Ry Cooder – Cotati (1987)

FrontCover1Even without releasing the covers album, Bop Till You Drop, in 1979, Ry Cooder was already  a formidable musician steeped in the blues with a Tex-Mex feel. His ’70s albums such as Into The Purple Valley, Boomer’s Story, Paradise And Lunch and Chicken Skin Music are classics but Bop Till You Drop, the first major-label digitally recorded album of pop music, put Cooder right in the spotlight.

Just as we are now pondering if the physical media (CDs, DVDs, Blu-rays) is coming to an end, at that time, the Bop Till You Drop CD – just as Dire Straits’ Brothers In Arms – was used to showcase the format and CD players.
Alongside his solo albums, Cooder also worked on soundtracks such as The Long Riders, The Border and brought the slide to a new artistic level on Paris, Texas. This wasn’t the rollicking slide of the Allman Brothers at Fillmore East but slide which put an achingly haunting spell on the listener. Then, A Meeting By The River with Vishwa Mohan Bhatt in 1993 and, more importantly, Buena Vista Social Club in 1997, saw Cooder being hailed as a music archivist. While Cooder turned to his staples of bluesy and rock & roll tunes when he played live, it’d be interesting to see him tour with his soundtracks once in while.

Thanks to easyed for sharing a show (and artwork) on Dime which took place before World Music discovered Ry Cooder.

easyed noted:
RyCooder01A few days later, this same lineup performed at The Catalyst in Santa Cruz, CA, a performance which was filmed for commercial release by Les Blank. Rumor has it that Ry didn’t like the film [Let’s Have A Ball], and it was never released, although I have seen it in circulation.
The autographs on the CD art are real. Ry autographed a couple of compact discs for me outside the Sweetwater in Mill Valley, CA in 1987 and on one of them conveniently added the year! He had his son, at the time maybe 14 years old, with him, who asked about the compact discs, “Dad, what are those?” to which Ry replied something along the lines of “Those are compact discs, son. They’ll be obsolete in a couple years.”
The venue for this show was The Cotati Cabaret in Cotati, CA. It was a small club that held about 300 people. Cotati is a small town located about an hour north of San Francisco. The Cabaret was an outgrowth of another venue that had been across the street called The Inn of The Beginning, a resurrected version of which has since ‘risen from the ashes’ once or twice since the ’80s. Cotati is next to Sonoma State University, which was called Granola State University back in the days. SSU is where the great recording of Old & In The Way with Ramblin’ Jack Elliott opening was made in 1973.
Click on the highlighted tracks to download the MP3s (224 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Recorded live at the Cotati Cabaret, Cotati, CA; March 23, 1987.
Excellent soundboard.
RyCooderBand1987The Ry Cooder Band in 1987

George Bohannon (trombone)

Jorge Calderon (bass)
Ry Cooder (guitar, vocals)
Miguel Cruz (percussion)
Steve Douglas (saxophone)
Terry Evans (vocals)
Willie Greene Jr. (vocals)
Flaco Jimenez (accordian)
Bobby King (vocals)
Jim Keltner (drums)
Arnold McCuller (vocals)
Van Dyke Parks (Keyboards)


01. Showtime (unknown) 2.13
02. Little Sister (Pomus/Shuman) 3.47
03. Smack Dab In The Middle (Calhoun) 1.09
04. Let’s Have A Ball (Bunn) 6.45
05. Go On Home Girl (Alexander) 7.40
06. Ay Te Dejo Déjo En San Antonio (Traditional) 4.40
07. He’ll Have To Go (A. Allison/J. Allison) 6.17
08. Jesus On The Mainline (Traditional) 8.09
09. Dark End Of The Street (Moman/Penn) 6.52
10. Atombomb (unknown)
11. Teeny Weeny Bit I Don’t Want Much (Gordon) 7.28
12. One Meatball (Zaret/Singer) 7.23
13. Maria Elena (Barcelata/Russell) 6.03
14. If Walls Could Talk (Miller) 9.52
15. The Very Thing That Makes You Rich Makes Me Poor (Bailey) 8.05
16. Crazy ‘Bout An Automobile (Emerson) 6.55
17. Chain Gang (Cooke) 6.45
18. Down In Hollywood (Cooder/Drummond) 13.55
19. Good Night Irene (Ledbetter) 6.57


The Victoria Police Pipe Band – Live In Concert In Ireland (1993)

FrontCover1And now let us here some very old fashioned music:

The Victoria Police Pipe Band is a former Grade One World Pipe Band Championship-winning pipe band based in Melbourne, Australia. The band still operates today, though with reduced numbers and not competitively, after a controversial decision in 2000 to reshape it.
As of today, the Victoria Police Pipe Band is the only Australian band in history to have attained the title of World Pipe Band Champion. It is Australia’s most successful pipe band, having obtained three third-place results at the Worlds in years directly prior to its win in 1998. The band has also released a number of recordings, which are internationally popular.
The band was started in 1936, with generous funding from Mr W.E. McPherson (hence the McPherson tartan), by a small group of full-time police officers. For some fifty years following this, there is little noted in the history of the band and it is assumed that it continued on much in the way it had, filling its ranks with police who performed part-time.
VictorianPolicePipeBand01The Victoria Police Pipe Band in 1936

However, in 1987, the band formally began its pursuit of the Worlds title. It recruited Pipe Major Nat Russell from the Royal Ulster Constabulary of Northern Ireland and received funding from the state government, with which it competed in Grade Two Australian competitions. One year later, the band attained the title of Australian Grade Two Champions and achieved third place in the August World Pipe Band Championships for the same grade. This earned the band’s regrading to Grade One.
Buoyed by its success, Victoria Police Pipe Band spent the next decade dominating Australian competition, claiming six consecutive grade one titles locally whilst continuing to compete internationally. In 1992, 1994 and 1997 the band claimed third places at the Worlds, this time in Grade One.

After some minor adjustments by then Drum Sergeant Harold Gillespie and Pipe Major Nat Russell, the Victoria Police Pipe Band was crowned World Champions at Glasgow in 1998.

In October 2000, the band’s competing days were over as it reformed. It now mostly performs at official functions, as well as for charities and schools. (by wikipedia)

VictorianPolicePipeBand02Victoria Police Concert Band promo photo circa 1989

If you like the sounds of the Bagpipes (like I do !) … than you should don´t miss this album …
What a great sound … liste for example to “Highland Cathedral” or “Belfast Child (with great vocals by D. Jowsey !!!)



01. Hornpipes: Uphold the Right / Ronda Blair 3.39
02. March, Strathspey, and Reel: Lord Alexander Kennedy / Atholl Cummers / Mrs. MacPherson of Inveran 5.14
03. 6/8 Jigs: Troy’s Wedding / The Hen’s March / Alan MacPherson of Mosspark / Glasgow Police Pipers 4.20
04. Hornpipe, Strathspeys, and Reels: Maxville via Satellite / A.A. Cameron / The Caledonian Society of London / Quick Waltz 4.28
05. 2/4 Marches: Tom Wilson / Clan MacRae Society 4.07
06. Hornpipe, Strathspeys, and Reels: Acoustic Barbarians / J.F. MacKenzie / Smith’s a Gallant Fireman / Christie MacLeod / John Keith Laing / Acoustic Barbarians 3.44
07. Waltz, Reel, and Jig: The Country Girl and the Hungarian Fiddler / Bass Face / The Changeling 2.58
08. Quartet: Hornpipes and Jigs: The Blair Highlanders / Ernie’s Impact / Emma Street Exodus / The Techno Fiend 3,55
09. Hornpipes and Reels: Acid Piper / The Bulgarian Bandit / Adrian’s Obsession  3:04
10. Pipe Solo: The Mad Hornpipe / Annette’s Chatter / Bronni’s Blue Brozzi / Jean’s Fancy 4.02
11. Duet: Going Home 3.05
12. Solo Piper: Highland Cathedral 3.47
13. Solo Piper: Suite: Murray’s Fancy 8.28
14. Belfast Child / Airlie’s Big Day / Belfast Child 6.26
15. Pipe Trio: The Hellbound Train 5.43
16. Medley: Daryl Boyle / Murray’s Fancy / The Dirty Lough / Reverie / Helen Young / Mrs. Donald McPherson / Shovel Tongue / Megalomania 6.27

All songs are Traditionals




Various Artists – Un Ponte Sullo Stretto Dalla Sicilia Con Amore (1989)

FrontCover1Back from sicilian … I had very interesting 10 days … and I found some rare and really nice recordings from this island:

Sicily has always been very rich of folk songs, ditties, serenades, lullabies, Christmas carols. Every event in life was sung by the people. As regards folk dance, there are bridal ones as “chiavu”, dancing in circles (diavulecchiu), tarantellas as the “puliciusa” and “fasola”.

The instruments typical of Sicilian folk music are the scacciapensieri – in metal, similar to a horseshoe – which is called, according to the area, mariolu, marranzanu or ngannalaruni, the azzarinu (a percussion instrument), the friscalettu (flute-beak), tammurinu (big tambourine), ciarabedda (bagpipes).

Historically, the Sicilian literary tradition joined with orally transmitted song and folk music, absorbing the contributions of all people who trod the Sicilian soil and inheriting the traditions of the Greek “melos”, the Arabic maqam, the Byzantine hymn, the love songs of the troubadours, the classical polyphony of the 16th century. (by italyheritage.com)
Sicily’s historical connections lie not primarily with mainland Italy, but with the ancient Greeks, Arab and Spanish cultures. The result has been a diverse and unique fusion of musical elements on the island. American musicologist Alan Lomax made some historic recordings of Sicilian traditional music in the 20th century, including lullabies, dance music, festival music, epic storytelling and religious music. The Siciliana, a slow and lilting Italian style of music in triple meter, is loosely but not definitively associated with Sicily since the 1600s.

SingleMafiaSingle “Mafia” by  Dino Zullo

Sicily is home to several different types of folk music instruments, many of which can also be found in other parts of Southern Italy. The Sicilian ciaramedda is a type of Italian Zampogna (Bagpipe) that has two equal length chanters and from two to three drones. All the pipes use single cane reeds made from Arundo donax. Also made out of Arundo donax is a small end-blown flute called a friscaletto or friscalettu. The jaw harp, known in Sicilian as “marranzanu” is heavily associated with Sicilian folk music. Since its invention in the early 19th century the Organetto, a diatonic folk accordion is also prevalent in traditional Sicilian music. Percussion instruments include tambourines and other frame drums as well as the “cupa cupa”, a unique-sounding friction drum. (by wikipedia)
And here´s a sampler with some of the best sicilian folkmusic … this album was original released in 1972 by RCA Records …

OriginalFrontCover1972Original frontcover from 1972

… and it´s full of more or less sentimental melodies – and these melodies … like Fado music … touched my Soul … very deeply …

And so it´s time to explore another piece  of World Music … this time from a real great Island with a real thrilling history !

Enjoy the sound, the mood, the music …

01. Melo Caruso: Vitti na crozza (Traditional) 2.48
02. Melo Caruso: Ciuri ciuri (Traditional) 1.59
03. Friscalettu Greco: La grotta di Ulisse (Traditional) 2.36
04. Dino Zullo: Mafia (Modugno) 5.14
05. Friscalettu Giuffrida:  Tarantella ‘a carrittera (Giuffrida) 2.31
06. C. Micheli: Lu me sceccu (Traditional) 2.53
07. Bruno: Taurmina (Di Mauro) 2.37
08. Dino Zullo + Pancrazio Vinciguerra: Assolo di marranzanu e quartata (Traditional) 1.08
09. Alfio Marletta: La pampina di l’aliva (Traditional) 2.01
10. Cettina Viscuso: Si maritau Rosa (Traditional) 2.38
11. Melo Caruso: Cifolata (Curreri) 2.39
12. Melo Caruso + F. Caminiti: La campagnola (Traditional) 3.04
13. Luciano de Salvo: Sicilia bedda (Sasso/Cali) 2.13
14. Cristofero Viscuso: Mi votu e mi rivotu (Traditional) 2.44
15. Bruno: E vui durmiti ancora (Grasso/Cali) 5.04
16. Melo Caruso: Mennuli in festa (Di Mauro) 3.36


Melo CarusoMelo Caruso

Mikis Theodorakis – Bouzouki Musik (1976)

FrontCover1Michael “Mikis” Theodorakis (born 29 July 1925) is a Greek songwriter and composer who has written over 1000 songs. He scored for the films Zorba the Greek (1964), Z (1969), and Serpico (1973). He composed the “Mauthausen Trilogy” also known as “The Ballad of Mauthausen”, which has been described as the “most beautiful musical work ever written about the Holocaust” and possibly his best work. He is viewed as Greece’s best-known living composer. He was awarded the Lenin Peace Prize.

Politically, he is associated with the left because of his long-standing ties to the Communist Party of Greece. He was an MP for the KKE from 1981 to 1990. Nevertheless, in 1989 he ran as an independent candidate within the centre-right New Democracy party, in order for the country to emerge from the political crisis that had been created due to the numerous scandals of the government of Andreas Papandreou,[9] and helped establish a large coalition between conservatives, socialists and leftists. In 1990 he was elected to the parliament (as in 1964 and 1981), became a government minister under Constantine Mitsotakis, and fought against drugs and terrorism and for culture, education and better relations between Greece and Turkey. He continues to speak out in favor of left-liberal causes, Greek–Turkish–Cypriot relations, and against the War in Iraq. He has consistently opposed oppressive regimes and was a key voice against the 1967–1974 Greek junta, which imprisoned him.


In 1960, Theodorakis returned to Greece and his roots in genuine Greek music: With his song cycle Epitaphios he started the third period of his composing and contributed to a cultural revolution in his country. His most significant and influential works are based on Greek and world poetry – Epiphania (Giorgos Seferis), Little Kyklades (Odysseas Elytis), Axion Esti (Odysseas Elytis), Mauthausen (Iakovos Kambanellis), Romiossini (Yannis Ritsos), and Romancero Gitano (Federico García Lorca) – he attempted to give back to Greek music a dignity which in his perception it had lost. He developed his concept of “metasymphonic music” (symphonic compositions that go beyond the “classical” status and mix symphonic elements with popular songs, Western symphonic orchestra and Greek popular instruments).

He founded the Little Orchestra of Athens and the Musical Society of Piraeus, gave many, many concerts all around Greece and abroad… and he naturally became involved in the politics of his home country. After the assassination of Gregoris Lambrakis in May 1963 he founded the Lambrakis Democratic Youth (“Lambrakidès”) and was elected its president. theodorakis01Under Theodorakis’s impetus, it started a vast cultural renaissance movement and became the greatest political organisation in Greece with more than 50.000 members. Following the 1964 elections, Theodorakis became a member of the Greek Parliament, associated with the left-wing party EDA. Because of his political ideas, the composer was black-listed by the cultural establishment; at the time of his biggest artistic glory, a large number of his songs were censored-before-studio or were not allowed on the radio stations.


During 1964, he wrote the music for the Michael Cacoyiannis film Zorba the Greek, whose main theme, since then, exists as a trademark for Greece. It is also known as ‘Syrtaki dance’; inspired from old Cretan traditional dances.
On 21 April 1967 a right wing junta (the Regime of the Colonels) took power in a putsch. Theodorakis went underground and founded the “Patriotic Front” (PAM). On 1 June, the Colonels published “Army decree No 13”, which banned playing, and even listening to his music. Theodorakis himself was arrested on 21 August, and jailed for five months. Following his release end of January 1968, he was banished in August to Zatouna with his wife Myrto and their two children, Margarita and Yorgos. Later he was interned in the concentration camp of Oropos. An international solidarity movement, headed by such personalities as Dmitri Shostakovich, Leonard Bernstein, Arthur Miller, and Harry Belafonte demanded to get Theodorakis freed. On request of the French politician Jean-Jacques Servan-Schreiber, Theodorakis was allowed to go into exile to Paris on 13 April 1970. Theodorakis’s flight left very secretly from an Onassis owned private airport outside Athens. Theodorakis arrived at Le Bourget Airport where he met Costa Gavras, Melina Mercouri and Jules Dassin. Theodorakis was immediately hospitalized because he suffered from lung tuberculosis. Myrto Theodorakis, Mikis’s wife and two children joined him a week later in France. They arrived from Greece to France via Italy on a boat.(by wikipedia)


Mikis Theodorakis with Fidel Castro

Here´s an album from his beautiful music during the Sixties … This album was in Grece in 1976 … unfortunatley I know nothing about the wonderful musicians of this record.
But … what a great sound, what a great music !

Alternate FrontcoverAlternate frontcover

Unknown bouzouki ensemble


01. O Choros Tou Zorba 3.42
02. O Kaymos 4.14
03. I Balanta Tou Antrikou 3.49
04. To Feggari Kani Volta 3.18
05. Vrechi Sti Ftochogitonia 4.09
06. Mana Mou Ke Panagia 3.16
07. Strose To Stroma Sou 3.43
08. Vracho-Vracho 2.43
09. O Metanastis 3.58
10. Mirei 3.22
11. Echo Mia Agapi 3.22
12. To Savatovrado 5.10

Music written by Mikis Theodorakis


Los Jaivas – Alturas de Machu Picchu (1981)

FrontCover1What would it sound like if you combined symphonic prog with Andean folk influences? Well, “Alturas De Macchu Picchu” by Los JAIVAS answers that question. This album is an incredible find for anyone who enjoys both progressive rock and traditional Peruvian, and Chilean, folk music. If you can imagine electric guitars, bass, drums, piano, and the Moog interacting with instruments like the cuatro, quena, and zamponia then you’re in for a treat. “Alturas…” combines epic-length symphonic prog tracks, with shorter traditional Andean songs. In my opinion, the keyboardist really stands out when playing acoustic piano. He tends to mix pentatonic-based melodies with local rhythms, yet those melodies sound closer to Chinese classical folk more than American blues, or Eastern European folk. His style is unique in the world of rock. The other musicians are equally impressive, but I think most listeners will focus in on the excellent vocals. Anyway, this is one of the top 5 prog rock albums to come out of South America. (by Steve Hegede)

“Alturas De Macchu Picchu” (The Height Of Macchu Picchu) is a brilliant blend of Andrean folk and progressive rock music styles. Essentially Los JAIVAS have taken traditional Peruvian / Chilean folk music and blended it with a heavier Progressive rock style (moogs, guitars, drums…). The end result is something you have never heard before but will definitely learn to love quickly. Lead singer Gato Alquinta has an amazing voice and can really belt it out without ever sound overly overbearing. His vocals are sung of course in Spanish and are done so with high degree of romanticism not unlike many of the Italian prog greats. The band houses 2 keyboardists but are surprisengly not the most dominant aspect of their music and instead ensures the music remains symphonic. A couple of songs are pure Chilean folk but blend beautifully against the more symphonic pieces throughout. Without a question progressive fans will fall off their chair when they hear “La Poderosa Muerte” an 11 mins piece of progressive rock magic. A great album for sure…! (by loserboy)

Los Jaivas

And all they lyrics were written by Pablo Neruda:

Pablo Neruda was the pen name and, later, legal name of the Chilean poet-diplomat and politician Ricardo Eliécer Neftalí Reyes Basoalto (July 12, 1904 – September 23, 1973). He derived his pen name from the Czech poet Jan Neruda. Neruda won the Nobel Prize for Literature in 1971.

Neruda became known as a poet when he was 10 years old. He wrote in a variety of styles, including surrealist poems, historical epics, overtly political manifestos, a prose autobiography, and passionate love poems such as the ones in his collection Twenty Love Poems and a Song of Despair (1924). He often wrote in green ink, which was his personal symbol for desire and hope.

Pablo Neruda2The Colombian novelist Gabriel García Márquez once called Neruda “the greatest poet of the 20th century in any language.” Harold Bloom included Neruda as one of the 26 writers central to the Western tradition in his book The Western Canon.
On July 15, 1945, at Pacaembu Stadium in São Paulo, Brazil, Neruda read to 100,000 people in honor of the Communist revolutionary leader Luís Carlos Prestes.

During his lifetime, Neruda occupied many diplomatic positions and served a term as a Senator for the Chilean Communist Party. When President González Videla outlawed communism in Chile in 1948, a warrant was issued for Neruda’s arrest. Friends hid him for months in the basement of a house in the port city of Valparaíso. Later, Neruda escaped through a mountain pass near Maihue Lake into Argentina.
Years later, Neruda was a close advisor to Chile’s socialist President Salvador Allende. When Neruda returned to Chile after his Nobel Prize acceptance speech, Allende invited him to read at the Estadio Nacional before 70,000 people.

Neruda was hospitalised with cancer at the time of the coup d’état led by Augusto Pinochet but returned home after five days when he suspected a doctor of injecting him in the stomach with an unknown substance for the purpose of murdering him at the order of Pinochet.[7] Neruda died in his house in Isla Negra on 23 September 1973 six and a half hours after that injection. Although it has always been reported that he died of prostate cancer or heart failure, on November 5, 2015 the Interior Ministry of the Chilean government issued a statement acknowledging a Ministry document from March of that year indicating the government’s official position that “it was clearly possible and highly likely” that he was killed as a result of “the intervention of third parties”.

Pinochet, backed by elements of the armed forces, denied permission for Neruda’s funeral to be made a public event. However, thousands of grieving Chileans disobeyed the curfew and crowded the streets.

Pablo Neruda

Pablo Neruda

Gato Alquinta (vocals, guitar, bass, cuarto, zampona, quena, ocarina)
Mario Mutis (bass, guitar, zampoña, quena, vocals)
Claudio Parra (piano, synthesizer, harpsichord)
Eduardo Parra (piano, synthesizer, tarka)
Gabriel Parra (drums, percussion, xylophone, trutrucas, tarka, vocals)
Patricio Castillo (quena on 04,, tarka on 05.)
Alberto Ledo (all instruments on 01.)


01. Del aire al aire (Instrumental) (Ledo) 2.15
02. La poderosa muerte (Los Jaivas – Pablo Neruda) 11.08
03. Amor americano (Los Jaivas – Pablo Neruda) 5.26
04. Aguila sideral (Los Jaivas – Pablo Neruda) 5.20
05. Antigua America (Los Jaivas – Pablo Neruda) 5.37
06. Sube a nacer conmigo hermano (Los Jaivas – Pablo Neruda) 4.48
07. Final (Los Jaivas – Pablo Neruda) 2.34


Los Jaivas2

Various Artists – Songs Of Israel (1971)

FrontCover1This rare Album is a giveaway from El Al, the Airline Company of Israel:

El Al Israel Airlines Ltd. is the flag carrier of Israel. Since its inaugural flight from Geneva to Tel Aviv in September 1948, the airline has grown to serve over 50 destinations, operating scheduled domestic and international services and cargo flights within Israel and to Europe, Middle East, Americas, Africa and the Far East from its main base in Ben Gurion Airport.

El Al in principle offers only kosher in-flight meals and does not fly passengers on the Jewish Sabbath or religious holidays. El Al is the only commercial airline to equip its planes with missile defense systems, and is considered one of the world’s most secure airlines, thanks to its stringent security procedures, both on the ground and on board its aircraft. Although it has been the target of many attempted hijackings and terror attacks, only one El Al flight has ever been hijacked.[8][9] As Israel’s national airline, El Al has played an important role in humanitarian rescue efforts, airlifting Jews from other countries to Israel, setting the world record for the most passengers on a commercial aircraft (single plane record of 1,122 passengers) by Operation Solomon when 14,500 Jewish refugees were transported from Ethiopia in 1991.

In 2012, El Al operated an all-Boeing fleet of 38 aircraft, flying over 4 million passengers, and employed a staff of 6,056 globally. The company’s revenues for 2011 grew to $2.4 billion, totalling losses of $49.4 million compared to a profit of $57 million in 2010. (by wikipedia)


“This selection of Songs draws on many traditions and like very old wines the vintage suits the pattern and ryhthm of the seventies.We hope that you will find in this record some of the excitmentyou have experienced in Israel today” (taken from the original liner notes).

The music of Israel is a combination of Jewish and non-Jewish music traditions that have come together over the course of a century to create a distinctive musical culture. For almost 150 years, musicians have sought original stylistic elements that would define the emerging national spirit. In addition to creating an Israeli style and sound, Israel’s musicians have made significant contributions to classical, jazz, pop rock and other international music genres. Since the 1970s, there has been a flowering of musical diversity, with Israeli rock, folk and jazz musicians creating and performing extensively, both locally and abroad. Many of the world’s top classical musicians are Israelis or Israeli expatriates. The works of Israeli classical composers have been performed by leading orchestras worldwide.

Ilan & Ilanit
Ilan & Ilanit

Music in Israel is an integral part of national identity. Beginning in the days of the pioneers, Hebrew songs and public singalongs (Shira beTsibur) were encouraged and supported by the establishment. “Public singalongs were a common pastime [of the early settlers], and were for them a force in defining their identity”, wrote Nathan Shahar.[2] This view of music as nation-building continues to this day. “We are in the midst of creating a culture”, says Nahum Heyman, one of Israel’s leading music composers and music historians. Jewish immigrants from Europe, Asia, the Middle East and elsewhere brought with them their musical traditions, melding and molding them into a new Israeli sound. (ny Wikipedia)

And I was deeply impressed by this beautiful songs … and ir you like world music, than you should listen to this record !

And I guess, I would like to collect more records with music from Israel …



01. Ilan & Ilanit: Bashana Haba’ah (Manor/Hirsh) 2.49
02. The Navy Troupe: Ma Avarech (Shapira/Rosenblum) 3.59
03. Shiru Shir Ensemble: Hevenu Shalom Alechem (Traditional) 1.14
04. Southern Command Troupe:  Shivchey Maoz (Shemer) 2.58
05. Ilana Rovina: Yevarechecha (Weinkranz/Traditional) 2.51
06. Shuly Nathan: Jerusalem Of Gold (Shemer) 4.55
07. Sh. Nitzan & N. Rabinovitz: Chassidic Song (Traditional) 1.48
08. Igal Bashan: Osse Shalom (Hirsh/Traditional) 3.42
09. Ran & Nama: Hava Nagila (Traditional) 2.00
10. Effi Netzer Singers: Tsur Mishelo Achalnu (Traditional) 3.07
11. Shlomo Carlebach: Vehaer Enenu (Carlebach/Traditional) 3.36
12. The Nachal Troupe: Haben Yakir Li (Traditional) 4.24
13. Ran Eliran: Lach Yerushalayim (Ettinger/Rubinstein) 2.08

Shuly Nathan
Shuly Nathan

Yma Sumac – Voice Of Xtabay (1950)

frontcover1Yma Sumac (September 13, 1922, or September 10, 1923 – November 1, 2008), sometimes spelled Yma Súmac, was a Peruvian soprano. In the 1950s, she was one of the most famous proponents of exotica music.
Sumac became an international success based on her extreme vocal range, which was said to be “well over five octaves” at the peak of her singing career.
Sumac recorded an extraordinarily wide vocal range of 5 octaves, 3 notes and a semitone ranging from E2 to B♭7 (approximately 107 Hz to 3.7 kHz). In one live recording of “Chuncho”, she sings a range of over four and a half octaves, from B2 to F♯7. She was able to sing notes in the low baritone register as well as notes above the range of an ordinary soprano and notes in the whistle register. Both low and high extremes can be heard in the song Chuncho (The Forest Creatures) (1953). She was also apparently able to sing in an eerie “double voice”.

In 1954, classical composer Virgil Thomson described Sumac’s voice as “very low and warm, very high and birdlike”, noting that her range “is very close to five octaves, but is in no way inhuman or outlandish in sound”. In 2012, audio recording restoration expert John H. Haley favorably compared Súmac’s tone to opera singers Isabella Colbran, Maria Malibran, and Pauline Viardot. He described Súmac’s voice as not having the “bright penetrating peal of a true coloratura soprano”, but having in its place “an alluring sweet darkness…virtually unique in our time”.

ymasumac01She was born on either September 13, 1922, or September 10, 1923, most likely in Callao, a seacoast city in Peru; but, possibly, according to herself, in Ichocán, an Indian village. Her parents were Sixto Chávarri and Emilia Castillo. Her father was born in Cajamarca and her mother was born in Pallasca. Stories published in the 1950s claimed that she was an Incan princess, directly descended from Atahualpa. The government of Peru in 1946 formally supported her claim to be descended from Atahualpa, the last Incan emperor”.
Chávarri adopted the stage name of Imma Sumack (also spelled Ymma Sumack and Ima Sumack) before she left South America to go to the United States. The stage name was based on her mother’s name, which was derived from Ima Shumaq, Quechua for “how beautiful!” although in interviews she claimed it meant “beautiful flower” or “beautiful girl”.

Sumac first appeared on radio in 1942. She recorded at least 18 tracks of Peruvian folk songs in Argentina in 1943. These early recordings for the Odeon label featured Moisés Vivanco’s group, Compañía Peruana de Arte, a group of 46 Indian dancers, singers, and musicians.
She married composer and best friend Moises Vivanco on June 6, 1942. She had a son, Charles, in 1949. In 1946, Sumac and Vivanco moved to New York City, where they performed as the Inka Taky Trio, Sumac singing soprano, Vivanco on guitar, and her cousin Cholita Rivero singing contralto and dancing. She was signed by Capitol Records in 1950, at which time her stage name became Yma Súmac. Her first album, Voice of the Xtabay, launched a period of fame that included performances at the Hollywood Bowl and Carnegie Hall.

In 1950 she made her first tour to Europe and Africa, and debuted at the Royal Albert Hall in London and the Royal Festival Hall before the Queen. She presented more than 80 concerts in London alone and 16 concerts in Paris. A second tour took her to travel to the Far East: Persia, Afghanistan, Pakistan, Burma, Thailand, Sumatra, the Philippines, and Australia. Her fame in countries like Greece, Israel and Russia made her change her two weeks stay to six months offering fabulous concerts. During the 1950s, Sumac produced a series of lounge music recordings featuring Hollywood-style versions of Incan and South American folk songs, working with the likes of Les Baxter and Billy May. The combination of her extraordinary voice, exotic looks, and stage personality made her a hit with American audiences. Súmac appeared in a Broadway musical, Flahooley, in 1951, as a foreign princess who brings Aladdin’s lamp to an American toy factory to have it repaired. The show’s score was by Sammy Fain and E. Y. “Yip” Harburg, but her three numbers were the work of Vivanco with one co-written by Vivanco and Fain.
During the 1950s, Sumac continued to be popular, playing Carnegie Hall, the Roxy Theatre with Danny Kaye, Las Vegas nightclubs and concert tours of South America and Europe. She put out a number of hit albums, such as Mambo! (1954) and Fuego del Ande (1959). Capitol Records, Sumac’s label, recorded the show. Flahooley closed quickly, but the recording continues as a cult classic, in part because it also marked the Broadway debut of Barbara Cook. During the height of Súmac’s popularity, she appeared in the films Secret of the Incas (1954) with Charlton Heston and Robert Young and Omar Khayyam (1957).

She became a U.S. citizen on July 22, 1955. In 1959 she performed Jorge Bravo de Rueda’s classic song “Vírgenes del Sol” on her album Fuego del Ande. In 1957, Súmac and Vivanco divorced, as Vivanco had had twins with another woman. They remarried that same year, but a second divorce followed in 1965. Apparently due to financial difficulties, Yma Súmac and the original Inka Taky Trio went on a world tour in 1961, which lasted for five years. They performed in 40 cities in the Soviet Union, and afterward throughout Europe, Asia, and Latin America. Their performance in Bucharest, Romania, was recorded as the album Recital, her only “live in concert” record. Sumac spent the rest of the 1960s performing sporadically.
In 1971 she released a rock album, Miracles. She performed in concert from time to time during the 1970s in Peru and later in New York at the Chateau Madrid and Town Hall. In the 1980s she resumed her career under the management of Alan Eichler and had a number of concerts both in the United States and abroad, including the Hollywood Roosevelt’s Cinegrill, New York’s Ballroom in 1987 (where she was held-over for seven weeks to SRO crowds) and several San Francisco shows at the Theatre on the Square among others. In 1987, she also recorded the song “I Wonder” from the Disney film Sleeping Beauty for Stay Awake, an album of songs from Disney movies, produced by Hal Willner. She sang “Ataypura” during a March 19, 1987, appearance on Late Night with David Letterman. She recorded a new German “techno” dance record, “Mambo ConFusion”
In 1989 she sang once again at the Ballroom in New York and returned to Europe for the first time in 30 years to headline the BRT’s “Gala van de Gouden Bertjes” New Year’s Eve TV special in Brussels as well as the “Etoile Palace” program in Paris hosted by Frederic Mitterrand. In March 1990, she played the role of Heidi in Stephen Sondheim’s Follies, in Long Beach, California, her first attempt at serious theater since Flahooley in 1951. She also gave several concerts in the summer of 1996 in San Francisco and Hollywood as well as two more in Montreal, Canada, in July 1997 as part of the Montreal International Jazz Festival. In 1992 appeared a documentary for German television entitled Yma Súmac – Hollywoods Inkaprinzessin (Yma Súmac – Hollywood’s Inca Princess).
Yma Sumac
With the resurgence of lounge music in the late 1990s, Sumac’s profile rose again when the song “Ataypura” was featured in the Coen Brothers film The Big Lebowski.
Her song “Bo Mambo” appeared in a commercial for Kahlúa liquor and was sampled for the song “Hands Up” by The Black Eyed Peas. The song “Gopher Mambo” was used in the films Ordinary Decent Criminal, Happy Texas, Spy Games, and Confessions of a Dangerous Mind, among others. “Gopher Mambo” was used in an act of the Cirque Du Soleil show Quidam. The songs “Goomba Boomba” and “Malambo No. 1” appeared in Death to Smoochy. A sample from “Malambo No.1” was used in Robin Thicke’s “Everything I Can’t Have”. Yma Súmac is also mentioned in the lyrics of the 1980s song “Joe le taxi” by Vanessa Paradis, and her album Mambo! is the record that Belinda Carlisle pulls out of its jacket in the video for “Mad About You”
On May 6, 2006, Sumac flew to Lima, where she was presented the Orden del Sol award by Peruvian President Alejandro Toledo and the Jorge Basadre medal by the Universidad Nacional Mayor de San Marcos
Yma Sumac died on November 1, 2008, aged 85 or 86, at an assisted living home in Los Angeles, California, nine months after being diagnosed with colon cancer. She was interred at the Hollywood Forever Cemetery in Hollywood, CA, in the “Sanctuary of Memories” section.
On September 13, 2016, a Google Doodle featured Yma Sumac dressed as a Peruvian songbird (by wikipedia)
Exotica began here in this historic 1950 meeting between the Peruvian “princess” Yma Sumac and Hollywood arranger Les Baxter. Neither Inca royalty nor a Bronx girl named Amy Camus as counter-legend had it, Sumac was raised an upper middle class Peruvian, but gifted with an uncanny multi-octave range. With such a powerful instrument at his disposable, the imaginatively resourceful Baxter proceeded to patch together musical bits and pieces from around the globe–gamelon orchestra, all manner of modal scales, ethnic percussion, impressionistic strings–into a fantasy concoction that has stayed surprisingly fresh after a half a century.

There probably isn’t anything here that wasn’t first heard in Rimsky-Korsakov or Debussy, not to mention Max Steiner whose path-finding score for KING KONG remains the talisman for pop musical journeys to the unknown. Still, Baxter is a skillful orchestrator, especially of strings, and Sumac herself never falters in her tricky wordless improvisations. It was super kitschy stuff at the time and remains so, but retains a certain musical integrity, even timelessness, much like the stone god that hovers scowling above our ersatz princess on the famous album cover. (by cduniverse.com)
Yma Sumac (vocals)
Orchestra conducted by Leslie Baxter

01. Virgin Of The Sun God (Taita Inty) (Vivanco) 3.07
02. High Andes (Ataypura!) (Vivanco) 3.04
03. Chant Of The Chosen Maidens (Accla Taqui) (Baxter) 2.45
04. Earthquake! (Tumpa!) (Vivanco) 3.20
05. Dance Of The Moon Festival (Choladas) (Vivanco) 2.34
06. Dance Of The Winds (Wayra) (Vivanco) 3.02
07. Monkeys (Monos) (Vivanco) 2.40
08. Lure Of The Unknown Love (Xtabay) (Rose/Baxter) 3.19
Peruvian soprano Yma Sumac performs during the 16th edition of the Musical Spring Festival, on May 1, 1992 in Bourges, central France.