to express it his own way. The varied backgrounds of the exceptionally skilled musicians range from classical and jazz to gypsy music and folk rock. In addition to the clarinet, the band’s line up consists of accordion – Jovan Pavlovic, Sondre Meisfjord double bass and baking vockal, Morten Michelsen clarinets and baking vokals and Tor-Petter Aanes piano and leading vocal.

EM90 / 2012

Ivan Mazuze Group
The Group (IMG) plays music composed by Mozambican saxophonist and composer Ivan Mazuze – a graduate of UCT with a BA in jazz performance and Masters in ethnomusicology. Mazuze has more than ten years of experience as a professional musician involved in performances, recordings and international tours. IMG’s music is a blend of traditional Mozambican folk music, African jazz and Scandinavian music jazz elements. The group has been located in Norway since 2009.

Ndzuti
Ndzuti means shadow in Xichangana, an ancient language of southern Mozambique. This title reflects Ivan Mazuze’s view of his cultural heritage set in a modern perspective.

All of the music is composed by Ivan Mazuze, and is based on his studies of African traditional music in a contemporary “sound” environment. The compositions have grown out of Mazuze’s experience as a musician in southern Africa and his current musical experience with West African musicians in Norway. They present a mix of musical styles, of southern African melodic material on saxophone along with western African vocals and percussion traditions. Into this mixture, Mazuze has added elements of Norwegian vocal phrasing with southern African phrasing.

Among other things, the album includes Mazuze’s blend of typical Norwegian jazz piano with an entire percussion ensemble, African and Norwegian vocals and saxophone improvisation.

Percussionist Sidiki Camara, Mali, is an important part of the Ndzuti album. He contributes with a full djembe ensemble, and instruments such as doundouns and talking d r u m s . A l s o i m p o r t a n t a r e H a n n e T v e t e r ’s L a t i n A m e r i c a n and Norwegian vocal interpretations of African melodies. Andre Viervoll sets up the typical Norwegian Jazz piano phrasing expression by providing calmness within percussive moments.

Singer Manou Gallo, Ivory Coast, contributes with her typical way of performing contemporary and traditional western African songs with southern African-based rhythmic grooves.

The Cuban pianist Omar Sosa has also participated, providing spontaneous moments in the studio that resulted in the creation of several compositions during recording sessions.

Mazuze has aimed at creating an album that presents percussion and saxophone melodic improvisation that is deeply centered in southern and western African roots with jazz structured elements. This is one of the Afro-Jazz forms of musical expression.

EM02 / 2000

TRADITIONAL SINGING FROM THE SOUTH OF NORWAY

Gunhild Tømmerås is considered One of The very foremost traditional singers in Norway Today. Winner of The National Contest of Traditional Music four times, as well as a number of other Singing Competitions.

Of particular note among her many qualities, is the outstanding timbre of her voice, and her rare stylish confidence in handling melodies of a traditional nature. Her delivery is extremely powerful and captivating.

GUNHILD TØMMERÅS: Vocal, Hardanger fiddle and Violin
GREGER BRÄNDSTRÖM: Violin and Hardanger fiddle
LASSE SÖRLIN: Viola, Bouzouki, 12-Stringed Guitar and Double Bass.

EM50 / 2016

OffRoad tar utgangspunkt i bestillingsverket med samme navn, til konsertarrangør og artistutvikler Global Oslo Music (GOM) i anledning sitt femårsjubileum i oktober 2013. I denne sammenheng velger komponisten Becaye en utradisjonell sammensetning av stemmer og instrumenter der kvarttoneskalaer og rytmer vil ha en sentral plass. Gjennom et samspill av mangfoldige uttrykksformer, som ogsa vil gi plass til det særegne ved den enkelte utøver, søker komponisten å skape et originalt lydbilde. Her samarbeider Becaye med musikerne Anne Hytta, Sigrun Eng, Liv Ulvik, Torgeir Vassvik og Kossa Diomande, og Malika Makouf Rasmussen som produsent. OffRoad er etterfølgeren til Sibi, Becayes første soloalbum utgitt i 2009. Becaye – Født i Mauritania og oppvokst i Senegal. Har bodd i Norge i over 20 ar. Som liten ville han gjerne lære seg a spille kora og ngoni (vestafrikansk strengeinstrumenter som landsbyens skalder eller kulturbærere bruker), men fordi han ikke var av den familien som har det til oppgave, ble det forbudt han. Istedet gav de han en gitar! Becaye brukte barne og ungdomsarene på lytte til koramusikk og kopiere lydbildet på sin gitar. Det har gjort at han har utviklet en helt særegen spillestil, hvor spesielle stemminger og alternative plukke- og knipseteknikker brukes for a lage helt spesielle stemninger og klanger. Særegen syngestil utgjør helheten, hvor tekstene gjerne skildrer sosial virkelighet i forskjellige kulturer som han er en del av.

ENG
”OffRoad” is based on the work comissioned by concert-arranger and artist-developer Global Oslo Music (GOM), to celebrate their five year anniversary in 2013, with which it shares its name. In this context Becaye composes an untraditional mosaic of voices and instruments where notes and rythms are a central theme. By creating cohesion from a variety of forms of expression, while also allowing room for what makes each and every one of them special, the composer seeks to create an original sound. Becaye is collaborating with the musicians Anne Hytta, Sigrun Eng, Liv Ulvik, Torgeir Vassvik and Kossa Diomande, with Malika Makouf Rasmussen producing. ”Off Road” is the sequel to ”Sibi”, Becayes first solo-album which was published in 2009. Becaye who was born in Mauritania and raised in Senegal has lived in Norway for over 20 years. As a boy he wanted to learn the tradionional West African string instruments ”kora” and ”ngoni”. Because he was not the one appointed this task by his family he was forbidden this, instead they gave him a guitar! Becaye utilized his childhood experience of listening to the music of the kora to copy it into his guitar play. In doing so, he has developed a very particular way of playing where moods and alternative pick and flick techniques are used to create his completely unique sound. The peculiar singing brings unity to the soundtracks, and the lyrics frequently depicts social inequality in the cultures in which the composer finds himself part of.

EM126 / 2019
Moen og Løkketangen presenterer tradisjon og nyskaping, og har i sitt nyaste prosjekt dukka djupt i folkesongane frå kommunane aller lengst aust i Agder; Gjerstad, Vegårshei, Tvedestrand og Risør. Distriktet er hav og hei, åker og skog, noko som speglar den rike folkemusikktradisjonen her. Duoen har henta fram drikkeviser, arbeidsviser, stev og mellomalderballadar der slit og glede går hand i hand.

Folkemusikken er nærare enn folk trur. Det er ikkje berre noko som finst i Telemark og Gudbrandsdalen, men det er like mykje midt blant oss anten vi kjem frå skogbygder eller øyer, frå øydegardar eller industrisamfunn. Draumen deira er at desse songane kan bli brukt att, anten det er i heimar, foreiningar eller i godt lag.

Moen syng og Løkketangen speler, og det er sistnemnde som står bak arrangementa der det både klimprast og strykast på gitar og langeleik. Nokre av arrangementa er tydeleg bluegrass-inspirerte, nokre har ein dåm av opne og kanskje orientalskklingande klangar, og andre er solonummer med kveding i si aller reinaste form.

Moen har samla inn folkesong på eiga hand, lært av kjelder både direkte og indirekte, og ikkje minst endevendt arkiv på jakt etter lokalt songstoff. Heile tida har han vore på jakt etter å finne sin eigen stemme og form, og ligg ein stad i landskapet mellom å vere tradisjonalist og å vere nyskapande. Han er glad i det noko enkle lydbiletet der instrument og stemme får kome til sin rett. Løkketangen har sin musikalske skolering frå jazzlina ved Norges Musikkhøgskole. Der har han fokusert på jazzgitar, norsk folkemusikk, og musikk frå Appalachefjellene i USA. Robert har lenge jobba med akustisk musikk, og har arbeidd med å utvikle eigne spelemåtar på instrumenta han trakterer. Gjennom djup vyrdnad og forståing for tradisjonsmusikken og innovative spelemåtar skapar han sitt eige uttrykk.

ENG:
With their new album, «Om alt som henda har», Moen and Løkketangen present both tradition and innovation. They’ve dug deep in the folk songs from the municipalities farthest east in Agder; Gjerstad, Vegårshei, Tvedestrand and Risør. The district is sea and hey, fields and woods, something that reflects the rich folk tradition here. It’s a mix of drinking songs, work songs, staves and medieval ballads. Some of the arrangements are bluegrass-inspired, some have a hint of open and perhaps oriental-sounding sounds, and others are solo songs in their purest form.

EM105 / 2012

Melodiene på innspillinga er hentet fra den norske håndskrevne koralboka undertegnet bonde og orgelspiller Ole Henrichsen Rognstad (1757–1839) fra Balkegrenda på Østre Toten. Rognstads koralmelodier er mer eller mindre særegne varianter av melodier kjent fra ymse europeiske melodikilder.

Det er oppsiktsvekkende at mange av koralene etter Rognstad skiller seg til dels mye fra tilsvarende koraler i melodibøker som Rognstad etter alt å dømme har kjent, så som Thomissøns Psalmebog(København 1569), Kingos Gradual (København 1699) og Breitendichs Choral-bog (København 1764). Trolig er flere av koralmelodiene i Rognstad-manuskriptet skrevet ned slik folk faktisk sang dem i Balkegrenda mot slutten av 1700-tallet.

Rognstads koralutsettinger følger ikke samtidas regler for stemmeføring. Rognstad har nok stolt på sin egen musikalske sans og smak. Dersom ikke annet er nevnt spesielt, har vi brukt Rognstads harmoniseringer.

ENG:

The melodies on this recording are taken from the Norwegian handwritten chorale book signed by farmer and organist Ole Henrichsen Rognstad (1757–1839) from Balke, a rural community in Eastern Toten. Rognstad’s chorale melodies are more or less distinctive variants of melodies known from diverse European sources.

Remarkably, many of the chorales differ quite a bit from corresponding chorales in the tune books that Rognstad would most likely have been familiar with, such as Thomissøn’s Psalmebog (Copenhagen 1569), Kingo’s Gradual (Copenhagen 1699) and Breitendich’s Choral-Bog (Copenhagen 1764). It is probable that many of the melodies in the Rognstad manuscript were written down in the way people actually sang them in the Balke community at the end of the 1700s.

Rognstad’s choral arrangements and harmonies are not typical for his time. He was most likely convinced of his own musicality and taste.
Unless otherwise specifically mentioned, we have used Rognstad’s harmonies here.

1. Guds Godhet ville vi priise
1. Come, Let Us All, With Fervour
2. Fra Himmelen højt komme vi nu her
2. From Heaven High I Come To You
3. Let The Voice Of Praise Resound
4. Paa Jorden Fred og Glæde
4. On Earth Peace And Pleasure
5. Alle Ting er underfulde
5. All Things Are Wondrous
6. Maria hun er en Jomfru reen
6. Maria She Is A Virgin Pure
7. Et Barn er født i Bethlehem
7. A Child Is Born In Bethlehem
8. Herre Christ Gud Faders enbaarne 8. Lord Christ, The Only Son of God9. Mit Hierte altid vanker
9. My Heart Always Lingers
10. Lovet være du Jesu Christ
10. Praise Be To You, Jesus Christ

EM54 / 2010

Henning Gustavsen contributed three songs a cappella on the album Viser på vandring Volum 1 [Songs of the Romany People in Norway I,EM 11, 2002], and was an important co-worker in the making of its sequel, Viser på Vandring i Norden [Songs of the Romany People in Finland, Norway and Sweden, EM 21, 2007]. Now, we hear him a cappella as well as singing to his own guitar accompaniment. On several cuts he is also accompanied by banjo, mandolin, fiddle, tuba and piano.

The album includes Henning’s own superbly arranged versions of familiar songs, as well as songs that will be new to most Norwegian listeners. Henning is well known as a skillful performer of Norwegian Travelers’ songs. His primary source for these is his mother, Anna, but his uncle and other relatives also have these songs as part of a strong family tradition and repertoire. Having grown up in this Traveler-family environment, Henning’s singing style is solidly based in his family tradition. Henning has a charming, natural presentation, and is comfortable performing for public and social events. He has great potential for reaching out to many kinds of audiences in Norway, the other Nordic countries and the rest of the world. On this CD, he presents a new and different, mild, but powerful voice and expression from the well of Norwegian Romani/Traveler tradition. Honors also to his co-producer Kent Morgan Johnsen and Studio Ranch.

EM58 / 2010

The music on this album is from both sides of the border separating Pakistan (East- Balochistan) and Iran (West- Balochistan), just south of the Afganistani (North- Balochistan) border. Featuring Abdul Rahman Surizehi, the album focuses on the Rakhsani music of northern Balochistan in the Rakhsani area – a border region includ- ing parts of Iran and Pakistan and south- ern Afghanistan. The album is presented as 2 CD Long books with plenty of room to present the traditions of a region that is split into three countries. We will attempt here to answer the common question: What is Balochistan and where is it?

With his great knowledge of the traditional mu- sic of Balochistan, we are presented here with a world premiere of two categories of Rakhshani music from northern Balochistan: Love songs and trance music. One CD contains love songs and the other contains trance music. Rakhshan is a large region in Balochistan, and Rakhshani is the name for one of the two main languages spoken here. The music often has an oldfashioned quality, improvised elements are minimalistic and the music is characterized by repetitive pat- terns. There are no exact borders, however Rakhshani is spoken in mid and Eastern Balochistan, while the other main dialect, Makorani, is more prevalent in the southern part of the region. Also typical for Rakhshani music is the string instrument called Tamburag. In the south this instrument is primarily used for ac- companiment, while in the north it carries the melody. It should be mentioned that Rakhshani music of Balochistan has never previously been released. Since the area is divided among three nation-states, no one has taken responsibility for preserving the intangible cultural heritage of Balochistan. One of the world’s best perform- ers of Balochistan’s music and tradition is a Norwegian citizen.

ABOUT THE ARTIST

Abdulrahman Surizehi comes from Iranian Balochistan, but he lives in Norway and is a Norwegian citizen. He plays a traditional instrument called Benju, and, according to those who know the tradition, he is consid- ered the world’s best and most virtuoso performer on this instrument. He has par- ticipated previously on several other al- bums on the Scandinavia EMlabel, as well as the prestigious French label, Ocora. He tours currently in Scandinavia and increasingly in other countries as well. He won the Norwe- gian Folk Music Award [Folkelarmpris] in 2006, in Open Class for the double album «Love Songs and Trance Music from Balochistan». For the same album he also was awarded the prestigious German record award «Preis der Deuschen Schallplatten Kritik».

EM29 / 2007

This album presents two young and very competent performers of the rich folk music tradition from Setesdal. Sigurd Brokke and Daniel Sandén-Warg play solo folk music with marked rhythm and a rather high tempo. Sigurd and Daniel give the tunes their own style by combining high technical ability with their personal temper. Foot stamping is used consciously to produce the special character of this music. The two musicians have given several concerts together. Sigurd Brokke was born in 1971 in Hylestad, Valle. He plays Jew’s harp in the Setesdal tradition. His style is often very personal, inspired by many different sources. Sigurd won the Jew’s harp class at Landskappleiken, the annual national competition, in 2003 and 2004. He has also won several local competitions in Agder and Telemark. Sigurd has also participated in many folk music festivals the last few years, and he has been actively taking part in various concerts. He has held many courses and has been teaching Jew’s harp playing at the Valle comprehensive school. At present he works at the Agder folk music archives at Rysstad. Since 2001, he has been the leader of Setesdal Spelemannslag.Daniel Sandén-Warg was born in 1977 in Østersund, Sweden. He grew up in Karlstad, where he started playing the guitar at anearly age, Jimi Hendrix was his idol. Daniel was early discovered as a great talent, for example by the Swedish television. Magnus Stinnerbom in the folk music group Harv was the first to make Daniel interested in folk music. Leif Stinnerbom, the father of Magnus, introduced Daniel to the music of Torleiv H. and Hallvard T. Bjørgum, and he immediately became enthusiastic about the music from Setesdal. He first taught himself the tunes from cassette tapes, and then sent recordings of himself to Hallvard T. Bjørgum. Hallvard was so impressed that he immediately invited Daniel to Setesdal. In 1998, Daniel moved to Setesdal. He has learned much from Hallvard T. Bjørgum, and also learned many tunes from archive recordings. In 2005, he got his craft certificate as silversmith. Today, he works as a silversmith and freelance musician. Daniel shows a unique musicality and has a special ability to acquire various styles of folk music. More than most others, he has managed to master both the rich details, the special use of the scale and the playing technique, which is so special for much of the local folk music in Setesdal. Daniel has also learned the Setesdal dialect so well that he speaks like a native! At the national level, he has now become a class A player in the Hardanger fiddle class. There is hardly anybody else who is not originally from Setesdal who has managed to acquire the local folk music tradition so genuinely and convincingly as Daniel Sandén-Warg.

EM50 / 2016

RAMMESLAG, den første plata til Daniel Sandén-Warg og Sigurd Brokke, fikk strålende kritikker og ble omtalt med karakteristikker som «folkemusikkens rock ‘n roll” og ”bedre kan det ikke gjøres”. Plata vant Folkelarmprisen som årets soloalbum i 2007. Nå er Daniel og Sigurd klare med oppfølgeren, RAMMESLAG II. Albumet inneholder 27 spor og har et 28 siders teksthefte med mange gode og sjeldne bilder. Bilder og tekst er presentert i lekkert design, og tekstheftet har en informativ, vitenskapelig punch. Lydtekniker Tom Karlsrud som har hatt lydarbeidet på begge platene, uttalte om Rammeslag II at: «Jeg synes denne plata er flere hakk skarpere enn den første!». Da jeg fikk høre det ferdige resultatet skjønte jeg hva han mente. Her er det verdenspremiere på nye munnharpeslåtter fra Setesdal. Daniel og Sigurd boltrer seg med instrumental ”stevleik” mellom hardingfela og munnharpa. Dette skaper stor variasjon og dynamikk. Sigurd Brokke er i toppform på munnharpe og Daniel Sanden-Warg spiller hardingfele så vi hører rennende vann. Kredit også til Tom Karlsrud for optimalt vellykka lydopptak.

ENG
RAMMESLAG, the first album Daniel Sandén-Warg and Sigurd Brokke did together, received excellent reviews and was described as “folk music’s rock-’n- roll” and “the best possible”. The CD won a Folkalarm Award as best solo album of 2007. Now Daniel and Sigurd are ready with a sequel, RAMMESLAG II. The new album contains 27 cuts and includes a 28-page illustrated booklet in Norwegian and English. The booklet is tastefully designed and informative, with factual punch. Tom Karlsrud, who has been sound technician for both recordings, says of RAMMESLAG II: “In my opinion, this album is several notches better than the first one”. I understood what he meant when I listened to the finished product:

RAMMESLAG II is actually a world premiere of new jews-harp pieces from Setesdal. Daniel and Sigurd frolic, alternating between Hardanger fiddle and the jews-harp, in a way that provides variation and dynamic quality. Sigurd Brokke is in top form on his harp, and when Daniel Sandén-Warg plays Hardanger fiddle, the music is like running water. Credit also to Tom Karlsrud for his excellent recording work.

EM122 / 2018

NO:
Almir Meskovic og Daniel Lazar har begge 20 års erfaring med klassisk musikk bak seg. Begge har studert ved Norges Musikkhøyskole. I tillegg har de begge en solid forankring i tradisjonsmusikk fra sine land. Almir er fra Bosnia og Daniel fra Serbia.

Med sine røtter fra Balkan, iblandet skandinaviske elementer, har denne duoen et helt spesielt særpreg uten sidestykke. De blander et stort spekter av stilarter og sjangre, alt fra balkanske rytmer og russiske folketoner, til Mozart og sigøynermusikk.

De begynte begge sine musikalske reiser midt under de vanskelige årene på Balkan, noe som også har gitt dem en ekstra glød og iver etter å nå sine store mål I livet; å dele sin musikalske arv.

ENG:
With roots from the Balkans mixed with Scandinavian elements, the duo Almir Meskovic and Daniel Lazar have a distinctive character that is unparalleled. Each of them has more than 20 years’ experience within classical music, and together they combine a wide range of styles and genres – ranging from Balkan rhythms and Russian folk tunes to Mozart and gypsy music. In recent years, they have played with The Oslo Philharmonic, The Norwegian Radio Orchestra, and Sølvguttene. Both are also central to the international folk music super group Kuraybers.

Music and cultures from various corners of the world meet in the heart of the Balkans. The folk music Almir and Daniel were raised with contains influences from gypsy music, Jewish klezmer music, military and classical music and everything in between. Almir was born in Bosnia and Daniel in Serbia, but they met at the Norwegian Academy of Music in Oslo. In Norway, they have developed their own form of expression that maximises the beauty of both accordion and fiddle, with inspiration from all eras. Their catchy music makes even the heaviest of dancing feet want to shake free.

EM76 / 2012

This album presents classic solo Hardanger fiddle. The tunes are some that have been with me thru many years as a fiddler, and that I have used often at performances. I have included archive recordings here from almost 20 years ago, along with newly recorded tunes.

In this album we have tried to create an atmosphere different from the one normally resulting from a studio recording. Tunes are recorded in different settings and performed using a variety of fiddles.

To provide the energy and atmosphere of live performance with audience, some tracks from concerts and contests are included. A fiddler in the right mood often does his best for an audience. So there are also tunes here that have been recorded during playing sessions at home.

Fiddling is a dynamic experience. All tunes have a traditional structure, but there are many ways of interpreting them. The fiddle can be tuned in a number of ways, and performance situations vary from concerts and competitions, to playing for dancing or just sitting alone late in the evening. Then the same tune can turn out differently, providing something new to experience and share. The facets are many.

“For me fiddle adds color and enrichment to life. Music brings joy and wonder, and it triggers emotions!”.
Each tune is a rose with its own inner character, full of stories to tell. It’s a delight to discover a new tune that appeals and somehow relates to one’s self, and then to play tune in line with one’s own mind and mood. Peace of mind and strength are born from such.”

I play tunes here as I have heard them from musicians who have inspired me through the years, either directly, in learning situations and fiddler gatherings, or via recordings. I love Lars Fykerud’s music and many of the tunes here are after him. Lars Fykerud (1860-1902) did not copy his masters. He almost never played a tune the same way twice, but used material he had learned as basis for a wealth of improvised compositions. Some of my performances on this CD are also improvised, and may differ slightly from the sources.

Christian Borlaug

EM34 / 2008

Verdenspremiære på et storslagent bukkehorn-, lur- og seljefjøyte album som knapt tidligere har vært hørt. Eilif Gundersen fra Ål i Hallingdal er hovedartisten og viser dybde og bredde i repertoaret, særlig på det vanskelige spillbare instrumentet bukkehorn, med lengre låter og blå toner. Gundersen, som også er produsent av plata, har laget nennsomme og vare arrangement på deler av repertoaret ved hjelp av tonefølge fra Gunnlaug Lien Myhr med kveding, Terje Isungseth på perkusjon og Tor Egil Kreken på kontrabass og banjo. Dette gir et variert og svært lyttbart album, der det lyriske danner grunnstemningen. Eilif Gundersen tar nok et kulturhistiorisk svært viktig grep: For første gang noen sinne på et album, knyttes de gamle instrumenta og musikken til det daglige arbeidet på garden, der gardsdrifta følger årets rytme – gjennom bruk av primstaven. Primstaven er en evigvarende kalender med merkedager som forteller bl.a. om når en kunne så (derav tittelen Sådagen), når en kunne høst, reise på stølen og hva slag vær som var i vente. Her får vi presentert primstaven i sin fulle bredd, med tekst og tegna som hører til og med musikk som passer inn i kalenderen. Et fyldig tekstheftet følger på norsk, engelsk, spansk og fransk!

ENG
EILIF GUNDERSEN, GUNNLAUG LIEN MYHR, TERJE ISUNGSETH, TOR EGIL KREKEN

The world primiére for an impressive ramshorn, lure and willow flute album, of a kind heard never before! Eilif Gundersen from Ål, Hallingdal, is the principal performer. Gundersen shows depth and breadth in his repertoire, especially when playing his long tunes and blue notes on the difficult ramshorn/ goat horn.

Gundersen is also producer for this recording and has gently arranged several tunes, supported by Gunnlaug Lien Myr’s singing, Terje Isungseth’s persussion and Tor Egil Kreken’s banjo and bass. The result is a varied album with a lyrical atmosphere.

Ramshorn, Lure, Willow Flute, Vocal, Percussion, Bass, Banjo

Gundersen has employed a cultural-historical approach. Here, for the first time, is an album that sets focus on old musical instruments in the context of daily farm-work, the rhythm of the seasons and the old-fashioned “primstav”, calendar stick. The “primstav” is a kind of eternal calendar whose symbols provide advice as to which dates are best for planting (thus the title “Sowing Day”), harvesting and moving to the summer-farm, as well as what kind of weather to expect. The symbols and special days of the “primstav” are fully integrated into the repertoire on this recording, which is accompanied by a booklet in Norwegian, English, Spanish and French.

Sådagen, Sowing day, Le jour des semailles, El dia de siembra

EM27 / 2010

Her dokumenteres godbiter fra Veslemøys store og omfattende repertoar. Rim, regler, stev og småstubber- mange minnes vi med glede fra vår egen barndom. Dette er stoff som vil forsvinne ut av tiden hvis ingen holder det levende. Denne samlingen bidrar til å føre det videre til nye generasjoner. Barnehager og skoler, foreldre og besteforeldre, onkler og tanter: Løp og kjøp! -Det er tidligere sagt om Veslemøy,’’ stø og sikker som Jonsknuten’’. Det samme kan en si om Veslemøys utvalg av rim ,regler og sanger og formidling av disse. Solid! Respekt for tradisjonen. Formidlingsglede. Vi får lyst til å synge med! Og nettopp dette er Veslemøys viktigste motiv. Hun vil dele sin kunnskap, og hun vil aktivisere. Hun vil vise at unger er lydhøre og lar seg engasjere , selv i en presset mediehverdag.

Fine innslag med hardingfele, bukkehorn, lyre, munnharpe, slåttetromme, baryton og trekkspill gir liv og stemning til sangene.

I en hel kvinnealder har Veslemøy jobbet med musikk for og med barn. Hun har fra sin barndom hatt mange kilder å øse av. I dag er hun selv blant de viktigste kildene til barnetradisjon. « Salen var av silkety» representerer et lite utvalg av det havet Veslemøy har å øse av. Noe er kjent, noe er litt kjent, noe trodde vi at vi hadde glemt men blir minnet på, noe er ukjent og pirrer vår nysgjerrighet, noe er fra bygd noe fra by, noe er rart, noe er vanlig. Slik blir denne CDen et dokument over vår felles hukommelse. Veslemøy er en utøver og musikkformidler som er full av kjærlighet til stoffet hun formidler og tar barn på alvor. Dette merkes. Barnetradisjonssoff er kanskje det feltet hvor improvisasjon og skaperglede har blitt best ivaretatt. Dette har oppstått gjennom en levende kommunikasjon mellom barn og voksen, og barna seg imellom. Noe som ikke minst variasjoner over samme tema viser. Mellom riderankesangene og bånsullene som rammer inn CDen er det sangleiker, regler og småstubber med og uten tonefølge fra ulike instrumenter. « Salen var av silkety» en er blitt et konglomerat, en rik kilde som man kan vende tilbake til igjen og igjen og finne nye diamanter. Hver av sangene er et lite univers.

EM87 / 2010

I was born in Bulawayo, Matabeleland, Zimbabwe. My father was a part-time musician who played the double bass with various groups in Bulawayo. He also brought home recordings of music that was very popular all around Africa at that time -from South Africa, Congo and Cuba. My favorite was Dorothy Masuka, who also came from Bulawayo and wrote songs for Miriam Makeba. I got my first experience as a singer was in church, singing African gospel music. This kind of music is still a huge influence on my singing, and on South African popular music, traditional mbira music from Zimbabwe, jazz rock and funk as well. Growing up, I was listening to Miriam Makeba, Dorothy Masuka, Dolly Rathebe and also American soul music and even disco! As a teenager I began performing with local groups in the clubs in Bulawayo. When I was 19, I got an offer through my sister – who also was a singer – to join Ilanga, a well-known group in Harare. After I moved to Harare,Ilanga recorded three albums together and we made a huge hit with my song called “True love”. “True love” became one of the most popular songs in Zimbabwe and can still be heard on the radio in Zimbabwe today.

After Ilanga disbanded in the late 1980’s, I formed my own group, Band Rain, with some of the best musicians including guitarist Rodger Mbambo, percussionist Adam Chisvo and my twin sister Phathi.Band Rain has recorded 9 albums and has toured in southern Africa, the Czech Republic, Ireland, the UK and Norway. In Zimbabwe, we have performed regularly at “The Book Café”, the best and most important venue in Harare. We have also played major gigs at festivals, such as the Harare International Festival of Arts and the Chimani Music Festival. I took part in a project called “Life at Home/Hupenyu Kumusha” that featured my friend Chiwonisho Maraire, as well as Adam Chisvo, Rodger Mbambo and others.

In addition to singing, my main instruments are Mbira, hosho and ngoma. Mbira is an instrument that is central in Zimbabwe’s traditional music. It has always been important in village life, but was more or less forgotten during minority rule, because neither the missionaries nor the authorities wanted the people to express their own traditions. Thanks to a few individuals, among them Ephat Mujuru and the late Dumisani Maraire, the Mbira tradition was preserved for posterity. Mbira is now a significant part of Zimbabwean musical culture, through performers like Stella Chiweshe, Adam Chisvo, Chiwoniso Maraire and myself.

In 2001 I was invited by The Norwegian Concert Institute to take part in a seminar about women in world music. There I met Norwegian/Algerian musician and producer, Malika Makouf Rasmussen, who invited me to join a project called “Women’s Voice”. This group consisted of female musicians from Tanzania, Zimbabwe, Algeria, France, Israel and Norway and released an album in 2004. We also toured in Scandinavia, Israel, Angola and Zimbabwe. We performed with Mari Boine when she received the Nordic Council’s Music Award 2003, and with the great Somalian singer, Maryam Mursal, at Oslo Mela in 2005. In 2004 we were nominated for the BBC 3 World Music Award.

I am featured on Mari Boine’s record “Idjagiedas” [“The Mermaid”] and I have performed with Norwegian artists such as Johan Sara Jr., Kristin Sevaldsen, Kossa Diomande, Banjo Mosele and even with a string quartet from the Oslo Philharmonic Orchestra. I am currently living in Norway, and have formed my own group featuring some of the top musicians from the Oslo music scene.

EM26 / 2006

The Dahle music from Tinn is one of the oldest and best preserved hardanger fiddle traditions in Telemark. In the 18th Century, Tinn was a meeting place for many fiddlers. The souce of this album is Gunnar Gunnar Dahle (1902-1988) a talented musician, who passed on their tradition to young fiddlers. The informal, detailed, and orally conveyed instruction is certainly one of the most important aspects of a Hardanger fiddle player’s accomplishment. When the county of Telemark established instruction in traditional music in the fall of 1972, Gunnar Dahle was employed as teacher in Tinn. Haugan’s mother recovered the hardanger fiddle used by her husband and had her join in. When funding dried up two years later, Gunnar quietly said: You may learn all you want, for free. Thus a master-student relationship was established that was to last for 16 years. The Hardanger fiddle tradition of Tinn is rich and powerful, both regarding the amount of fiddle tunes as well as rare tunings or scordaturas.

EM77 / 2015

Seint var det om kvelden er tittelen på vår rykende ferske produksjon. Denne dobbelt – CDen (longbox) er en dokumentasjon av tradisjonen fra Mandalen. Dette er en tradisjon som ikke har vært dokumentert tidligere, og den unge spelmannen som er hovedartisten er Gard Nergaard. Han har lært stoffet av Paul Sveinall. Paul Sveinall har jobba med dette stoffet i mange år og lært fra seg både slåtter, vokalstoff og historia rundt dem. I tillegg til Gard som hovedartist på hardingfele, er disse gjesteartistene på CDen: Renate A Heggeland (vokal), Tor Arve Monan (vokal og gitar), Per Arne Fredriksen (trommer), Tom Karlsrud (trekkspill) og Paul Sveinall (Sangelandfløyte). Dette er en historisk produksjon som formidler en tradisjon som nesten gikk ”i glemmeboka”,på en brilliant måte. Ja, det var virkelig ”seint om kvelden.”

“Seint var det om kvelden – alt i fleire år har me sagt at klokka er over tolv! Av ulike historiske årsaker kom musikktradisjonen i Mandalen, som ein gong var blant dei sterkaste og rikaste i regionen, i bakevja. Sidan levde han på sparebluss i mange år, og ein kunne spørja seg om det var for seint allereie.

Me er difor særs glade og stolte av å prova det motsette. Utgjevinga du held her presenterer sjeldan mykje ukjent og særeigent stoff, ein «missing link» i folkemusikken som vil kasta nytt ljos på heile regionen.”

Maputo, 26. april 2015, Gard Nergaard

Tradition from the south
Cultural crossroads
This edition presents traditional music from the valley of Mandalen in Vest-Agder, southern Norway. It goes into a series of efforts made by Etnisk Musikklubb Norway to highlight rare music on the point of being forgotten. The culture of this valley has hitherto, especially in the domain of instrumental music, not been presented in a way it deserves. This publication aims to do something about that in drawing attention to non-documented music and to the influential musicians from this region, a cultural meeting point and melting pot through the centuries.

Old tradition
CD1 is concentrated around the oldest part of the fiddle tradition, which dates back to the time when the instrument first started to gain territory here in the first half of the 18th century. The roots of this music often go back even further, finding its origin in ancient vocal traditions. The frequent «slåttestev», songs connected to the fiddle tune which were used either as an introduction or more independently of the fiddle version, is a proof of this. The tunes from this period often exhibit a sense of tonality different from ours, even in the cases when the intonation has been adapted to our moderns systems.
Similar with baroque music, the melodies are often built on one or a few motives which lead to variations and improvisations.
A distinguishing feature of this music is that it was most often connected to great events. Especially weddings had strict procedures when it came to when the various dances were to come in the program. Often there is also a mythical background behind the tunes, where the music is connected to older religious beliefs. Many a fiddler had the dreadful reputation of creating an ecstatic mood among the dancers, and therefore religious movements held it to be inspired by evil spirits. Normally the celebrations went on under worthy conditions, and everybody could participate without problems. But this was going to change.

The peak
In the 1780s the authorities opened up for free trade and broad contact with other countries. One result of this was a wave of importation of dances especially from the other North Sea countries, and the Napoleonic Wars further contributed this development. From Germany came «reinlendar» (dance from the Rhine valley), masurka (muzurka) from Poland, ril (reel) from Great Britain, galopp (galop) from France. The new rhythms quickly found more local forms, and local musicians embarked upon a great production of new melodies to meet the popular demand. Few of these melodies had any connection to folklore, they were just meant for dancing. Inasmuch as this music came in addition to the older tradition, it brought the local culture to a peak around the 1830s. CD2 reflects this new reality, with the old and new living alongside each other.

Division and decline
At this time the traditional wedding culture got two mighty enemies – alcohol and modernisation. Free trade also meant an increased import of cheap liquor, and in combination with the multiplied local production of spirits, the celebrations were soon marked by an enormous abuse. The church responded by condemning this sort of social gatherings. And what is more the authorities recommended a modernisation of society. These two elements tore away the base for the traditional musical culture – the big events where it had had its use. The fiddlers lost their income and the music was now in free fall.

EM69 / 2010

In spite of politics and national borders, the Romani People [Swedish: Resanderomska, English: Gypsies/Travellers) in Scandinavia have had close contact with each other since the Middle Ages. This is reflected in the music and song traditions they have in common. Songs have traveled with the Romanies and spread from family to family, from country to country. The Romani People of Sweden and Norway have been especially close. Swedish Romanies sing many songs that contain Norwegian words and are said to have come from Norway. Likewise, Norwegian Romani songs contain Swedish words and are said to have come from Sweden. Finland was part of Sweden from the 1200’s until 1809, when it was taken over by Russia. This shows clearly in their music and song traditions.Some songs have survived from the time when Finland and Sweden were one country. The repertoire presented on this CD includes songs from Finland and Norway that are a natural part of the Swedish Romani culture, and songs in Swedish, Romani and Swedish-Romani. About the songs and ballads Traditional Romani songs can be sorted into several categories: Medieval ballads (most often heroic ballads). Broadside ballads, Love songs, Prison Songs, Romani folk songs (in the Romani language or in Swedish-Romani), Traveling Songs and Religious songs.

På sin nye CD Sevje synger Gabriel Fliflet egne melodier. Tett på, med nerve og nærvær. Her er viser med et fast håndtrykk og melodier man ikke vil krangle med. Tekster av bl. a. Robert Burns, Kjartan Fløgstad og Gabriel selv. Klangbunn fra et liv i mang slags folkemusikk. Ru røst. Poesi, luft og ettertanke – og et underfundig smil.
Gabriel spiller også, på piano og trekkspill. En rekke utsøkte musikere er med ham på platen, bl.a. Arve Henriksen på trompet, Ole Hamre på perkusjon og Anders Røine på langeleik, munnharpe og fele.

Sevje er Gabriel Fliflets fjerde soloplate. Flere av sangene er hentet fra Gabriels konsertprosjekter Rose (Vossjazz 2016) og Sanger fra byen (Festspillene i Bergen 2016). Sevje gis ut av Etnisk Musikklubb.

Han har alltid bodd i musikken. Den har gitt energi, og vært et lykkelig levebrød. Støl i kroppen, men spretten i musikken, har Gabriel Fliflet reist rundt land og strand i førti år. Han har lekt seg med ulike folkemusikktradisjoner, mest på trekkspill, og møtt folk fra mange musikalske landskap – som Odd Nordstoga, Peter Bastian og Knut Reiersrud.

EM99 / 2010

Multi-instrumentalist og vokalist Kouame Sereba ble født i Abidjan i Elfenbenskysten i Vest-Afrika. 10 år gammel ble han sendt til farens landsby, Tiegba for å bo der. Der lærte han mye om det tradisjonelle livet, om musikk, dans og fortelling. I 1983 flyttet Kouame til Norge og her har han spilt en aktiv rolle i musikklivet. I tillegg til soloprosjekter, samarbeider han med musikere innen mange forskjellige sjangere, som jazz, folkemusikk, samtidsmusikk, samt moderne afrikansk musikk. Han har spilt hundrevis av konserter for både barn, unge og voksne i Norge og utlandet. Gjennom sine kurs og musikkworkshops prøver han å dele sitt musikalske univers der rytmelek og musikkglede er det aller viktigste.

Det å musisere med barn har alltid vært en viktig del av hans virksomhet og står hans hjerte nær. I 2003 fikk Kouame Sereba Tono 75 års Jubileumspris i klassen «Produksjon for barn». CD’en »Shama Shama» har blitt til i møtet med tusenvis av norske barn gjennom hans barn- og familieforestillinger med sang, musikk og fortelling, inspirert av egen barndom og livet i landsbyen Tiegba.

2009 ble Kouame Sereba kåret til Årets Folkemusikkartist, Folkelarmprisen.Fra juriens begrunnelse: “…Det er en artist som har sett de fleste kroker og kriker av vårt langstrakte land gjennom uttrettelig turnévirksomhet. Få kan som han gripe et publikum og oppheve tid og rom med sin sterke formidlingsevne. Blant hans mange begeistrede publikummere er tusenvis av barn og skoleungdom som har opplevd ham på en av hans mange skolekonserter-turnéer for Rikskonsertene.»

EM04 / 2000

CLASSICAL INDIAN TABLA PLAYING

World Leading Tabla Virtuoso Of Norway
Winner In The Hariballabh Tabla Contest In India In 1995
Winner Of The Prestigious «TALENTIADEN» In Norway In 1997

In 1980 the birth of Jai Shankar took place in the village of Nurmatal in India. Being born in a family of musicians and leading the fourth generations of music, he also heritaged strong roots of Indian classical music traditions. In 1981 when he was 10 month old only, he came to Norway with his family. Since his early age he has practiced very hard under the guidance of his father Shri Lal. Jai gave his first concert at the age of 6. When he was 8 years old, he was selected by The Norwegian Institutions for Concerts to perform in different schools in Norway. After that he started giving concerts both solo and as accompaniment to other musicians. A part form Indian music, he started playing with other style as jazz, folklore, Latino, rock, pop, etc., which make him as an all rounder musician. . In 1995 he participated in «below 30» Tabla-contest in India called The Hariballabh competition. There he got the winner prize, which inspired him a lot. In Norway he won the prestigious «TALENTIADEN» in 1997. Being the first foreign rooted youth to win such a prize made him popular through out the whole Scandinavia. Since that time he has been engaged in different projects and he has been playing concerts both in Norway and abroad with musicians of different kinds.

EM35 / 2009

Becaye Aw is a guitarist, singer and songwriter of the African Fulani (Haal Pulaar) people. Becaye spent his childhood in Dakar, Senegal, and it was here he first laid his hands on a guitar. Becaye is largely self-taught. After learning elementary guitar technique from a Serere musician, he went on to develop his own style, listening to recordings and to the radio. His African approach to guitar tuning and his way of playing the instrument result in a sound similar to the cora. Becaye began his musical career in Senegal, playing with musicians such as Baaba Maal and Mansuur Seck. He has since then participated in many groups and projects, in collaboration with a variety of musicians. This project is Becaye’s debut as a soloist. The album’s repertoire includes his compositions as well as traditional songs.

MUSICIANS:
Becaye Aw – Guitars and vocals
Haddy Njie – Vocals
Helge Andreas Norbakken – Percussion
Leni Banel Aw – Vocals
Olav Torget – Electric guitar, hoddu, bongosSolfrid Molland – Accordion, vocals

Arrangements: Olav Torget, Helge A. Norbakken and Becaye Aw
Compositions: Becaye Aw, except Radio Guinee(trad.)
Lyrics: Becaye Aw, except Pulloori (Becaye/Trad) and SukaaBe (Trad/Becaye/Haddy)

Recording and Mix: Olav Torget
Production: Olav Torget and Becaye AwMastering: Tom Karlsrud
Photos: Michal Wasaznik
Consultant, english text: Mary BarthelemyDesign: Selbutrykk

Special acknowledgements to all the musicians for their friendly support. Thanks to Helge A. Norbakken and Olav Torget for their inspiration and active involvement all along. Etnisk Musikklubb wishes to thank: Fond for lyd og bilde and Norsk kulturråd for financial support.

EM28 / 2006

BENGALO:
Anne Fossen: vocals
Jovan Pavlovic: accordian and vocals
Oluf Dimitri Røe: violin and vocals Andreas Amundsen: bass
Christian Haug: guitar

GUEST MUSICIANS:
Tor Haugerud: percussion
Petar Ralchev: accordion
Eivind Lønning: trumpet

ROMANY MUSIC FROM THE WORLD’S PREMIER LEAGUE!

The group BENGALO was formed in Trondheim in 2000, and consists of four musicians and one vocalist. Romany music is Bengalo’s speciality, but due to the fact that members of the group have their backgrounds from different musical genres, they have developed a very personal style. Jovan Pavlovic is also member of Urban Tunells Klezmerband and Oluf Dimitri Røe will be known from the group Fri Flyt! Bengalo in action is a musical firework, which anyone who has heard them at concerts and festivals already knows. Their drive is the music of the Romany people, with its passion, vituosity, vitality, improvisation and spontaniety as centerpoint. Bengalo is a Romany word which means wild and joyful. And it is very easy to become just that when you listen to this music. On this new album Sigg Sigg (meaning Fast, Fast), the lyrics are both in Romany, Serbian and Norwegian. The group pledges allegiance to autenticity whil at the same time originality is the central feature both in form, expression and arrangements: Accordion, violin, vocals, bass and guitar make up the band, Precussion, accordion and trumpet are played by gest musicians.

EM48 / 2014

Det sies at døden, havet og kjærligheten er dikternes evige temaer. Dette albumet handler ikke om havet og bare i beskjeden grad om kjærligheten. Det er bygget opp rundt tekster og melodier fra historiske norske henrettelser. Det er kanskje et makabert emne å synge om, men samtidig var det en vakker skikk å synge ut de døde. Her gjorde våre forfedre i grunnen det samme for de dødsdømte forbryterne som de gjorde for alle andre mennesker. Da de ble sendt avgårde på reisen til det siste jordiske hvilested, ble de sunget ut.

Tekstene vi har benyttet er trolig ikke blitt fremført på mange år. De ble skrevet på 1700- og 1800- tallet, da de ble solgt som skillingstrykk. Vi har hentet dem frem fra arkiver og biblioteker. Sanger som fortalte om henrettelser ble kalt skafottsanger. Konseptet er mindre fjernt enn man kanskje skulle tro. Ikke få har funnet sine første famlende gitarakkorder til sangen om Tom Dooley. Cornelis Vreeswijk sang om henrettelsen av mördar Anders. Begge disse sangene har opphav i konkrete historiske henrettelser. Artister som Nick Cave og Gordon Sumner (Sting) har levert gode fiktive skafottsanger. Når vi forsøker å blåse nytt liv i et knippe med norske sanger, går vi altså inn i en ikke ubetydelig internasjonal sjanger. Albumet er i hovedsak spilt inn i den såkalte skarpretterboligen på Galgeberg i Oslo. Musikken er arrangert av musikerne.

Kulturhistorikeren Audun Kjus har skrevet heftet som forteller om sangene og hendelsene de sto i sammenheng med. Han fremfører også de fleste av tekstene. Med seg har han Lars Henrik Johansen ,Andreas Berg, Erik Strandberg , Olav Christer Rossebø, Richard Burgess ,Jan Tariq Rui-Rahman (og Alexander Lindbäck ; rutinerte musikere som har spilt med blant andre Earlybird Stringband, Bøyen Beng, Gjermund Larsen, Anne Hytta, Arve Tellefsen, Truls Mørk, Øyon Groven Myhren, Karen Jo Fields, Finn Coren, Vestlandsfanden og The Jayhawks.