Mames Babegenush was founded in Copenhagen in 2004. It is a six-piece ensemble that combines klezmer music, Scandinavian roots and Eastern European traditions.
Lineup: Andreas Møllerhøj on double bass; Lukas Rande on saxophones; Morten Ærø on drums; Nicolai Kornerup on accordion; Bo Rande on flügelhorn; and Emil Goldschmidt on clarinet.
Klezmer Killed The Radiostar (Calibrated Music, 2009) My Heart Aches When The Angels Dance (Gateway Music, 2011) Full Moons & Pay Days [Remixes and Originals] (Gateway Music, 2012) Mames Babegenush (Math Records, 2014) Mames Babegenush with Strings (Galileo Records, 2017)
One day, Marcel Stefanet’s parents left the five year-old boy in the care of his grandparents. Everything seemed idyllic until Mom and Dad stepped out of the yard. Suddenly, Grandpa got indignant about the indecency he sensed in the length of this grandson’s hair. He then grabbed the huge sheep shears, sat the boy on a small stool in the middle of the yard and cut his hair. “It seemed to me that those shears were half my height”, Marcel recollects.
As he carried out his undertaking, Grandpa decided to comfort little Marcel, who was crying his pain and surprise outloud. He took out his violin and started playing some magnificent wedding music, commanding Grandma to dance around their grandson and clap her hands. And it seemed that the three of them entered a state of trance. So the whole thing took a while. In the evening, when the parents returned, the three of them were still dancing.
It may well be that Grandpa thus determined Marcel’s future. He was the one, out of all the musical sons and grandson, who inherited fiddles from both grandfathers. “I can’t figure out why it so happened and why it was I who got them“, Marcel Stefanet said, shrugging his shoulders.
Grandpa’s four sons used to play with him at wedding parties since they were very young, about 7 or 8 years old. They were like a family orchestra. One winter, they played for 9 days and nights on end at some wedding party in the neighboring village. Grandma would bring them exchange clothes in the sleigh. One of the brothers, who was playing the drum, was stolen in the middle of that party. The kind village women stole him and put him to bed, to catch some sleep.
Marcel’s father remembers that, as he grew old, Grandpa would fall asleep in the middle of the song, especially during the winter wedding feasts. But all it took was one of the boys losing the rhythm or playing a false note and he would wake up immediately and start shouting: Play, y’all! Don’t stop!!!
Grandpa was a fiery man. In those times, musicians used to play at weddings from Monday till Friday. They would play ceaselessly, days and nights on end. They only rested on Saturdays and Sundays. In their Northern Moldova village, there were three wedding orchestras, so the competition was fierce. All the three wedding processions, each with its own band, would meet near the only church in the village. Then every band would try to play better than their rivals.
The brothers would often get confused, as their band was the least numerous. But Grandpa, who was holding his violin as if it had been a weapon, would attack his contestants, go right in front of them and sing, sing, sing with all his might, never deviating from his own melodic line. And thus he would drive them away. He kept on following them, playing as he walked, and shouted: “Your music doesn’t have the heart that mine has!”
One day, the envious contestant musicians even used the knife. And they used it to cut the leather off the drum. The Stefanet family has kept this drum up to this day as well.
During the war, Grandpa was the conductor of the Balti Military Commissariat Orchestra. All his sons became musicians and continued playing. Their sons also became musicians: Marcel’s three cousins. But only Marcel graduated from the conductor faculty of the Conservatory.
Marcel remembers how, as he was a child, his other grandfather, the maternal one, used to give him 25 rubles (which was a considerable amount at the time!) in order to hear him play the violin. He was a violinist as well.
There is always some kind of secret knowledge in traditional music. This cannot be described in words. Could this be knowledge of the way in which souls can survive in this terrifying and at the same time fascinating world?
Being placed at the crossroads of all possible and impossible roads to Europe, Asia and the Mediterranean area, Moldova became a unique pot of history. Ever since ancient times, the vibrating spirits of countless peoples would melt and enter an unpredictable mixture here.
According to the data of the population census, this small republic is populated by representatives of more than one hundred nations. Moldovans, Ukrainians, Russians, Armenians, Poles, Gagauzi-Turks, Gypsies, Jews, Greeks, Bulgarians, Kurds, Albanians, Czechs, Germans, Azeri, Chechnyans “Of course, there is a long way to go till the New Nationality Day, which is celebrated in Brazil! But the carnivalesque of daily life here is as natural as in Latin America. How else could it be?”
Ever since the Soviet era, Marcel?s father had been doing tours in Algeria, Ethiopia, Bulgaria, and Czechoslovakia. And he brought new tunes and rhythms from everywhere he went.
During the last years, Marcel himself has worked a lot in Spain, France, Bulgaria, Belgium, Germany, Romania, Russia, Tartarstan, Ukraine, Poland, Italy, Turkey, and Finland.
He did not only bring songs from these countries. For example, he brought an incredible instrument from Transylvania. It is a violin that has a bugle-trumpet inside, which resembles more that of a gramophone! In each of the countries he visited, he and his fellow musicians played a lot of local folk songs apart from Moldovan tunes.
The ensemble Transbalkanica was conceived by Marcel Stefanet. He chose the players, wrote the music and coordinated the entire scheme. This is how the Transbalkanica album started to take shape. The debut album includes 13 songs (14 tracks) taking the listener on a cruise through environments as diverse as gorgeous rural Moldavia and the bustling metropolis, to inspire unexpected nostalgia and unanticipated joy.
Transbalkanica is the most ample musical project launched by MediaPro Music in the Romanian music market. Transbalkanica is not a band and it is hardly an orchestra. It is a concept. One cannot speak of Transbalkanica before having listened, lived, and breathed in their music. It is a mixture of Romanian folklore and electronic music.
Why the name Transbalkanica? It’s easy: the musical show of violins, percussion and unconventional instruments played by a fifteen-virtuoso orchestra simply did not admit of a different name.
Ori Kaplan studied Klezmer clarinet in Jaffa at age 11, yet was exposed to the Arabic culture around him. Each week he would sneak into an Arabic/Turkish nightclub next door to the punk rock club where he played with his band DXM. Ori says, “?The energy at the Turkish club was unabashed, on fire. The punk rock club was more self-conscious: youth trying to define itself, emulate the West.”
Ori emigrated to the USA, earning a BFA at Mannes College. In New York City, Ori recorded albums for various music labels and bands. Ori received the Jerome Foundation Award for Young Jazz Composers 2001.
He joined the acclaimed band Gogol Bordello (Gypsy Punk cabaret) that spearheaded the Eastern European cultural revolution that took place in New York City. He played with Firewater since 1998, and has collaborated and recorded with Susie Ibarra, Speedball Baby, Big Lazy, J.U.F., Victoria Hanna, John Zorn, Vision Orchestra, and William Parker.
He is one of the founders of Balkan Beat Box.
Goldshmidt (Third Ear Records) Cries of Disillusion
Realms Le Magus (Knitting Factory, 2002)
Multi Kontra Culti, with Gogol Bordello (Rubric Records)
Man on the Burning Tightrope, with Firewater (Jetset Records)
JUF (Stinky Records)
Beat Box (Essay Recordings) Nu Med (Jdub Records) Blue Eyed Black Boy (Crammed Discs, 2010) Give (Crammed Discs, 2012)
Slonovski Bal plays the sounds of the central European Balkans, blending the music of the Gypsies with a unique mix of European, Slavic, Turkish and Mediterranean cultures, representing the fine tradition of the oriental brass band music. Slonovski bal means “the Elephant’s Ball” in Serbian.
Grooving with the roaring sounds of tubas, the water-flow of the accordion, the tender whisper of the clarinet or the blasting clamor of the trumpet, Slonovski Bal blasted onto the music scene.
Finding room for composition and improvisation Slonovski Bal have toured Europe with the energy of such dances as the Coceks, the Sa-Sa and the devilish Kolos played at the speed of light and thunder.
Local Stereo (Bal Bazar Production, 1998) Balkanska Rumba (Label Al Sur, 2001)
Balkan Merak (Bal Bazar Production, 2003) Dzumbus (Bal Bazar Production, 2007)
Electric Combo (Bal Bazar Production, 2010)
The Les Yeux Noirs is a multicultural band based in Paris led by the Belgian Slabiak brothers. With the help of other musicians from Belgium, Romania and other places, they play lively modern cross cultural music that includes Gypsy, Balkan and Klezmer elements. The vocals are in Russian, Yiddish and Roma (the main Gypsy language in central and eastern Europe).
The music is led by the fiery fiddle work of the Slabiak brothers, outstanding accordion work by Ionica Minune and powerful rhythm section that includes a drum set.
L’Attirail was born from a road encounter in February of 1994. Xavier Demerliac (guitar & brass) and Jean Stephane Brosse (piano & accordion), met while traveling. They decided to create an acoustic band combining the energy of rock with the influences of folk music from Eastern European countries.
At first, L’Attirail was a Balkan-Parisian trio playing their repertoire for two years in Parisian bars & cafes, before changing for a quintet formation. On their first album Musiques des Prefectures Autonomes (Les Chantiers Sonores, 1996), L’Attirail band developed Trans-European music.
Every album is conceived as a musical road-movie between Paris, Moscow and Istanbul. L’Attirail’s music throws a bridge between two opposite worlds: country life and big cities, fast and slow progress, the Eastern and Western European countries, tradition and modernity, reality and dream…
L’Attirail are also involved in other artistic creations such as original soundtracks for film and TV, including Peau Neuve by Emilie Deleuze (1999) and Charmants Voisins by Claudio Tonetti (2000).
The group’s fifth album La bonne aventure incorporated songs performed by Florence Caillon.
Musiques des préfectures autonomes (Les Chantiers Sonores, 1996) Dancings des bouts du monde (Les Chantiers Sonores, 1997)
Peau neuve, bande originale (Haut et Court, 1999)
Cinéma ambulant (Naïve, 1999)
La Bolchevita (Naïve, 2002) La Bonne Aventure (Naïve, 2004)
Mon meilleur ami, bande originale (Fidélité, 2006) Kara Deniz (L’Autre Distribution, 2007) Wilderness (Les Chantiers Sonores, 2009) Wanted Men (Les Chantiers Sonores, 2011)
Wire Wheels (Les Chantiers Sonores, 2013)
La route intérieure (Les Chantiers Sonores, 2015)
La part du hasard (CSB – L’Autre Distribution, 2017)
West Philly Orchestra (WPO) – Tour De Filli (Fly Bottle Records, 2016)
On Tour De Filli, the West Philly Orchestra Album plays fun, infectious Balkan dance music. The ensemble’s foundation is Eastern European brass band music, Gypsy melodies, American jazz improvisation and vocals by Bulgarian artist Petia Zamfirova who sings in English, Romani and Bulgarian.
Eastern Moon Rising showcases the multi-faceted music side of saxophonist and composer Boris Kovač and his band La Campanella.
On Eastern Moon Rising you’ll hear fascinating musical pieces where Serbian traditional music easily morphs into smoky lounge jazz, tango, blues, Romanian doina, avant-garde rock, French waltz, and unexpected twists and turns.
Yhr aslbum lineup includes Boris Kovač Boki on soprano and alto saxophones and vocals; Vukašin Mišković Vuki on acoustic and electric guitars; Goran Penić Gogi on accordion; Miloš Matić Miki on double bass; and Lav Kovač Laki on drums.
Hazmat Modine is a band of unconventional musical instruments and cultural combinations that reflect the origins of the American musical soul. Their debut CD was Bahamut (Barbes Records 2006).
The band is led by two harmonica-players rounded out with tuba drums guitars and trumpet and recruits guests appearing on lesser-known instruments such as the claviola (an unusual free-reed instrument), cimbalom (a large hammered dulcimer of Eastern European origin), the contra-bass, saxophone and the sheng (Chinese mouth organ).
The band plays an unexpected mix that may include Blues, Rocksteady or Gypsy music. “If you want to be faithful to the music forms that made American music great,” says Hazmat leader Wade Schuman. “You have to be faithful to what made it great not to the music forms themselves. American music is by its essence music that comes out of the so-called melting pot of different cultures banging up against each other. And that was the creative aspect.”
Schuman explains that the first real Blues hit ‘St. Louis Blues’ by W.C. Handy included a minor-key tango section. “That is one of the things that makes the song what it is,” says Schuman. He points to the significant influence of Latin and Caribbean music in the 1930s and the huge influx of immigrants into New York City. “There were few studios in Trinidad ‘ explains the harmonica-player vocalist and guitarist. ‘Most Calypso musicians were recording in New York so many of the early Calypso recordings were related in some way to America. The point is that we live in a nostalgic commodified world where we believe that Rock and Roll or Bluegrass or Dixieland are rigid music forms not influenced by outside factors. But that is not the history of how American music happened. It’s really quite dynamic and based on a phenomenal cultural shift in the early part of the 20th century.”
At the same time Schuman recognizes that regions of the United States each had their own local flavor. “Without television and with limited national radio things didn’t homogenize as fast,” said Schuman. “Things would gestate in a lot of creative ways in different locations. Here in New York there are these individual music scenes full of incredible musicians. And I do try to tap into all these different spheres.”
Hazmat’s band members come out of many backgrounds. Guitarist Pete Smith will often give a song a Cuban or Brazilian spin. Veteran tuba player Joseph Daley not only brings a wealth of knowledge from his work as an improvising artist but is also respected as one of the United States’most creative ‘lower brass specialists.’ Drummer Richard Huntley hops from Latin and Jazz to Klezmer while Pamela Fleming uses her vibrant trumpet to bridge everything from the Swing era to soulful Reggae. Guitarist Michael Gomez who plays every style from finger-picking to Swing-Jazz to Rock and Roll also plays the Banjitar and the lap steel guitar. While Schuman’s harmonica repertoire evolved out of Pre-War Blues and roots Randy Weinstein draws on Chicago Blues Jazz and World Music.
The small diatonic harmonica was popularized in Germany as a folk instrument, almost a toy. It was sold in massive quantities and was affordable to American Southerners, both African-American and European-American. “They pulled from it things it was never meant to do,” explains Schuman. “Bending a note is an accident of physics creating that glissando blue note. An instrument designed for one thing is used in a different way and a new music form is invented for it.” The harmonica pictured on the cover of the debut CD Bahamut is a real instrument from Schuman’s collection and offers a visual metaphor for the band.
Singer-songwriter Eugene Hutz arrived to the US from Ukraine after an epic seven-year trek through Eastern Europe refugee camps to escape the Chernobyl meltdown.
In 1996 Hutz landed in New York City and met the musicians who became Gogol Bordello. The band’s international underground reputation grew quickly due to their innovative blend of Eastern European Gypsy and Western culture and a stage show that resembles a three-ring circus of surreal stimuli.
Eugene Hutz – vocals, acoustic guitar
Sergey Rjabtzev – violin, vocals
Oren Kaplan – guitar, vocals
Eliot Ferguson – drums
Yuri Lemeshev – accordion
Rea Mochiach – bass
Voi-La Intruder (Rubric Records, 1999)
Multi Kontra Culti vs. Irony (Rubric Records, 2002)
Gypsy Punks: Underdog World Strike (SideOneDummy Records, 2005)
Super Taranta! (SideOneDummy Records, 2007)
Live from Axis Mundi (SideOneDummy Records, 2009),
Trans-Continental Hustle (American Recordings, 2010)
Pura Vida Conspiracy (2013)
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion