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Knjizica Etno

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Page 1: Knjizica Etno
Page 2: Knjizica Etno

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CD 1 • Podolgem / Highways:1. Arsov feat. Lara Baruca: Dajte, dajte / Give, Give . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:312. Eva Hren & Sladcore: Ne ori, ne sejaj / Do Not Plough, Do Not Seed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1:423. Katalena: Komur se dremlje / Whoever Is Sleepy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:184. Sounds of Slovenia feat. Brina Vogelnik: Lepa Vida / The Fair Vida . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:255. Maja Osojnik Band: Da ta na Sarti / Way Up on Sarta Mountain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:236. Carmina Slovenica: Puknula, oj! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:377. Essaouira Project: Mr. Baha (izsek / excerpt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:438. Terrafolk: Nori veter / Liver Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:419. Vesna Zornik: Noche Transfigurada / Transfigured Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:00

10. Katarina & Dejan: Uej uej (Magdalenca) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:2211. Sedef: Snijeg pade na behar na voÊe / Snow Is Falling on Blossoms and Fruit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:4112. Fake Orchestra: Ne de mi veË rasla / (Green Grass) Will Grow No More . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:2213. Bossa de Novo: SiniËja tožba / The Titmouse’s Lament . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:2214. Kurkuma: Todi (izsek / excerpt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:1915. Dirtmusic: Niger Sundown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:16

CD 2 • PoËez / Byways:1. Aleš Hadalin: Kovaška / Blacksmith’s Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:042. Same babe: Krušna (Dremava) / Bread Song (Then a Nap) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:453. Bakalina: Banda kravatarska / The White Collar Gang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:044. Kontrabant: Lendvavidék / Lendava Country . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:095. Brencl banda: Ej mala ej / Hey, Little One, Hey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:586. Orlek: Houdre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:207. Vruja: Ruj, Êupinj, žaneštra / Smoke Tree, Juniper, Spanish Broom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:188. Katice: Oj, fijole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:269. Bogdana Herman & Jure Tori: Marko skaËe /Marko’s Jumping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:35

10. Uršula Ramoveš in Fantje z Jazbecove grape: Piism, ke ja j piiv adn, ke j pol hmal umaru / A Song That Someone Sang and Then Died Soon After . . . . . . . . . 4:17

11. Ljoba JenËe: Cin cin cin belo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1:3812. Marko banda feat. Regina: Ne ori, ne sejaj / Do Not Plough, Do Not Seed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:1713. Pella: Pobelelo pole ovcama / A Field Whitened with Sheep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:0214. Jararaja: SozvoËja / Concord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:4915. Mlada beltinška banda: Ciganska suita / Gypsy Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:0516. Šukar: Amaro Kher / Our Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:3217. Vlado Kreslin: Poj mi pesem / Sing Me a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:50

SIGIC, 2011

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ga ni bilo mogoËe popredalËkati po dotedanjih predalih . Prelom, ki se je kazal v iskateljskih svetovnih glasbah, je sredi osemdesetih let v veliki meri prikazoval ljubljanski festival Druga godba, ki je gostil tako zasedbe iz vseh vetrov kot tudi evropske in domaËe zasedbe, ki so bodisi izvajale oživljeno ljudsko glasbo bodisi snovale razliËne sodobne križance . SoËasno so obzorja našega obËinstva širile zasedbe, ki so prihajale iz drugih koncev sveta .

Termin ≈etno«, ne le kadar govorimo o glasbi, ne pove niËesar konkretnega, niËesar doloËnega . Sama beseda ethnos v starogrškem jeziku ni bila pogosto v rabi, dokler je niso iz naftalina potegnili habsburški državni statistiki konec osemnajstega stoletja, ko so potrebovali predalËek, v katerega bi stlaËili zbiranje in analizo vseh bistvenih podatkov o ljudstvu oziroma ljudstvih na ozemlju imperija, zato da bi lahko cesar(ica) pobiral(a) ustrezni davek pri tem ljudstvu . Beseda ethnos je sicer v starogrškem jeziku pomenila barbarska, negrška, ≈primitivna« ljudstva, a tudi Ëredo, krdelo in jato . »e uporabljamo besedo v nevtralnem smislu, to je za oznaËevanje podobe in naËina življenja neke skupine ljudi, govorimo o etnografiji kot naËinu oziroma metodi preuËevanja in o etnologiji kot vedi, ki preuËuje naËine življenja, ter etnomuzikologiji, ki preuËuje glasbo kot eno kljuËnih sestavin naËinov življenja . Zato je ohlapni termin ≈etno« v nekem smislu boljši od termina ≈etniËen«, s katerim naj bi opisovali glasbo, ki naj bi bila znaËilna prav za doloËeno skupino ljudi in ne za katerokoli drugo . Ker glasba prehaja druge meje med skupinami ljudi in se nezadržno križa z drugimi glasbami, bi bilo omejevanje neke glasbene izraznosti na eno ljudstvo svojevrstno izenaËevanje med skupino ljudi in njeno znaËilno glasbo . Tudi Ëe je izjemoma to mogoËe, ni mogoËe postaviti univerzalnega pravila, po katerem bi lahko povezovali skupine ljudi z njihovimi glasbami . Nasprotno: glasbe krožijo tako med skupinami ljudi kot tudi znotraj posameznih skupin . Njihovo spreminjanje, ki je zaradi neprestanega kroženja zamisli in praks neizogibno, je obenem povsem nepredvidljivo . In prav v tem je vir živosti ≈ljudskih« glasb in tistih glasb, ki Ërpajo svoje vire v tradicionalnih glasbah .

Vsaka glasba, ki jo kdorkoli igra, je Ëloveška in ljudem namenjena, torej ljudska, in vsak zvok, ki ga kdorkoli uporabi za glasbo, prenaša Ëloveško sporoËilo . Toda le nekateri zvoki in le nekateri naËini njihovega podajanja že na prvi posluh izdajajo nekaj, kar povezujemo z glasbenim ustvarjanjem brezimnih prenašalcev ljudske tradicije . Predstava o ljudskih godcih kot zgolj prenašalcih glasbenih tradicij je morda privlaËna zamisel romantiËnih navdušencev nad domnevno pristnimi izroËili preteklosti, vendar je povsem zgrešena: ljudski godci v resnici niso nikoli zgolj prenašali glasbenih izroËil iz roda v rod, ampak so v vsakem zgodovinskem trenutku v svoje okolje prenašali tudi glasbo bolj ali manj oddaljenih sosednjih skupin in seveda glasbo razliËnih družbenih slojev in razredov . In tisti glasbeniki, ki so znali prisluhniti spontani glasbeni ustvarjalnosti ≈brezimnih« godcev, so njihove zamisli in prakse prenašali v svoje okolje .

V vrtincu glasbenega mešanja na razpotju med Slovenijo in svetom

Termin ≈etno« ni najbolj posreËen, a je toliko v obtoku, da lahko razumemo, v kateri predalËek spada . PredalËkanje je ena kljuËnih nalog glasbene distribucije . Ko se pojavi nova glasbena zvrst, je treba

zanjo odpreti predalËek, potem pa vanj tlaËimo vse, kar vsaj za malenkost spominja na izhodišËne kriterije predalËkanja . PredalËek etno je razmeroma mlad . Med starejšimi predalËki shranjevanja glasbe so, denimo, ljudska glasba, v anglešËini folk music, ki se je v dvajsetem stoletju spremenila preprosto v folk, za razliko od tiste ljudske glasbe, ki jo opredeljuje izroËanje iz generacije v generacijo, skratka tradicionalne glasbe . »eprav se je vsaka glasbena zvrst, Ëe se le oziramo dovolj daleË nazaj k njenim izvirom, razen morda najnovejših primerov elektronske glasbe, razvila iz ljudske glasbe, je prav ta glasba ostala najmanj jasno opredeljena in je skrita za nanosi vedno novih izvedenk, narejenih na njeni podlagi . KlasiËne glasbene forme bolj ali manj vse izhajajo iz plesov, ki koreninijo v ljudskih glasbah . Tudi popularnoglasbene zvrsti, ki so od konca devetnajstega stoletja in skozi celotno dvajseto stoletje temeljito spreminjale podobo glasbe v vsakdanjem življenju veËine najprej zahodnega, potem pa kar svetovnega prebivalstva, koreninijo v takšnih ali drugaËnih tradicijah ljudske glasbe iz najrazliËnejših delov sveta . Vse po vrsti so mešanice razliËnih izvirnejših glasbenih naËinov in vse po vrsti so se razvijale na nepredvidljive naËine, se vzajemno oplajale, osamosvajale, poniknile in se preoblikovale v vedno nove muhe enodnevnice ali trajnejše glasbene zvrsti .

Šele v osemdesetih letih se je izkazalo, da na policah takrat cvetoËih prodajaln gramofonskih in CD plošË oziro­ma glasbenih zgošËenk manjka polica, na katero bi postavili najnovejše proizvode tistih glasb, ki se oplajajo pri lokalnih tradicijah, a jih druži zvok, ki izdaja globalno prežetost lokalnih glasbenih izrazov s komunikacijskimi kodi popularne glasbe . Nekaj prodajalcev, distributerjev in producentov je staknilo glave in iznašlo termin ≈svetovne glasbe«, ki ga poznamo pod angleškim izrazom world music . Pred tem je obstajala poliËka za akustiËno ≈folk« in oživljeno tradicionalno glasbo (folk revival) oziroma preporodno ljudsko glasbo, kot smo jo takrat poimenovali za naše potrebe; vendar je bila ta glasba omejena na Evropo (in še to v glavnem zahodno) in Združene države Amerike . Nova poliËka je razširila ponudbo z glasbami iz vseh koncev sveta, vendar v navezavi z lokalnimi tradicijami, tudi Ëe so se, kot evropska preporodna ljudska glasba, zgledovale po najpristnejših glasbenih tradicijah lokalnega okolja in so jih gojili v Ëim pristnejšem duhu ≈nepotvorjenega« izroËila . Ko so se taki posnetki znašli na policah world music, so se premešali z drugimi eksotiËnimi glasbenimi primerki, ki so morda bolj sledili smernicam takratne sodobne glasbene produkcije . Zahodnemu kupcu je bilo vseeno, od kod prihajajo posnetki in kakšen je njihov odnos do tradicije: bistveni so bili eksotiËnost, drugaËna zvoËnost in glasbeni repertoar, ki

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izid (samo)prepoznavanja lastnih posebnosti in prepoznavanja drugaËnosti drugih tovrstnih skupnosti v vzajemnih razmerjih, ne pa kot nekaj danega, veËnega in biološko ali kulturno izkljuËujoËega, potem je tudi prepoznavanje glasb, ki jih povezujemo z ljudskimi tradicijami, usmerjeno v izmenjavo in komunikacijo, ne zgolj v prenašanje in predajanje, kar je izhodišËni pomen besede tradicija . Zato se zbirka glasbenih primerov, ki jih prinaša ta izdaja, nikakor ne omejuje na sodobne predelave slovenskega glasbenega izroËila, Ëetudi glavnino glasbenih primerov prinaša prav ta dejavnost vedno mlajših glasbenikov in (še vedno preredkih) glasbenic na Slovenskem, temveË odpira tudi obzorja do drugih glasb, tradicionalnih in manj tradicionalnih, ki jih poznamo pod kategorijo svetovnih glasb (world music), ali celo vzame za izhodišËe preprosto dejstvo, da avtorji oziroma izvajalci tovrstno glasbo ustvarjajo in izvajajo na Slovenskem .

PriËujoËa kompilacija prinaša posnetke, ki so izšli na nosilcih zvoka (ali nastali v živo ob posebnih, v glavnem jubilejnih priložnostih) v zadnjih dveh letih in pol (natanËneje, v letih 2009 in 2010 do junija 2011) . Torej gre za zbirko najaktualnejše tovrstne glasbene produkcije na Slovenskem in hkrati za prerez najzanimivejšega glasbenega snovanja pri nas, ki se spogleduje z glasbami Afrike, Azije, Evrope in Amerike . Med izbranimi pesmimi so tudi takšne, ki sledijo duhu ljudskega godËevstva v kritiËnem ali poetiËnem pripovedovanju o svojem lastnem lokalnem prostoru in Ëasu; razen tega smo v zbirko uvrstili tudi avtorske pesmi, ki nastajajo v duhu razliËnih glasbenih tradicij na Slovenskem, v sosešËini in po svetu .

Slovenija ni bila nikoli izoliran otoËek stvarstva, in tudi slovenska ljudska glasba izžareva vire, ki so prihajali vanjo iz vseh vetrov . »e je ljudska glasba, kot jo prepoznavamo danes, žlahtna krpanka vseh mogoËih virov, obdelanih na ustvarjalen lokalni naËin, potem to velja tudi za izjemno raznoliko glasbo, ki jo danes ustvarjajo glasbeniki in glasbenice na Slovenskem, ne glede na to, od kod so prišli in kje jemljejo vir navdiha . Odprtost, ne le ušes, temveË predvsem duha, je kljuËna znaËilnost slovenske ustvarjalnosti na priËujoËi kompilaciji . Vitalnost in radoživost sta naslednji kategoriji, ki me ob pisanju teh vrstic navdajata z veseljem, da lahko pošljemo v svet tako vitalno podobo glasbenega življenja na Slovenskem . Zaradi vsega navedenega je kompilacija slovenske ≈etno« glasbe takšna, kot je . Prikazuje tvorno glasbeno okolje, ki se ne zapira pred svetom . Kompilacija predstavlja glasbo iz Slovenije, ki je obenem slovenska in svetovna glasba .

dr. Rajko MuršiË, profesor na Oddelku za etnologijo in kulturno antropologijo na Filozofski fakulteti Univerze v Ljubljani, preuËevalec popularne kulture, vodja izbirne komisije za kompilacijo Etno Slovenia 2011

Malodane vsaka glasba, kar je poznamo, je nastala na podlagi mešanja glasbenih praks iz razliËnih družbenih okolij . Nekatere glasbene mešanke so lahko izjemno privlaËne in uspešne, druge bistveno manj . Sodba Ëasa je enako usmiljena do vseh: v zakladnico ≈pristnih« mešank se uvrstijo samo tiste, ki prestanejo sodbo Ëasa . Te prepoznavamo kot ≈neminljive« glasbene umetnine, ≈veËno« privlaËne zimzelenËke ali ≈pristno« ljudsko glasbo . NekritiËno verovanje v pristno, staro, nespremenljivo in izvirno glasbo je iluzija, Ëetudi obstajajo naËini glasbenega izvajanja, ki temeljijo na nespremenljivih aritmetiËnih zakonih . Zato, seveda, da jih rušijo in presegajo! Prav tako zmotna je predstava, da obstaja enoznaËen odnos med družbenimi skupinami, njihovo organizacijo vsakdanjega življenja, katere skupni temelj so jezik, šege in navade, zgodovina, politika in gospodarstvo, in ≈njihovo« glasbo . Iluzorne so tudi predstave, da so ljudstva enoznaËno loËena od drugih z mejami, ki jih opredeljuje bodisi skupno rojstvo bodisi skupno ozemlje ali kar oboje . V resnici se ljudstva prepoznavajo kot drugaËna na podlagi prepoznavanja in vzajemnega priznavanja razlik v komunikaciji (ali konfrontaciji) z drugimi . Svojo razliËnost utemeljujejo tudi na podlagi prepoznavanja razlik v glasbenih praksah; te pa se skozi Ëas spreminjajo — tudi na podlagi izmenjavanja glasb z drugimi ljudstvi . Tako ljudstva kot glasbe, ki jih izvajajo posamezni glasbeniki in glasbenice ter pevci in pevke, se spreminjajo skozi Ëas, nastajajo na novo, izginjajo in se preoblikujejo, vendar nikoli v preprosti enaËbi ≈eno ljudstvo = ena glasba« . Pa vendar prav predstava ≈ljudskosti« svetovnih glasb, ki z empiriËno resniËnostjo nima nujne povezave, poganja ustvarjalne sile sodobne glasbene tvornosti .

Zbirka, ki na dveh CD plošËah prinaša najbolj reprezentativne primere glasbenega mešanja tradicij in sodobnega snovanja na Slovenskem, je bila veliko preseneËenje tudi za uredniško skupinico, ki je pripravila izbor . V Ëasu, ko glasbe na nosilcih zvoka žal ne kupujemo veË toliko kot prej v glasbenih trgovinah, ki jih je v Sloveniji tudi vse manj, nismo slutili, da na Slovenskem premoremo toliko sodobne glasbene ustvarjalnosti s tistega podroËja sodobne popularne glasbe, ki ga obËinstvo prepoznava kot ≈etno« . PriËujoËa kompilacija, malo zaradi subjektivnih in deloma tudi objektivnih razlogov, sicer ne prinaša prav vseh primerov slovenske popularne glasbe, ki se navdihujejo pri tradicijah iz razliËnih koncev sveta in so izšli na nosilcih zvoka v zadnjih dveh letih in pol, vendar kljub temu zagotavlja fascinantno koliËino tovrstne glasbe . Izkazalo se je, da je težko slediti vsem izdajam, še teže pa jih je zaslediti na policah preostalih prodajaln nosilcev zvoka . Uredniki izdaje smo zavestno izpustili tisti del slovenske popularnoglasbene produkcije, ki ga prepoznavamo kot narodnozabavno glasbo . Ta si po mnenju vseh zasluži posebno obravnavo na posebni kompilaciji . Prav tako na kompilacijo nismo uvrstili tistih del sodobne umetne glasbe, ki se navdihuje pri slovenski ljudski glasbi ali svetovnih ljudskih glasbah .

»e razumemo ljudstvo kot rezultat sobivanja posameznikov in posameznic v nekem danem prostoru in Ëasu, kot

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Western consumers were unconcerned about the origins of the recordings and their relationship to traditional music; exoticism, exciting new sounds and a musical repertoire that did not fit into existing categories were more important . The shift that was evident in explorative world musics was demonstrated to a large extent in the mid­1980s by the Ljubljana festival Druga godba (That Other Music), which hosted ensembles from all around the world, as well as European and Slovene ensembles, performing either revitalised folk music or various contemporary hybrids devised by the ensembles themselves . At the same time, the horizons of the Slovene audience were broadened by ensembles from other parts of the world .

The term ‘ethno’ (not only in relation to music) does not actually convey anything concrete or determined . The Ancient Greek word ethnos had not been used frequently until it was taken from its mothballs by Habsburg state statisticians at the end of the 18th century, when they needed a category in which to place the collection and analysis of all the essential data on the peoples living in the territories of the empire, in order for the emperor (or empress) to be able to tax these peoples appropriately . In Ancient Greek, the word ethnos refers to barbarians, non­Greeks or ‘primitive’ peoples, but is also used in the sense of a herd, pack or flock . Used in a neutral sense, i .e ., to label the appearance and way of life of a particular group of people, the term refers to ethnography as a a method of study and ethnology as a science that studies ways of life, as well as ethnomusicology, which studies music as one of the key components of ways of life . Thus the loose term ‘ethno’ is in some ways better than the term ‘ethnic’, which is understood as describing music supposedly characteristic only of a specific group of people . Given that music overcomes other borders between groups of people and irrevocably cross­fertilises with other music, to limit particular forms of musical expression to one people is to equate a group of people with their characteristic music . Even if, as an exception, this were possible, it would not be possible to establish a universal rule according to which we could link a group of people with their music . On the contrary, music circulates both between groups of people and within individual groups . The way in which music is constantly being modified, which, due to the ceaseless circulation of ideas and praxis, is unavoidable, is at the same time completely unpredictable . And it is precisely this unpredictability that is the source of the vitality of ‘folk’ music and music that draws from sources in traditional music .

Every kind of music that is played by anyone is human music, and destined for people, i .e ., folk, and every sound that is ever used in music conveys a human message . However, only certain sounds and certain ways of conveying sound provide us with something that on first listening we associate with the musical creativity of the anonymous transmitters of the folk tradition . The notion of folk musicians simply as conveyors of

In the Whirligig of Music Mixing at the Crossroads of Slovenia and the World

The term ‘ethno’ is not the most felicitous term, but it is in circulation to such an extent that we can understand in which pigeonhole it belongs . Putting things in pigeonholes is one of the key roles of music

distribution . When a new musical genre emerges, it is deemed necessary to find a pigeonhole for it and then cram everything into it that is even vaguely reminiscent of the initial criteria established for the pigeonhole . The ethno pigeonhole is relatively new . Among the older pigeonholes for storing music, we find, for instance, folk music, which in the 20th century became known simply as ‘folk’ in order to differentiate it from the folk music that is defined by being handed down from generation to generation, i .e ., traditional music . If we look back far enough into the past, every musical genre, with perhaps some recent electronic exceptions, has developed from traditional (folk) music; paradoxically, it is precisely folk music that remains least clearly defined, hidden behind layers of ever new derivatives contrived on its basis . Classical musical forms are more or less all derived from dances, which have their roots in folk music . Popular music genres, which, since the end of the 19th century and throughout the 20th century, fundamentally changed the image of music in everyday life ­ at first, mainly in the West, and then for the world population ­ also have their roots in one folk music tradition or another, from the most diverse parts of the world . Each genre in turn is a mixture, or fusion, of various more original styles of music, and each in turn has developed in an unpredictable way, cross­fertilising, emancipating, disappearing and transforming into the latest craze, or into more lasting styles or musical genres .

Only in the 1980s did it become evident that on the shelves of gramophone records and music compact discs, whose sales were burgeoning at the time, there lacked a shelf on which to place the most recent productions of music fertilised by local traditions, but brought together with a sound revealing the global dimension of local musical expressions with the aid of the communication codes of popular music . A small group of music sellers, distributors and producers put their heads together and came up with the term ‘world music’ . Prior to this, there was a shelf for acoustic ‘folk’ and for revitalised traditional music, or ‘folk revival’, as we conveniently labelled it at the time, but this music was limited to Europe (mainly Western Europe) and the United States . The new shelf expanded the offer with music that originated from all around the world, but were connected with local traditions, even if they were, like the music of the European folk revival, modelled on the purest musical traditions of the local environment and nurtured with the most pristine possible spirit of ‘untainted’ tradition . When these recordings found themselves on the world music shelves, they mixed with other examples of exotic music that perhaps more closely followed the directions of contemporary music production of the time .

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as ‘ethno’ . Due partly to subjective and partly to objective factors, the present compilation does not contain all the musicians in Slovene popular music who are inspired by the traditions of various parts of the world and released on sound media in the last two and a half years, but it nonetheless provides a fascinating variety of this kind of music . It turned out to be difficult to follow all the music released, and even more difficult to find it on the shelves of the remaining record/CD shops . The editors consciously excluded the Slovene popular music style known as Oberkrainer music, which everyone thought should receive special treatment on a separate compilation . Similarly, we did not include contemporary art music inspired by Slovene folk or other folk music .

If we understand a people as the result of the cohabitation of individuals in a particular space and time, as the result of the (self)recognition of one’s own special features, and the recognition of the differences of other communities in mutual relationships, and not as something given, eternal and biologically or culturally exclusive, then the recognition of the music that we associate with folk traditions is also oriented towards exchange and communication, and not simply towards transmission and conveyance, which is the initial sense of the word tradition . Therefore, the collection of musical examples brought together in the present release is in no way limited to the reworking of the Slovene musical tradition, although the majority of them illustrate precisely this activity by ever younger musicians in Slovenia; rather, the collection opens the horizons to other music, traditional and less traditional, that we know under the category world music, or even takes as a point of departure the simple fact that the composers and performers create and perform this music in Slovenia .

The present compilation includes recordings released on sound media (or recorded live on special, mainly festive, occasions) in the last two and a half years ­ in 2009, 2010 and up to June 2011, to be precise . Therefore, it is a collection of the most current music of its kind in Slovenia, while at the same time being a cross­section of the most interesting musical creativity in Slovenia, which flirts with the music of Africa, Asia, Europe and America . There are also songs that follow the spirit of folk music­making in critical or poetic narratives about their own space and time . In addition to this, the collection also contains original songs that have been created in the spirit of various musical traditions in Slovenia, in neighbouring countries and around the world .

Slovenia has never been an isolated island of creativity, and Slovene folk music emanates the sources that have flowed into it from all parts of the world . If folk music as we know it today is a precious patchwork of all its possible sources reworked in a creative local way, the same holds for the extraordinarily diverse music that

musical traditions is perhaps an attractive idea to romantic aficionados of the supposedly pure traditions of the past; however, such a notion is entirely mistaken . In truth, folk musicians have never simply conveyed musical traditions from generation to generation; rather, at each historical moment they have brought music into their environment from more or less distant neighbouring groups, and, of course, from various social layers and classes . And those musicians who have known how to listen to the spontaneous musical creativity of ‘anonymous’ folk musicians have in turn brought their ideas and practice into their own environments .

Almost all of the music that we know has been created on the basis of a mixture of musical praxis from various social environments . Certain musical mixtures can be extraordinarily attractive and successful, others much less so . The judgment of time is equally merciful to all of them: only those that withstand the judgment of time find their way into the treasure trove of ‘pure’ mixtures . These we recognise as ‘immortal’ musical art works, ‘eternally’ attractive evergreens or ‘pure’ folk music . The uncritical belief in pure, ancient, unchanged and original music is an illusion, even though there are ways of making music based on unchanged arithmetical laws . So that, of course, one can destroy and go beyond these laws . Just as mistaken is the notion that there is an unequivocal relationship between social groups, their organisation of everyday life, whose common foundations are language, customs and habits, history, politics and commerce, and ‘their’ music . The notion that peoples are unambiguously separated by borders, which are defined by either common birth or common territory, or both, is also erroneous . In truth, peoples are identified as different on the basis of the recognition and mutual acknowledgement of differences in communication (or confrontation) with others . Their difference is also based on the recognition of differences in musical praxis, but these change over time, partly on the basis of the exchange of music with other peoples . Both peoples and the music performed by individual musicians and singers change over time, emerge anew, disappear and transform, but never in the simple equation ‘one people = one music’ . Nonetheless, it is precisely the notion that world music has its roots in folk culture that, without necessarily having any connection with empirical reality, fuels the creative forces of contemporary musical creativity .

The present collection, which brings together on two compact discs the most representative examples of a musical mix of traditions and contemporary creativity in Slovenia, was a great surprise even for the editorial team that made the selection . In a time when we no longer buy music as much we used to on sound media in music shops, of which there are anyway fewer and fewer in Slovenia, we did not anticipate that Slovenians would be able to be so musically creative in the contemporary popular music genre which is known to the audience

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Med godbami sveta in dóma — ljudski, etno in world zvoki Slovenije

Slovenci že vrsto stoletij živijo na obrobjih veËjih politiËnih enot, kot so bile avstro­ogrska monarhija (do leta 1918), Jugoslavija (do leta 1991) ali Evropska unija (od 2005), Ëeprav se s svojo ugodno strateško lego,

zgodovinsko in geografsko razgibanostjo ter kulturno raznolikostjo ta prostor ves ta Ëas zoperstavlja stereotipu o periferijah kot družbeno izoliranih enklavah, gojišËih starožitnosti in prostorih zatohlih lokalizmov . O dinamiËnem pretoku idej, ljudi ter migracij in komunikacij med regijami, stikanju alpskih, panonskih, mediteranskih in balkanskih jezikovnih, etniËnih, kulturnih in tudi glasbenih specifik priËajo tudi podroËni, vernakularni tipi glasbe, ki so prevladovali na tem obmoËju vse do druge svetovne vojne .

Slovenija je bila v okviru SocialistiËne federativne republike Jugoslavije vpeta v politiko odprtih meja, ki je omogoËala, da so vplivi Zahoda v desetletjih po vojni relativno nerestriktivno pritekali tudi na ta konec sveta . Glasbene prakse, kot so jazz, rock in punk, ki so se iz zahodne Evrope in ZDA prikradle tudi v tukajšnje plošËarne, radijske oddaje in kasneje na koncertne odre, so se hitro udomaËile med domaËimi glasbeniki in publiko ter v osemdesetih letih odigrale pomembno vlogo v civilnodružbenem gibanju (predvsem punk in avantgardne, družbeno kritiËne glasbene struje), kar je kasneje pripomoglo k slovenski politiËni emancipaciji .

V tekmi z novimi, popularnimi in medijsko posredovanimi oblikami glasbe, ki so vse od povojnega obdobja intenzivno spreminjale glasbeno krajino, okus in estetiko ustvarjalcev ter odjemalcev glasbe, je tradicionalni glasbeni izraz pretežno agrarnih skupnosti izgubil svoje mesto osrednjega medija izražanja in prenosa kolektivnih ali individualnih upesnjenih in uglasbenih Ëloveških izkušenj .

Tradicionalno glasbo je tako v dobršni meri izpodrinila predvsem medijsko razširjena in še danes nadvse popularna narodnozabavna glasba — nekakšen ≈indigen« hibrid, ki se je sicer naslanjal na nekatere oblike ljudskega godËevstva (predvsem na plesne ritme, kot sta valËek in polka), vendar jih je dodobra pregnetel z besedili bukoliËno­ruralnega znaËaja in tedanjimi oblikami domaËe in tuje zabavne glasbe ter instrumenti (diatoniËna harmonika, kitara, klarinet, trobenta, bas), ansamble pa odel v t . i . narodne noše . Kljub temu se je ljudska glasba v tradicionalnih ali posodobljenih (etno, folk revival) oblikah ohranila do danes, in to tudi po zaslugi akademskih in amaterskih zbirateljev tovrstnega gradiva, iz katerega Ërpajo sodobni poustvarjalci ljudske glasbe .

Nekateri posamezniki so ljudskoglasbeno gradivo samoiniciativno zbirali že v sedemdesetih letih 20 . stoletja

musicians are creating today in Slovenia, irrespective of where they come from or where they draw inspiration . Openness, not only of the ears, but above all of the spirit, is the key characteristic of Slovene creativity in this compilation . Vitality and joy are the next categories ­ and in writing these lines these categories fill me with pleasure in the knowledge that we are able to send such a vital image of musical life in Slovenia into the world . Due to all I have discussed above, this compilation of Slovenian ‘ethno’ music is such as it is . It demonstrates a creative musical environment that is not closed to the world . The compilation presents music from Slovenia that is at the same time both Slovenian and world music .

Dr. Rajko MuršiË, professor at the Ethnology and Cultural Anthropology Dept . of the Faculty of Arts of the University of Ljubljana, researcher of popular culture, chairman of the selection committee for the compilation Etno Slovenia 2011

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(etnomuzikologa Mira Omerzel — Mirit, Dario MarušiÊ), medtem ko se je sistematiËno zbiranje gradiva na terenu priËelo z ekipami Glasbenonarodopisnega inštituta ZRC SAZU in sodelavci nacionalnega radia, ki od šestdesetih let 20 . stoletja redno snemajo ter objavljajo terenske posnetke ljudskih pesmi, glasbe, plesov . Z veË kot 50 .000 enotami zapisov pesemskega in instrumentalnega gradiva se arhiv Glasbenonarodopisnega inštituta ZRC SAZU danes uvršËa med najveËje zbirke tradicionalne glasbe v Evropi . Metodologijo etnomuzikološkega terenskega dela uporabljajo mlajše in starejše generacije folk preporodnikov in etno glasbenikov, ki dopolnjujejo raziskovanja profesionalnih ekip ter nas bogatijo za nova spoznanja o dinamiËni in regenerativni naravi lokalnih oblik ljudske glasbe v sodobnem Ëasu .

Med distinktivne tradicionalne regionalne stile, ki jih ≈na terenu« najdemo še danes, spada južnoslovanska dedišËina tamburaških orkestrov (ohranila se je na jugovzhodu države), istrska plesna glasba in instrumentarij, ki se povezuje z mediteranskim in balkanskim prostorom, ter starodoben naËin goslanja, znaËilen za dolino Rezije v severovzhodni Italiji, ki jo poseljuje slovensko govoreËe prebivalstvo . Panonske vplive v ljudski glasbi lahko zaslišimo v t . i . prekmurskih ≈bandah«, med katerimi je najbolj znana Beltinška banda . Po veË kot uspešnem veËletnem sodelovanju z znanim slovenskim kantavtorjem Vladom Kreslinom je zanimanje za to skupino godcev preraslo regionalni in celo nacionalni kulturni okvir . Spoj tradicionalnih viž in rockovske drže ter repertoarja, ki ga je v skupno muziciranje vnesel Kreslin, spada med prve world music fenomene v Sloveniji . GodËevsko tradicijo band so v 21 . stoletje popeljali tudi Marko banda in mlajša Mlada Beltinška banda . Na zaËetku devetdesetih let pa je Slovenija odkrila še Magnifica, ki je v dioniziËni opravi na prvencu Od srca do srca (1993) postregel z mitološko zgodbo o Zelenem Juriju (koledniška pesem iz Bele Krajine) in jo podkrepil s techno ritmi, z rockovskimi kitarskimi rifi in grlenimi vokali ženske pevske skupine Katice .

Klice po slovenski osamosvojitvi in ustanavljanju lastne avtonomne države je spremljal premislek o nacionalni identiteti in s tem povezanim iskanjem pristne ljudskoglasbene govorice, kar je v devetdesetih letih iniciiralo ponovno zanimanje za ljudsko glasbo med mladimi glasbeniki oziroma folk revival . Z namenom ohranjanja, predstavitve in promocije slovenske ljudskoglasbene, pevske in plesne dedišËine se je veËina prve generacije folk revivalistov leta 1996 združila v kulturno društvo Folk Slovenija, ki ostaja pod imenom Kulturno in etnomuzikološko društvo Folk Slovenija aktivno še dandanes .

Poskusi vdahnitve novega življenja umirajoËemu ali skoraj popolnoma marginaliziranemu izroËilu so obstajali že pred letom 1991 . V poznih sedemdesetih in zgodnjih osemdesetih letih so popularno idejo eksperimentiranja

z zvokom tradicije maloštevilni posamezniki in avantgardne zasedbe (skupina Salamander, kasneje tudi Begnagrad) privzeli od v zahodni Evropi in Ameriki razširjene folk in rock glasbe . Prvi premišljeni premik k pristnejšemu zvoku je predstavljalo delovanje istrske skupine Istranova v zaËetku osemdesetih let, ki je povzroËila novo zanimanje za istrsko glasbo med lokalnim prebivalstvom . Danes je istrska folk revival scena prostor sobivanja tako lokalnih tradicionalnih pevcev in godcev (PišÊaci, družina Batista) kot folk revival skupin (Istranova, Vruja, La Zonta) in modernih poustvarjalcev folk glasbe (Rudi BuËar) . Medtem ko je za nekatere folk revival skupine znaËilna moËna regionalna usmeritev, druge jemljejo repertoar s celotnega podroËja Slovenije .

Ena takšnih skupin je že omenjena dvanajstËlanska ženska vokalna skupina Katice, med posameznimi poustvarjalkami ljudskega izroËila pa gre izpostaviti Bogdano Herman, Ljobo JenËe in Miro Omerzel — Mirit (ustanoviteljica skupin Trutamora Slovenica, Truta in Vedun) . Od starejših preporodnih instrumentalnih skupin velja omeniti Kurjo kožo, ki favorizira viže, odigrane na trstenke, ter Trinajsto prase in njegovega naslednika, skupino Tolovaj Mataj, ki sta poskušali poustvariti staro plesno glasbo za moderno obËinstvo . Prav tako so k popularizaciji sodobne slovenske ljudske glasbe pripomogli festivali etno in world glasbe, kot sta Okarina etno festival in predvsem Druga godba, ki vse od poznih osemdesetih let 20 . stoletja na svojih odrih poleg zveneËih imen svetovne world music scene gosti tudi domaËe tradicionalne, folk revival, etno in world glasbenike .

Vzpon world in etno glasbe je na površje naplavil tudi zanimanje za glasbe slovenskih etniËnih manjšin, kot so Romi . Romsko glasbo danes popularizirajo tako Neromi (skupina Šukar) kot Romi sami (skupina Langa, Imer Brizani), pestro glasbeno ustvarjanje pa je znaËilno tudi za priseljence iz nekdanje Jugoslavije ter njihove potomce . Na zgošËenki lahko prisluhnete skupini Pella, ki med drugim obuja starodavne makedonske ljudske pesmi, ter skupini Sedef, ki je modernizirala zvoËno podobo bosanskih sevdalink in jih približala mlajši generaciji .

Medtem ko so si folk revival protagonisti prizadevali za ohranitev avtentiËnih oblik slovenske tradicionalne glasbe, se je v zgodnjih letih novega milenija pojavila nova generacija obËudovalcev tradicionalne glasbe z bolj globalnim odnosom do glasbene dedišËine . V Ëasu globalnega pretoka informacij in migracij ljudi, idej ter kapitala ti glasbeniki svojo vizijo ljudske glasbe oblikujejo na podlagi mnogovrstnih multižanrskih in tehnoloških možnosti ter sodelovanj, skladno s svojimi individualnimi glasbenimi, estetskimi in svetovnonazorskimi preferencami, pa naj gre za spogledovanje ljudskega z jazzom (Maja Osojnik, Vasko Atanasovski), rockom (Orlek, tudi Katarina JuvanËiË in Dejan Lapanja), rapom (Boštjan Gorenc — Pižama s skupino Tolovaj Mataj), šansonom (Same babe), elektroniko (Arsov), bossa novo (Bossa de Novo), tangom (Vesna Zornik), balkansko

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(Carmina Slovenica), arabsko (Essaouria Project), indijsko (Igor Bezget) ali pa tuareško glasbo (Chris Eckman oz . Dirtmusic) .

Prvo domaËo skupino v pravem world music pomenu besede je po prihodu z veËletnega bivanja v ZDA leta 1997 ustanovil jazzovski kitarist Igor Leonardi . Njegova skupina Fake Orchestra je smelo in pionirsko zaorala na polje globalne zvoËnosti in dokazala, da lahko tradicionalni afriški, brazilski, slovenski ter jazzovski ritmi, melodije in harmonije brez težav sobivajo pod isto streho . Verjetno najbolj uveljavljeni in mednarodno prepoznavni zastopniki novodobnega postopanja s tradicionalno glasbo pa so skupina Terrafolk, ki je leta 2003 s svojo virtuozno in eksplozivno mešanico avtorskih skladb ter glasb Balkana osvojila prestižno nagrado obËinstva na BBC Radio 3 Awards .

Njihov nekdanji harmonikaš in basist Janez DovË je kasneje ustanovil svoj postfolklorni bend Jararaja ter založbo Celinka, pod katere okriljem danes deluje in izdaja zgošËenke lepo število domaËih etno in folk skupin, ki jih najdete tudi na priËujoËi kompilaciji (poleg Jararaje še projekt Sounds of Slovenia, Aleš Hadalin, Katice, Vesna Zornik, Eva Hren & Sladcore) . Mednarodno priznanje v zadnjih letih žanje še skupina Brina, ki se pojavlja na veËjih world music festivalih v tujini in na lestvicah najbolje prodajanih world music plošË v Evropi . Izjemno popularna je tudi skupina Katalena, ki je s svojo folk­rockovsko držo in petimi odmevnimi albumi osvojila obËinstvo širom Slovenije in zanetila veliko zanimanja za ljudsko glasbo predvsem med mlajšimi poslušalci, za seboj pa ima tudi že precej uspešnih koncertov v tujini .

V zadnjem desetletju zlasti iz bolj ruralnih podroËij odmeva glas novoljudske godbe, ki jo skupine, kot so Kontrabant, Brencl banda, duo Bakalina ter še posebej priznani Uršula Ramoveš in Fantje z Jazbecove grape, gradijo na podlagi favoriziranja lokalnih jezikovnih idiomov in eklektiËnega nabora domaËih ljudskih ter globalnejših glasbenoestetskih sestavin in naËinov muziciranja .

Z vznikom novih generacij in tehnologij ter vzpostavljanjem novo profiliranih koncertnih in festivalskih platform se je tako odprlo sveže poglavje hibridizacije, spajanja in fuzij ljudske glasbe z modernimi popularnoglasbenimi žanri (jazz, rock, pop, elektronika, rap, eksperimentalna glasba) ter tradicionalnimi godbami sveta, ki je sodobno slovensko etno glasbo vpelo v mednarodne glasbene tokove . Obenem so se slovenskim glasbenikom odprla vrata na globalni trg world glasbe (koncerti, festivali, promocije v tujini — Womex, Expo, Midem ipd .) in jim s tem omogoËila sodelovanja s številnimi tujimi world music, folk, jazz in tradicionalnimi glasbeniki .

Glasba Slovenije je danes preko vseh svojih življenj, ki ji jih vdihujejo ustvarjalci in odjemalci doma in drugod, podolgem in poËez na tisoËe subtilnih naËinov povezana s celim svetom . Naj se poveže tudi z vami, ki berete te vrstice in poslušate to kompilacijo .

Katarina JuvanËiË, antropologinja in glasbena publicistka, Ëlanica izbirne komisije za kompilacijo Etno Slovenia 2011

Between Local Music and the Music of the World — the Folk, Ethno and World Sounds of Slovenia

For many centuries, Slovene people have lived on the margins of larger political units, such as the Austro­Hungarian empire (until 1918), Yugoslavia (until 1991) or the European Union (since 2005) .

However, with its favourable strategic location, as well as its historical and geographical variety and cultural diversity, Slovenia has always contradicted the stereotype of peripheries as socially isolated enclaves, backwaters of historical relics and stifling localism . The dynamic flow of ideas and people, migration and communication between regions, and the junction of alpine, Pannonian, Mediterranean and Balkan linguistic, ethnic, cultural and musical features is also evident in the regional, vernacular types of music that predominated up to the Second World War .

Within the framework of the Socialist Federal Republic of Yugoslavia, Slovenia also benefited from an open borders policy, which, in the decades following the Second World War, enabled the influences of the West to flow into this part of the world fairly unrestrictedly . Music such as jazz, rock and punk, which found their way from Western Europe and USA to Slovene record shops, radio programmes and, later, concert venues, were quickly embraced by local musicians and audiences, and in the 1980s (particularly punk and the avant­garde, socially critical musical currents) played an important role in the civil rights movement, later contributing to Slovene political emancipation .

In competition with new, popular forms of music promoted in the media, which, at least since the post­war period, have significantly modified the musical landscape and the taste and aesthetics of artists, as well as consumers of music, the traditional music of mainly agrarian communities lost its position as the central medium

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for expressing and transmitting collective or individual human experience in song and music making .

Thus traditional music has to a large extent been displaced mainly by media­propagated and still supremely popular national pop music (narodnozabavna glasba) . This is a kind of ‘indigenous’ hybrid based on certain forms of folk music, above all, on dance rhythms such as the waltz and polka ­ but thoroughly rewritten with texts of a bucolic character ­ and popular types of domestic and foreign music, performed on a typical range of instruments (diatonic accordion, guitar, clarinet, trumpet, bass), while the bands dress in so­called national costumes . Nonetheless, folk music, whether in traditional or modernised (ethno, folk revival) form, has been preserved up to the present day, partly thanks to academic and amateur collectors, who provide a source and inspiration for contemporary performers of folk music .

Although a few individuals privately collected folk music through the 1970s (ethnomusicologists Mira Omerzel ­ Mirit and Dario MarušiÊ), the systematic collection of material in the field was begun earlier by a team at the Institute of Ethnomusicology (GNI) at the Scientific Research Centre (ZRC) of the Slovene Academy of Sciences and Arts (SAZU) in cooperation with the national radio station . Since the 1960s, both institutions have regularly recorded, broadcast and released field recordings of folk songs, music and dances . With more than 50,000 units of recorded song and instrumental material, the archive of the Institute of Ethnomusicology ZRC SAZU is currently among the largest collections of traditional music in Europe . Today, the methodology of ethno­musicological fieldwork is used by younger and older generations of folk revival and ethno musicians, who complement the research of professional teams, enriching us with new findings on the dynamic and regenerative nature of local forms of folk music in contemporary times .

Amongst the distinctive (traditional) regional styles that can still be traced ‘in the field’ today are the South Slavic legacy of tamburica orchestras (still performing in the southeast), Istrian dance music and instrumental music (with connection to the Mediterranean and Balkan region), and an ancient type of fiddling that has been preserved among the Slovenian speaking population in the valley of Resia in northeast Italy . Pannonian influences in folk music can be heard in the so­called bande (bands) of the Prekmurje region, with Beltinška banda as the most reputable exponent of this type of music . After several years of highly successful collaboration with the well­known Slovene singer­songwriter Vlado Kreslin, the interest in this group of folk musicians has extended beyond its regional and even national cultural appeal . Combining traditional tunes with the rock aesthetic and repertoire that Kreslin contributed to their music, Beltinška banda became one of the

earliest world music phenomena in Slovenia . The musical tradition of the bandas has also been brought into the 21st century by Marko banda and the younger Mlada Beltinška banda . At the beginning of the 1990s, Slovenia also discovered Magnifico . Dressed as Dionysus on the cover of his debut album Od srca do srca (From Heart to Heart) (1993) he transformed the mythological story of Zeleni Jurij (Green George, a carol from Bela Krajina) into a modern pop song based on techno rhythms, rock guitar riffs and the guttural singing of the female vocal group Katice .

Demands for Slovene independence and political autonomy were accompanied by reflections on Slovenia’s national identity and, consequently, by the search for more authentic music forms of expression, which in the 1990s initiated a renewed interest in folk music among young musicians, i .e ., a folk revival . In 1996, with the aim of preserving, presenting and promoting the Slovene traditional music, vocal and dance heritage, the majority of the first generation of folk revivalists joined forces in the Folk Slovenija cultural society, which is still active today under the name Cultural and Ethno­musicological Society Folk Slovenija .

There were efforts to breathe new life into the dying, or almost completely marginalised, music heritage prior to independence in 1991 . In the late 1970s and early 1980s, a small number of musicians and avant­garde collectives (the group Salamander, and later also Begnagrad) seized upon the idea, popular among growing folk and rock bands in Western Europe and America, of experimenting with traditional sounds . The first conscious move towards a more genuine, authentic sound was by the Istrian group Istranova at the beginning of the 1980s, which stimulated a renewed interest in Istrian folk music among people in the region . Today, local traditional singers and instrumentalists (PišÊaci, the Batista family) as well as folk revival ensembles (Istranova, Vruja, La Zonta) and modern interpreters of folk music (Rudi BuËar) coexist on the Istrian folk revival scene . While some folk revival groups have a strong regional bias, others have a repertoire that draws on music from all parts of Slovenia .

One such ensemble is the twelve­member female vocal group Katice mentioned above . Individual artists such as Ljoba JenËe, Bogdana Herman and Mira Omerzel ­ Mirit (the founder of the groups Trutamora Slovenica, Truta and Vedun) are also especially well­known interpreters . Worth mentioning among the older revival instrumental groups are Kurja koža, who favour melodies played on reed instruments; and Trinajsto prase and its successor, Tolovaj Mataj, both attempting to recreate folk dance music for a modern audience . Another factor in the popularisation of contemporary Slovene folk music are ethno and world music festivals, such as Okarina

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Ethno Festival, and especially Druga Godba Festival, both of which have hosted a number of traditional, revival and world musicians of local and international fame since the late 1980s .

The increasing popularity of world and ethno music has also spurred an interest in the music of Slovene ethnic minorities such as the Roma . Today, Roma music is popularised by both non­Roma musicians (the group Šukar), and Roma musicians themselves (the group Langa, Imer Brizani) . The musical creativity of immigrants from the former Yugoslavia and their descendants also contributes considerably to the vibrancy of the music scene . The group Pella, who revitalize ancient Macedonian and other traditional songs, as well as the group Sedef, who modernise and rejuvenate the sound image of Bosnian sevdalinkas — traditional urban songs, usually about love — can also be heard on the CD .

During the early years of the new millennium, while the protagonists of the folk revival were busy grasping more authentic forms of Slovene traditional music, a new generation of folk music admirers with a more global outlook sprang up . In a time of global migration, and the circulation of information, ideas and capital, these musicians create an individual vision of folk music built on the foundation of multi­faceted, multi­genre and technological possibilities and collaborations, combined with their own individual musical and aesthetic ideologies or preferences, pairing folk music with jazz (Maja Osojnik, Vasko Atanasovski), rock (Orlek, also Katarina JuvanËiË and Dejan Lapanja), rap (Boštjan Gorenc ­ Pižama with the group Tolovaj Mataj), chanson (Same babe), electronic music (Arsov), bossa nova (Bossa de Novo), tango (Vesna Zornik), Balkan music (Carmina Slovenica), Arabian music (Essaouria Project), Indian music (Igor Bezget) or Touareg music (Chris Eckman — Dirtmusic) .

The first Slovene world music group was established by jazz guitarist Igor Leonardi in 1997, upon returning from several years in the U .S .A . In a daring and pioneering way, his group Fake Orchestra broke new ground in the area of global sounds, proving that traditional African, Brazilian, Slovenian, and jazz rhythms, melodies and harmonies can easily coexist under the same roof . Probably the most well­established and internationally recognized exponents of the modern approach to traditional music are Terrafolk . Their virtuoso delivery and dynamic mixture of original and traditional music from the Balkans won them the prestigious audience award at the BBC Radio 3 Awards for World Music in 2003 .

Terrafolk’s former accordion and bass player, Janez DovË, later formed his own post­folk band Jararaja .

DovË also founded the record label Celinka, which publishes CDs and other recorded material by numerous contemporary Slovene folk bands, some of whom can also be found on the present compilation (in addition to Jararaja also the Sounds of Slovenia project, Aleš Hadalin, Katice, Vesna Zornik, and Eva Hren & Sladcore) . The band Brina have also gained international recognition in recent years, appearing at the important world music festivals abroad and on European world music best­seller charts . Katalena is another exceptionally popular group, with a folk­rock posture and five acclaimed albums that have earned them a youthful following across Slovenia . They have also enjoyed numerous successful concerts abroad .

Over the last decade, new voices in folk music have been echoing from the more rural, peripheral parts of the country . Ensembles such as Kontrabant, Brencl banda, the duo Bakalina and the acclaimed Uršula Ramoveš and Fantje z Jazbecove grape (The Boys from Badger Ravine) emphasize local dialects and build their music on an eclectic selection of local folk and global musical aesthetics and diverse ways of music making .

The advent of new generations and technologies, (in addition to) the establishment of newly profiled concert and festival platforms, opened a new chapter of hybridisation, blending and fusing folk music with modern popular music genres (jazz, rock, pop, electronic, rap, experimental music), and the traditional folk music from around the world, as well as connecting contemporary Slovene ethno music with the global world music ‘soundscape’ . As a result, the doors of the global world music market (concerts, festivals, promotion abroad ­ Womex, Expo, Midem, etc .) have opened to Slovene musicians, enabling them to collaborate with numerous foreign world music, folk, jazz and traditional musicians .

Through the life that has been breathed into it by performers and audiences at home and further afield, through highways and byways, Slovene music today has been linked with the whole world in a thousand subtle ways . May it also be connected with those of you reading these lines and listening to the present compilation .

Katarina JuvanËiË, anthropologist and music writer, member of the selection committee for the compilation Ethno Slovenia 2011 .

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Etnomuzikološki pogled na projekt Etno: Glasbene poti — podolgem in poËez

Leto 2011 je izredno uspešno leto za etnomuzikologijo na Slovenskem . Temu v prid priËajo predvsem trije mejniki . Prvi je prihod pisarne Mednarodnega združenja za tradicijsko glasbo / International Council for

Traditional Music (ICTM), vodilnega svetovnega združenja etnomuzikologov, ki ga bo med leti 2011—2015 gostila Univerza v Ljubljani . Drugi je izid kompilacije SozvoËja Slovenije, ki jo je maja objavila založba Celinka . Tretji je izid priËujoËe kompilacije Etno: Glasbene poti — podolgem in poËez . Dve omenjeni kompilaciji sta zelo razliËni in hkrati komplementarni . Skupaj dobro pokrivata široko podroËje interesa sodobne etnomuzikologije in prinašata doslej zelo pogrešan presek glasbe na Slovenskem ≈tukaj in zdaj« .

SozvoËja Slovenije so po številnih objavah izborov posnetkov ljudske glasbe iz arhivov Glasbenonarodopisnega inštituta ZRC SAZU in Radia Slovenija konËno postregla z izborom svežih terenskih posnetkov, med katerimi so najstarejši iz decembra 2010 in najnovejši iz marca 2011 . Poudarek je na izvedbah slovenske ljudske glasbe, tako v ruralnih kot v urbanih okoljih, v katerih Ëutimo željo po ohranjanju tradicije in izogibanje posegom v domenah prirejanja, naËina petja, inštrumentacije ter (zavestnega) mešanja glasbenih znaËilnosti razliËnih prostorov ali Ëasov . ≈Slovenstvo« v etniËnem smislu je jasna povezovalna nit, kajti slovenšËina je edini jezik posnetkov pevskega izroËila, zajeti pa so primeri ne le s podroËja Republike Slovenije, temveË tudi Slovencev v zamejstvu (Avstrija, Italija, Madžarska) . Ta pristop sledi ideologiji glasbenega narodopisja, ki je na Slovenskem, tako kot v marsikateri drugi evropski državi, edina zaznamovala zgodovinsko pot etnomuzikološke stroke in jo profilirala v kontekstu ohranjanja nacionalne identitete .

Etno: Glasbene poti — podolgem in poËez ponuja drugaËen pogled na Slovenijo in odliËno dopolnjuje snov, predstavljeno na SozvoËjih . Tukaj tradicijska glasba ni cilj, ni dobrina, ki naj bi jo glasbeniki ohranjali v Ëim manj spremenjeni obliki, temveË je izhodišËe za kreativno nadgradnjo . Temelj je lahko tradicijska viža, naËin petja, besedilo, glasbilo ali pa avtorska skladba, ki sloni na katerikoli tradicijski glasbi . Primerjava s SozvoËji kliËe po drugi predhodnici sodobne etnomuzikologije, to je primerjalni muzikologiji, katere predstavniki so raziskovali ≈druge in drugaËne« glasbe in ki na Slovenskem, za razliko od, denimo, sosednje Avstrije, ni pustila sledov . Sodobna etnomuzikologija se seveda ne omejuje na študij glasb ≈primitivnih ljudstev« ali ≈visokih kultur Orienta« tako kot primerjalna muzikologija, vendar zaradi te in pa zaradi vplivov kulturne antropologije upošteva bistveno širši referenËni spekter, Ëe jo primerjamo z glasbenim narodopisjem . Glasbo od koderkoli in iz kateregakoli Ëasa

obravnava v vsej njeni raznovrstnosti, pri Ëemer se zaveda tako potrebe po ohranjanju tradicijske glasbe kot potrebe po študiju procesov, ki zaznamujejo vedno bolj razgibano življenje glasbe nasploh v sodobni družbi .

Slovenija je v priËujoËem projektu predvsem stiËišËe, prostor sreËevanja lokalnega in globalnega, v katerem glasbeniki svobodno izbirajo med razliËnimi tradicijskimi ter drugimi vsebinami in jih kombinirajo v soglasju z lastnimi poetikami in estetskimi preferencami . SlovenšËina je navzoËa ne le v literarni razliËici, temveË tudi v raznovrstnosti nareËij in lokalnih govorov (npr . II­3, II­10), vendar je le eden od jezikov, v katerih se poje . NavzoËi so še drugi slovanski jeziki (bosanšËina: I­11; hrvašËina: II­5; makedonšËina: I­6), madžaršËina (II­4), romšËina (II­16) ter španšËina (I­9) . Razpon od lokalnega mikro nivoja do globalnega makro nivoja je še razvidnejši v sami glasbi . Kot vire glasbenega navdiha je mogoËe izpostaviti tako razliËne slovenske pokrajine, pogosto robne (npr . Bela krajina: II­9 in II­13; Istra: I­1 in II­7; Prekmurje: I­2, I­12 in II­12), ki so znotraj enega primera celo medsebojno povezane z medigrami (II­14), kot tudi razliËne evropske (npr . Irska: I­8; Italija: I­5; Makedonija: I­6) in zunajevropske prostore (npr . Argentina: I­9; Brazilija: I­13; arabski svet: I­7; Indija: I­14; ZDA: II­6, II­17) . V nekaterih primerih so povezave med slovenskim pesemskim izroËilom in izbrano drugo tradicijo poudarjene z glasbili (tako se v primeru II­11 sliši slovaška fujara, v primeru I­12 pa zahodnoafriški džembe) .

In kdo so glasbeniki, ki pojejo v tujih jezikih in/ali uporabljajo znaËilnosti ≈tujih« glasb za uprizarjanje fuzij z lastno pisavo in/ali igrajo na ≈tuja« glasbila? Etno: Glasbene poti — podolgem in poËez ponuja veËplasten odgovor na to vprašanje tako z glasbeniki iz razliËnih slovenskih logov kot z glasbeniki, ki so se v Slovenijo priselili od drugod, in sicer v razponu od Makedonije (II­13) do ZDA (I­15) . Dejstvo je, da etniËna identiteta glasbenikov pri tem ni odloËilnega pomena, saj je v ospredju kreativna izbira posameznikov in skupin . Tako, denimo, Neromi igrajo romske viže (II­15, II­16) . Primera I­3 in I­9 dokumentirata dejstvo, da lahko ista pevka enako prepriËljivo zapoje pesem o mašËevanju zapušËene ljubice iz osrednje Slovenije kot argentinsko milongo . Nosilci primerov I­8, I­12 in I­14, enako kot marsikateri drugi, nazorno potrjujejo, da poglobljeno spoznavanje in izvajanje razliËnih glasbenih govoric sveta krepi kognitivne in psihomotoriËne sposobnosti sodobnega glasbenika . Primera I­2 in II­12 dokumentirata dva zelo razliËna pristopa k eni in isti pesmi . Drugi izmed teh je glede na poËasnejši tempo in inštrumentacijo, znaËilno za pokrajino, v kateri je pesem zabeležena, bližji tradicijski podobi, ne glede na to pa oba zrcalita individualen in kreativen odnos do izvirnika .

K raznovrstnosti projekta Etno: Glasbene poti — podolgem in poËez vsekakor prispeva tudi dejstvo, da gradiva, ki so jih glasbeniki izbrali za ustvarjalno obdelavo, spadajo v svet tradicij razliËnih generacij; tako je, recimo,

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izhodišËa primerov I­6, II­1 in II­11 mogoËe opredeliti kot del otroškega repertoarja . Omeniti je treba tudi raznovrstno rabo tehnoloških sredstev, zaradi katerih lahko vse zvoke, ki jih slišimo v primeru II­1, izvaja en sam posameznik, zaradi katerih lahko slišimo zvoËne efekte, ki jih podajata primera I­1 in I­10, in zaradi katerih nam primer I­15 ob znaËilnih obrazcih igranja na glasbila koro ter balafon uspešno priËara obmoËje Nigra .

»eprav je izbor posnetkov bogat in raznovrsten, to še zdaleË ni vse, kar Slovenija ponuja na podroËju, ki smo ga ob tej priložnosti poimenovali ≈etno« . VeËina predstavljenih glasbenikov ima svoje spletne strani, sami pa lahko poišËete še druge, ki tokrat iz razliËnih razlogov niso bili vkljuËeni . To so, denimo, Mira Omerzel — Mirit, voditeljica skupin Trutamora Slovenica in Vedun, ki se doživlja kot kustosinja v muzeju ljudske glasbe, Imer Traja Brizani, ki ustvarjalno povezuje jazz in romsko glasbo Balkana, Klarisa JovanoviÊ, ki poje v številnih balkanskih jezikih, družinski trio Volk Folk, katerega Ëlani so zgovoren dokaz, da se izvajanje ljudske glasbe, študij umetniške glasbe in igranje v rockovski zasedbi dobro dopolnjujejo, skupina Aritmija, ki se vedno bolj uveljavlja v slovenskem prostoru, vsestranski glasbenik Magnifico, ki že ima publiko tudi v širšem evropskem prostoru in mnogi drugi . Izbor posnetkov, ki je pred vami, ponuja ne le obilico razliËnih pristopov in zvokov, temveË tudi dragoceno osnovo za intelektualni premislek o prostoru in Ëasu, v katerem živimo .

dr. Svanibor Pettan, profesor na Oddelku za muzikologijo na Filozofski fakulteti Univerze v Ljubljani, etnomuzikolog, Ëlan izbirne komisije za kompilacijo Etno Slovenia 2011

An Ethnomusicological View of the ProjectEtno: Music Routes — Highways and Byways

The year 2011 has been an extraordinarily successful year for ethnomusicology in Slovenia, mainly attested by three milestones . The first is the arrival of the office of the International Council for Traditional

Music (ICTM), the leading world association of ethnomusicologists, which will be hosted at the University of Ljubljana from 2011 to 2015; the second is the publication of the compilation Sounds of Slovenia, which was released in May by the publisher Celinka; and the third is the release of the present compilation, Etno: Music Routes — Highways and Byways . The two aforementioned compilations are different and at the same time complementary . Together, they cover a broad area of interest in contemporary ethnomusicology, providing a cross­section of music in Slovenia ‘here and now’ that had previously been lacking .

Following numerous publications of collections of recordings of folk music from the archive of the Institute of Ethnomusicology of the Scientific Research Centre of the Slovene Academy of Sciences and Arts and Radio Slovenia, Sounds of Slovenia finally provides a selection of fresh field recordings, the oldest of which dates from December 2010 and the most recent from March 2011 . The emphasis is on performances of Slovene folk music in both rural and urban environments, in which we sense a desire to preserve tradition and avoid interventions in terms of rearrangement, vocal styles, instrumentation and the (conscious) mixing of the musical characteristics of various spaces or times . ‘Slovene identity’, in the ethnic sense, is the clear connecting thread, as Slovene is the only language to appear in the recordings of the singing tradition, while the musical examples come not only from the territory of the Republic of Slovenia, but also from the Slovene populations in the border regions of the neighbouring countries Austria, Italy and Hungary . This approach follows the ideology of folk music research which ­ in Slovenia, as in many other European countries ­ was the only predecessor of contemporary ethnomusicology and as such actively participated in the preservation of national identity .

Etno: Music Routes — Highways and Byways offers a different view of Slovenia, and is an excellent supplement to the material presented on Sounds of Slovenia . Here, traditional music is not the goal, nor is it an artefact that the musicians are supposed to preserve in its purist form; instead, traditional music provides a point of departure for creative development . The point of departure can be a traditional tune, a vocal style, a text, a musical instrument, or an original composition based on any kind of traditional music . Comparison with Sounds of Slovenia calls for another predecessor to contemporary ethnomusicology — that is, comparative musicology,

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whose representatives researched ‘other and different’ music . Unlike in neighbouring Austria, for instance, this approach was not taken in Slovenia . Contemporary ethnomusicology does not, of course, limit itself to studies of the music of ‘primitive peoples’ or ‘the high cultures of the Orient’, as comparative musicology did . However, due to comparative musicology and to the influences of cultural anthropology, contemporary ethnomusicology takes into account a significantly broader referential spectrum than folk music research . It deals with music from any place and any time, in all of its diversity, in an awareness both of the need to preserve traditional music and the need to study the processes that mark the increasingly animated life of music in general in contemporary society .

In the present project, Slovenia is above all a crossroads, a space for the meeting of the local and the global, in which musicians choose freely from various traditional and other sources, combining them in accordance with their own poetic and aesthetic preferences . The Slovene language is found not only in its literary form, but also in its diverse dialects and local speech forms (e .g ., II­3, II­10) . However, it is not the only language on the compilation; others Slavic languages are included (Bosnian: I­11, Croatian: II­5, Macedonian: I­6), as well as Hungarian (II­4), Romani (II­16) and Spanish (I­9) . The span from the local micro level to the global macro level is even more evident in the music itself . The sources of musical inspiration range from various parts of Slovenia, frequently its border regions (e .g ., Bela krajina: II­9 and II­13; Istria: I­1 and II­7; Prekmurje: I­2, I­12 and II­12), in one case even being interconnected with interludes (II­14), to various parts of Europe (e .g ., Ireland: I­8, Italy: I­5, Macedonia: I­6) and beyond the European sphere (e .g ., Argentina: I­9, Brazil: I­13, the Arab world: I­7, India: I­14, USA: II­6, II­7) . In some cases, the links between Slovene traditional songs and the other traditions are emphasised with instrumentation; thus we hear the Slovak fujara in example II­11 and the West African djembe in example I­12 .

And who are the musicians who sing in foreign languages and/or use characteristic ‘foreign’ music to produce a fusion with their own handwriting and/or play ‘foreign’ instruments? Etno: Music Routes — Highways and Byways offers a multilayered answer to this question, with musicians from various parts of Slovenia, as well as musicians who have migrated to Slovenia from countries ranging from Macedonia (II­13) to the USA (I­15) . The fact is that the ethnic identity of the musicians is not of decisive significance here, as the emphasis is on the creative choices made by the individuals and groups . Thus, for example, non­Roms play Romani tunes (II­15, II­16) . Examples I­3 and I­9 testify to the fact that the same singer can be equally convincing performing a traditional song from central Slovenia about lost love avenged and singing an Argentinean

milonga . The performers in examples I­8, I­12 and I­14, as with many others, clearly confirm that acquiring a deeper knowledge of, and performing in the various musical languages of the world strengthens the cognitive and psychomotorical abilities of the contemporary musician . Examples I­2 and II­12 illustrate two very different approaches to the same traditional song; with its slow tempo and instrumentation characteristic of the region where the song has been documented, the second version is closer to the song’s traditional image; nonetheless, both versions reflect an individual and creative relationship to ‘the original’ .

The fact that the material selected by the musicians for creative reworking belongs to the global traditions of various generations also contributes to the diversity of Etno: Music Routes — Highways and Byways; the roots of the examples I­6, II­1 and II­11, for instance, can be defined as part of the children’s repertoire . One should also mention the diverse use of technology . For instance, all the sounds in example II­1 are derived from only one individual; the examples I­1 and I­10 are enriched by sound effects; and the inclusion of playing patterns characteristic of instruments such as the kora and balafon assisted the musicians’ intention in example I­15 to invoke the soundscape of Niger .

Although the selection of recordings is rich and diverse, it is far from everything that Slovenia has to offer in the field that we have for this occasion labelled ‘et(h)no’ . The majority of musicians here have their own websites, and listeners can visit other websites by artists who, for various reasons, were not included on the present compilation . Among these are Mira Omerzel ­ Mirit, leader of the groups Trutamora Slovenica and Vedun, who sees her ideological position as a curator in a museum of folk music; Imer Traja Brizani, who creatively links jazz and the Romani music of the Balkans; Klarisa JovanoviÊ, who sings in numerous languages; the family trio Volk Folk, whose members provide clear evidence that performing folk music, studying art music and playing in a rock band can be complementary activities; the group Aritmija, who are gaining increased attention from Slovene audiences; the versatile musician Magnifico, who has already attracted attention in several parts of Europe; and many others . The selection of recordings on the present compilation offers not only an abundance of various approaches and sounds, but also provides a valuable basis for intellectual reflection on the space and time in which we live .

Dr. Svanibor Pettan, professor at the Musicology Dept . of the Faculty of Arts of the University of Ljubljana, ethnomusicologist, member of the selection committee for the compilation Etno Slovenia 2011 .

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Skladba / Composition:Dajte, dajte / Give, Give(glasba in besedilo / music and lyrics: ljudska / traditional; aranžma / arrangement: Arsov)

Naslov albuma / Album title:Arsov: Etnotronika / Ethnotronics(Ph RED, 2010)www .ph­red .net

Zasedba / Line­up:Arsov − instrumenti / instrumentsLara Baruca − vokal / vocalsMarko Preželj − spremljevalni vokal / back vocalsTinca Rakovac − flavta / flute

Kontakt / Contact: +386 (0)40 731 169arsov@arsov .net

Arsov feat. Lara Baruca

Arsov je prvo plošËo posnel v osemdesetih kot kitarist novovalovske skupine Gast'r'bajtr's, kasneje pa se je ukvarjal z elektronsko glasbo . Leta 2001 je zaËel sodelovati z angleško založbo Raw 42 . Odtlej je posnel štiri samostojne albume ter sodeloval na šestih mednarodnih kompilacijah . V Sloveniji sta najbolj odmevali Hiša pesmic (samozaložba, 2003), zgošËenka za otroke, ter Etnotronika (Ph RED, 2010), album z elektronskimi predelavami slovenskih ljudskih pesmi, na kateri so gostovali številni znani slovenski glasbeniki . V tujini so bile najbolj opažene pesmi z njegovega prvega samostojnega albuma, Mindless, ki je izšel v Chicagu (Aaugh Records, 2006) . Glasbena zbirka Roxy Remodeled (BasicLUX Records, 2005), k oblikovanju katere je bil povabljen z Angležem Marcom Burnsom, je dosegla 30 . mesto Billboardove dance lestvice . Arsov je ustvaril veË glasbenih spremljav za umetniške performanse, likovne ambientalne postavitve ter televizijske filme za TV Slovenija . Lara Baruca je priznana primorska rockovska pevka, ki je doslej izdala štiri samostojne albume in ustvarila glasbo za veË gledaliških predstav .

Dvajset najizvirnejših slovenskih glasbenikov je ljudske pesmi transformiralo v eksplozivne in izzivalne elektronske aranžmaje . To je po dolgem Ëasu eden najbolj domiselnih projektov, ki ponuja za vsakogar nekaj . Kristina BožiË, spletna stran Café Babel

Arsov recorded his first album in the 1980’s, playing guitar in the new wave band Gast’r’bajtr’s; later, he worked in electronic music . In 2001, he began to collaborate with the English label Raw 42 . From that point on, he recorded four solo albums and contributed to six international compilations . Two albums were very well received in Slovenia, Hiša pesmic (House of Little Songs; self­released, 2003), an album for children, and Etnotronika (Ethnotronics; Ph RED, 2010), a disc featuring electronic arrangements of Slovenian traditional songs which included guest appearances by a number of well­known Slovenian musicians . Outside Slovenia, songs from his first solo album, Mindless, released in Chicago (Aaugh Records, 2006), attracted the most attention . The music collection Roxy Remodeled (BasicLUX Records, 2005), which he was invited to curate together with Englishman Marko Burns, reached number 30 on Billboard’s dance chart . Arsov has also written a number of musical accompaniments to performance art pieces, art installations and television films for Slovenian Television . Lara Baruca is a well­known rock singer from the Primorska region of Slovenia, who has thus far released four solo albums and written music for a number of theatre presentations .Twenty of the most original Slovenian musicians have transformed folk songs into bursting and daring electronic arrangements. This is the most imaginative project in a long time which offers something for everyone.Kristina BožiË, website Café Babel

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Skladba / Composition:Ne ori, ne sejaj / Do Not Plough, Do Not Seed(glasba in besedilo: ljudsko / traditional; aranžma / arrangement: Eva Hren & Sladcore)

Naslov albuma / Album title:Eva Hren & Sladcore: SLO (Celinka, 2009)www .celinka .si

Zasedba / Line­up:Eva Hren − vokal / vocalsMarko Boh − klaviature / keyboardsMarko GregoriË − kontrabas / double bassBlaž Grm − bobni / drums

Kontakt / Contact: + 386 (0)41 415 577evahren@gmail .com www .evahren .com

Eva Hren & Sladcore

Kvartet uveljavljenih glasbenikov (pevka in kitaristka Eva Hren, bobnar Blaž Grm, kontrabasist Marko GregoriË in klaviaturist Marko Boh) se je sestal leta 2008 . »eprav Ëlani izhajajo iz razliËnih žanrskih usmeritev in glasbenih okolij, so se odloËili, da se bodo za zaËetek dotaknili le slovenskega ljudskega glasbenega izroËila . Vendar so se restavriranja slovenske ljudske dedišËine lotili na malce drugaËen, jazzovski naËin, ki vnaša v stare napeve barve drugih kultur, razpoloženj in utrip sodobnega Ëasa . Skladbe skupine Eva Hren & Sladcore odlikujejo stilsko raznoliki in razgibani aranžmaji ter igriv jazzovski vokal, ki skupaj na duhovit naËin odpirajo sodobni pogled na znane ljudske in ponarodele viže . Prvenec skupine z naslovom SLO (Celinka, 2009) je bil poleg toplega sprejema v Sloveniji deležen tudi mednarodne medijske pozornosti, saj se je leta 2009 uvrstil med 100 najboljših albumov na lestvici World Music Charts Europe .

Eva Hren & Sladcore so pesmi odeli v drzna nova glasbena oblaËila, vendar so pri tem ostali zvesti slovenskosti v glasbenem izrazu .Zdenko Matoz, Delo

This quartet of established musicians (singer and guitarist Eva Hren, drummer Blaž Grm, double bassist Marko GregoriË and keyboardist Marko Boh) came together in 2008 . Even though the individual members come from different genres and musical environments, they decided from the outset to focus only on Slovenian traditional music . They approached the restoration of Slovenian folk heritage in a rather different, even jazzy way, which injects the colours of other cultures, moods and the pulse of modern times into the archaic melodies . The songs by Eva Hren & Sladcore are distinguished by stylistically diverse and agile arrangements combined with playful jazzy vocals that wittily take a modern look at well­known traditional and popular melodies . The group’s debut album SLO (Celinka, 2009) earned both a warm reception in Slovenia and international media attention after being listed among the 100 best albums of 2009 on the World Music Charts Europe .

Eva Hren & Sladcore revealed the songs in daring new musical dress, still remaining faithful to their Sloveneness in their musical expression.Zdenko Matoz, Delo daily newspaper

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Skladba / Composition:Komur se dremlje / Whoever Is Sleepyglasba / music: ljudska / traditional, Boštjan Narat; besedilo / lyrics: ljudsko / traditional; aranžma / arrangement: Boštjan Narat and Katalena)

Naslov albuma / Album title:Katalena: NoË Ëarovnic / Night of the Witches(Pivec, 2011)www .zalozba­pivec .com

Zasedba / Line­up:Vesna Zornik − vocal / vocalsPolona JanežiË − tolkala, spremljevalni vokal / percussion, backing vocalsBoštjan GombaË − tolkala, spremljevalni vokal / percussion, backing vocalsBoštjan Narat − kitara, spremljevalni vokal / guitar, backing vocalsTibor MiheliË Syed − tolkala, drumlja / percussion, Jew's harpRobert Rebolj − bobni, tolkala / drums, percussion

Kontakt / Contact: +386 (0)41 924 515info@katalena .netwww .katalena .net

Katalena

Zgodba Katalene se je priËela leta 2001 v idiliËni vasici na jugovzhodu Slovenije, kjer je šest entuziastov odkrivalo arhivski folklorni material in pomladilo njegovo zarjavelo podobo z art rock, funk, jazz in blues primesmi ter z njihovo osebno noto mladostnega pogleda, ki je bil ravno toliko filozofski, kot je bil glasbeni . Letos skupina obeležuje deseto obletnico ustvarjanja, posveËenega poživitvi in posodabljanju slovenske glasbene tradicije, ki je v svojem aranžmajskem pristopu izrazito avtorska in inovativna . V tem desetletju je Katalena izdala pet albumov, ki so bili deležni pozitivnega odziva tako pri obËinstvu kot pri kritikih in so skupino odpeljali na koncertno pot od ZDA do Izraela ter jo pobratili celo z baletniki in elektroniko . Osnovni vir avtorskih iskanj na zadnjem albumu, NoË Ëarovnic (Pivec, 2011), ostaja ljudsko glasbeno izroËilo, vendar mu moËnejši peËat daje uglasbitev poezije nekaterih vidnejših slovenskih avtoric in avtorjev, ki slonijo na ljudski motiviki, in izvirne besedilne intervencije .

Katalena je edina ≈muziËna banda«, ki kontinuirano preizprašuje svoje poËetje, neprestano premika meje in koordinate ljudskega ter se že skoraj desetletje uspešno izogiba Ërnim luknjam ustvarjalne korozije .Katarina JuvanËiË, spletna revija o glasbi Odzven

Katalena’s story begins in 2001 in an idyllic little village in south­east Slovenia, where a group of six enthusiasts discovered archival folklore material and rejuvenated its rustic image with an admixture of art rock, funk, jazz and blues, as well as their own integral youthful vision, which was as much philosophical as it was musical . This year, the band celebrated their 10th year of reanimating and updating Slovenian musical traditions with their distinctively original and innovative approach to arranging . In this decade, Katalena have released five albums which were positively received by both listeners and critics, and carried the band on a path of concerts from the United States to Israel, and even collaborations with ballet dancers and electronics . The basic source for the artistic search on their last album, NoË Ëarovnic (Night of the Witches; Pivec, 2011), remains folk music traditions; however, the musical settings of poetry by some prominent Slovenian authors who draw on folk motifs and original textual interventions give it a more powerful stamp .

Katalena are the only band who continue to question everything they do; for almost a decade, they have incessantly shifted the boundaries and coordinates of folk music, while successfully avoiding the black holes of creative corrosion .Katarina JuvanËiË, Odzven web music magazine

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Skladba / Composition:Lepa Vida / The Fair Vida(glasba: ljudska, Brina Vogelnik, Janez DovË; besedilo: ljudsko / traditional; aranžma / arrangement: Sounds of Slovenia)

Naslov albuma / Album title:Sounds of Slovenia: I HEAR sLOVEnia (Celinka, 2011)www .celinka .si

Posnetek Brine Vogelnik (Brine) je objavljen z dovoljenjem založbe DruGod . / Brina Vogelnik (Brina) appears courtesy of DruGod . info@drugagodba .si

Zasedba / Line­up:Brina Vogelnik − vokal / vocalsJani Hace − bas kitara / bass guitarRobi Pikl − kitara / guitarSergej RandjeloviÊ − RunJoe − bobni / drumsNino MureškiË − tolkala / percussionJanez DovË − harmonika, rhodes / accordion, Rhodes pianoBoštjan GombaË − pišËal / whistle fluteMiloš SimiÊ − violina / violinVasilij Centrih − violina / violinJelena Ždrale − viola / violaTamara GombaË − violonËelo / celloAPZ Tone TomšiË, Jazzva − zbora / choirs

Kontakt / Contact: info@soundsofslovenia .com www .celinka .si

Sounds of Slovenia feat. Brina Vogelnik

Sounds of Slovenia je multimedijski spektakel, ki združuje skupino vrhunskih glasbenic in glasbenikov, ki so že uveljavljeni solisti, a hkrati igrajo in pojejo v razliËnih prepoznavnih zasedbah (Katalena, Jararaja, Magnifico, Siddharta, Elevators, Fake Orchestra, Brina, Katice, Big Band RTV Slovenija itd .) . Projekt pod umetniškim vodstvom harmonikarja in skladatelja Janeza DovËa predstavlja slovensko ljudsko izroËilo v sodobnih in živih priredbah . S projektom želijo sodelujoËi poudariti pomen in bogastvo kulturne raznolikosti ter hkrati celovitosti sveta . Brina Vogelnik je priznana pevka, lutkarica, oblikovalka in animatorka . Že vrsto let raziskuje slovenske ljudske pesmi, ki jih interpretira na svojstven naËin . Ljudske pesmi je pela v skupinah Šišenska bajka ter Brina & String .si, mednarodni uspeh pa požela s skupino Brina, s katero je posnela dve kritiško odmevni plošËi in ju uspešno predstavila na številnih world music festivalih v Evropi in po svetu .

Projekt Sounds Of Slovenia je vzorËen projekt predstavljanja slovenske ljudske glasbe v posodobljenih avtorskih razliËicah .Zdenko Matoz, Delo

Sounds of Slovenia is a multimedia spectacle that brings together a group of first­rate musicians, already reputable soloists who also play and sing with various recognised ensembles and solo artists such as Katalena, Jararaja, Magnifico, Siddharta, Elevators, Fake Orchestra, Brina, Katice, Big Band RTV Slovenia and others . Under the artistic direction of accordionist and composer Janez DovË, the project presents Slovenian folk traditions in modern and lively arrangements . With this project, the musicians hope to emphasise the meaning and richness of cultural diversity, and at the same time that of the whole world . Brina Vogelnik is a well­known singer, puppeteer, designer and animator . She has researched Slovenian traditional music for a number of years and interprets the songs in her own unique way . She has sung folk music as a member of the groups Šišenska bajka and Brina & String .si, and garnered international recognition with another band, Brina, with whom she recorded two critically well­received albums, and continues to perform to acclaim at world music festivals in Europe and around the globe .

The Sounds of Slovenia project is an exemplary undertaking to present Slovenian folk music in modernised, original versions . Zdenko Matoz, Delo daily newspaper

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Skladba / Composition:Da ta na Sarti / Way Up on Sarta Mountain(glasba in aranžma / music and arrangement: Maja Osojnik; besedilo: ljudsko / traditional)

Naslov albuma / Album title:Maja Osojnik Band: »rne vode / Black Waters / Schwarze Wasser(Viennese Soulfood Records, 2010)

Zasedba / Line­up:Maja Osojnik − vokal, elektronika, terenski posnetki / vocal, electronics, field recordingsClemens Wenger − harmonika / accordionPhilipp Jagschitz − klavir / pianoBernd Satzinger − kontrabas / double bassMathias Koch − bobni / drums

Kontakt / Contact: +43 (0)69 912 161 818maja .osojnik@gmx .net www .majaosojnik .com

Maja Osojnik Band

Na Dunaju živeËa akademsko izobražena slovenska glasbenica Maja Osojnik je priznana pevka, eklektiËna komponistka, elektroniËarka, improvizatorka in kljunasta flavtistka . Sodeluje v mnogih skupinah in glasbenih projektih (Maja Osojnik Band, broken .heart .collector, RdeËa Raketa, FRUFRU, Subshrubs, Ensemble MIKADO, Low Frequency Orchestra itd .), koncertira na znanih evropskih festivalskih in koncertnih odrih (Festival Glattundverkehrt, Kontraste, Carintischer Sommer, Hofhaimer Tage, Musikprotokoll, Musik Aktuell, Druga godba, Ljubljanski jazz festival, TFF Rudolstadt) ter ustvarja glasbo za ples, gledališËe in razne komorne zasedbe . Je dobitnica številnih nagrad in štipendij (Ö1/ORF, 2009 in MIA Award, 2010) . Njen album »rne vode (Viennese Soulfood Records, 2010), na katerem se je izkazala kot kompetentna poznavalka slovenske ljudskopesemske dedišËine in zrela skladateljica, tekstopiska in pevka, sta tako Magazin Falter kot Radio Študent uvrstila med deset najboljših albumov leta 2010 .

S predirljivim nastopom, a globokim altom interpretira slovenske ljudske pesmi − enkrat s spoštljivo nežnostjo, spet drugiË pa jih povsem prekomponira in prekodira . Je vsestranska umetnica, ki ne spada v noben predalËek . Ustvarja živahen in blešËeË kalejdoskop stilov, od folka pa do baroka, jazza in punk­rocka, elektronike in avantgarde .Virtualni Womex

The Vienna­based, classically trained Slovenian musician Maja Osojnik is an acknowledged singer, eclectic composer, electronic artist, improviser and recorder player . She works with many different groups and musical projects, such as the Maja Osojnik Band, broken .heart .collector, RdeËa Raketa (Red Rocket), FRUFRU, Subshrubs, Ensemble MIKADO, the Low Frequency Orchestra and others, and has performed on well­known European festival and concert stages, such as the Festival Glattundverkehrt, Kontraste, Carintischer Sommer, Hofhaimer Tage, Musikprotokoll, Musik Aktuell, Druga godba, Ljubljana Jazz Festival, TFF Rudolstadt, and others . She also composes music for dance and theatre productions, as well as for various chamber ensembles . Maja Osojnik has received numerous awards and prizes, including the Ö1/ORF prize in 2009 and an MIA Award (2010) . Her album »rne vode (Black Water, Viennese Soulfood Records, 2010), on which she proved herself to be quite an expert on Slovenian folk music and a mature composer, lyricist and singer, was rated among the 10 best albums of 2010 by both Magazin Falter and Radio Študent.

With her shrill appearance, but deep alto voice, she interprets Slovene folk songs − sometimes with respectful tenderness, sometimes by means of total re­composition and re­coding . She is an all­rounder who does not fit into any box, creating and living a dazzling kaleidoscope of styles from folk to baroque to jazz to punk­rock, electronics and avant­garde .Virtual Womex

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Skladba / Composition:Puknula, oj! (glasba in besedilo / music and lyrics: Vlastimir Nikolovski; aranžma / arrangement: Karmina Šilec)

Naslov albuma / Album title:Carmina Slovenica: Balkanika (Carmina Slovenica, 2010)

Zasedba / Line­up:Carmina Slovenica, !Kebataola! − vokali / vocalsNino MureškiË, Jam­Bashi (Tadej Furlan, Andrej Hrvatin, Damir Mazrek) − tolkala / percussionVasko Atanasovski − pihala / reedsJanez DovË − harmonika / accordion Karmina Šilec − zborovodja, umetniški vodja / conductor, artistic director

Kontakt / Contact: + 386 (0)2 251 22 15 carmina .slovenica@guest .arnes .si www .zbor­carmina­slovenica .si

Carmina Slovenica

Koncertni zbor, ki ga od leta 1989 vodi dirigentka Karmina Šilec, deluje od leta 1964 in spada med vodilne ansamble v svetovnem zborovskem gibanju . Prestižni ugled zbora potrjujejo številni koncerti in turneje po celem svetu ter najvišje nagrade na pomembnih mednarodnih tekmovanjih (Kathaumixw v Kanadi, Golden Gate in Des Moines v ZDA, Neerpelt v Belgiji) . Povabljen je bil tudi na številne ugledne festivale, kot so Svetovni glasbeni dnevi (ISCM), Svetovni simpozij za zborovsko glasbo (IFCM), Moskovski velikonoËni festival, Dresdner Musikfestspiele itd . S choregie, ≈vokalnim teatrom«, uvaja Carmina Slovenica nov koncept, ki vkljuËuje glasbo, gib, igro in druge odrske elemente . V zadnjem Ëasu so tovrstne odrske produkcije deležne številnih nagrad, izvajajo se na mnogih mednarodnih festivalih ter predvajajo na EBU in Evroviziji . Carmina Slovenica je doslej izdala veË kot ducat zgošËenk ter požela izvrstne odzive obËinstva ter glasbenih strokovnjakov in kritikov doma in po svetu . Balkanika prinaša sintezo arhaiËnih elementov z obmoËja Balkana, popularnih pesmi iz preteklosti in sodobne jazzovske improvizacije .

Silni emotivni naboj vokalnega izraza .Polnost ekspresije in moË avtentiËnosti . ArtistiËni perfekcionizem in silovita ustvarjalna energija umetniške osebnosti .Bosiljka Kempf, VeËer

The concert choir Carmina Slovenica, led since 1989 by conductor Karmina Šilec, has been active since 1964 and is considered one of the leading ensembles in the choral music world . The choir’s prestigious reputation has been confirmed by a number of concerts and international tours, and top prizes won at important international competitions (Kathaumixw in Canada, Golden Gate in Des Moines in the United States, Neerpelt in Belgium) . They have also been invited to perform at many prestigious festivals, such as the World Music Days (ISCM), the World Choral Music Symposium, (IFCM), the Moscow Easter Festival, the Dresden Musikfestspiele and others . With ‘choregie’ (vocal theatre), Carmina Slovenica introduced a new concept that includes music, movement, acting and other theatrical elements . In recent years, these kinds of stage productions have earned the group a number of awards, and have been presented at many international festivals and broadcast on the EBU and Eurovision . Carmina Slovenica have released more than a dozen albums and have been received warmly by both audiences and music professionals, garnering excellent reviews both at home and around the globe . Balkanika features a synthesis of archaic elements from the Balkans, popular songs from the past, and modern jazz improvisations .

Forceful emotive charge of vocal expression . Complete expression and power of authenticity . Artistic perfectionism and violent creative energy of artistic personality .Bosiljka Kempf, VeËer daily newspaper

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Skladba / Composition:Mr. Baha (glasba / music: Marko Korošec; aranžma / arrangement: Essaouira Project)

Naslov albuma / Album title:Essaouira Project: Baha (Goga, 2009)www .zalozba­goga .si

Zasedba / Line­up:Marko Korošec − ud (arabska lutnja) / oud (Arabian lute)Bajsa Arifovska − klarinet / clarinetHerman Gaiser − kontrabas / double bassAndrej Hrvatin in Damir Mazrek − tolkala / percussion

Kontakt / Contact: mkorosec8@yahoo .comwww .myspace .com/essaouira .project

Essaouira Project

Skupino sestavlja Ëetverica slovenskih glasbenikov, in sicer kitarist in glasbeni pedagog Marko Korošec, tolkalca Damir Mazrek in Andrej Hrvatin ter kontrabasist Herman Gaiser, ki je leta 2007 svoje znanje in izkušnje strnila v Essaouira Project . Projekt je nastal kot rezultat številnih potovanj omenjenih glasbenikov na Balkan (zlasti v Makedonijo), Bližnji Vzhod in v Severno Afriko, kjer so odkrivali in raziskovali tamkajšnjo glasbo, kulturo in tradicionalne inštrumente . Ideja za ime zasedbe se je Korošcu porodila v maroškem obmorskem mestecu Essaouira, ki je že v preteklosti privlaËilo mnoge umetnike . K snovanju glasbe za prvenec so povabili mednarodno priznano glasbenico, multiinstrumentalistko in profesorico glasbe Bajso Arifovsko iz Makedonije, ki je sodelovala pri snemanju njihovega albuma Baha, posnetega v Skopju . Glasba skupine Essaouira Project je sinteza orientalskih in balkanskih ritmov ter melosov, ki jih glasbeniki izvajajo na razliËne akustiËne instrumente .

Zdaj že uigrana zasedba Essaouira Project je na zadnjih koncertih dodobra razgrela obËinstvo ter požela zanimanje in odobravanje glasbenih poznavalcev in kritikov .Slavko Podbrežnik, spletni portal 7dni

The Essaouria Project is a quartet of Slovenian musicians − guitarist and music teacher Marko Korošec, percussionists Damir Mazrek and Andrej Hrvatin, and double bassist Herman Gaiser − who came together in 2007 after making numerous trips through the Balkans (especially Macedonia), the Middle East and North Africa, where they discovered and explored the music, culture and traditional instruments indigenous to those regions . The idea for the ensemble’s name came to guitarist Marko Korošec in the Moroccan town of Essaouira, which has attracted artists in the past . The band invited the internationally recognised multi­instrumentalist and teacher Bajsa Arifovska to Skopje to collaborate on their debut album, Baha . The Essaouira Project’s music is a synthesis of Oriental and Balkan rhythms and melodies performed on various acoustic instruments .

In their recent concerts, the Essaouira Project ensemble have completely enraptured audiences and earned the interest and approval of both music connoseurs and critics .Slavko Podbrežnik, 7dni website

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Skladba / Composition:Nori veter / Liver Dance (glasba in aranžma / music and arrangement: Mystica)

Posneto / Recorded:Na koncertu ≈Ledena trgatev« ob deseti obletnici delovanja skupine v Klubu Cankarjevega doma v Ljubljani . / at the ‘Icewine Harvesting’ concert celebrating the group’s 10th anniversary in the Cankarjev dom Club, Ljubljana (4 . 2 . 2010)

Zasedba / Line­up:Mystica − kitara / guitarBojan Cv − violina / violinMarko Hatlak − harmonika / accordionGoran BojËevski − klarinet, pišËali / clarinet, tin whistles and flutesKlemen BraËko, Matija KreËiË, Polona UdoviË − violina / violin

Kontakt / Contact: info@terrafolk .org www .terrafolk .org International: info@stageplanet .net

Terrafolk

Skupino so leta 1999 ustanovili skladatelj progresivnega rocka Daniel »erne − Mystica, nekdanji klasiËni solist Bojan Cvetrežnik in multiinstrumentalist Boštjan GombaË . Od samih zaËetkov je zasedba presegala nacionalne meje in si je s številnimi evropskimi turnejami pridobila širok krog poslušalcev . Z unikatnim pristopom k podajanju glasbe, vrhunskim odrskim nastopom, komunikacijo z obËinstvom in edinstvenim prepletom raznih glasbenih žanrov od etna, folka in glasb sveta do popa, klasike in rocka, si je skupina izgradila enkratno pojavnost, ki je prepriËala tudi zahtevne glasbene kritike in žirije mednarodnih glasbenih nagrad (npr . Spirit of the Fringe 2002, Boomerang 2002, BBC Radio World Music Audience Award 2003, Tap Water Awards 2004, The Sun Fallon Award 2001, 2002, 2003) . Skupina je izdala pet albumov, Ëlani skupine pa snemajo in izdajajo tudi avtorsko glasbo . V zadnjem Ëasu Terrafolk veliko nastopa s SimboliËnim orkestrom pod taktirko dirigenta Izidorja Leitingerja .

Le kak pogumnež bi mislil, da se lahko kosa s Terrafolki . V njihovem nastopu zaslišimo ciganske tradicije, akademski standard igranja, liberalne injekcije norosti, sodelovanje obËinstva, ognjevite menjave med violino in harmoniko, in brž ko pomisliš, da je to najbrž že veË kot dovolj, bodo poznavalsko odigrali Bacha ali kak heavy metal solo na akustiËno kitaro … Rob Adams, The Herald

Terrafolk was founded in 1999 by progressive rock composer Daniel »erne (aka Mystica), former classical soloist Bojan Cvetrežnik and multi­instrumentalist Boštjan GombaË . From the very beginning, the ensemble transcended national borders and, with a number of European tours, obtained a wide circle of listeners . Thanks to their unique approach to presenting music, excellent stage appearances, fluid communication with audiences, and distinctive mix of various musical genres from ethno, folk and world music to pop, classical and rock, the group built up a unique phenomenon that proved convincing to both demanding music critics and juries of international music prizes like the Spirit of the Fringe 2002, Boomerang 2002, BBC Radio World Music Audience Award 2003, Tap Water Awards 2004, and The Sun Fallon Award 2001, 2002, 2003 . The band has released five albums . The members also record and release their own music . Lately, Terrafolk has been performing with Simbolic Orchestra under the direction of conductor and composer Izidor Leitinger .

It would be a brave person who thought that he had the measure of a Terrafolk show . There are the gypsy traditions, the conservatory­standard musicianship, liberal injections of lunacy, audience participation, fiery exchanges between violin and accordion and just when you’re thinking, well, that’s quite a lot to be going on with, they’ll produce some expert Bach or a heavy­metal solo out of an innocent­looking acoustic guitar… Rob Adams, The Herald

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Skladba / Composition:Noche Transfigurada / Transfigured Night(glasba in besedilo / music and lyrics: Daniel Melingo; aranžma / arrangement: Vesna Zornik, Aldo IvanËiÊ, TangoApasionada)

Naslov albuma / Album title:Vesna Zornik: TangoApasionada (Celinka, 2010)www .celinka .si

Zasedba / Line­up:Vesna Zornik − vokal / vocalsAndraž Mazi − kitara / guitarErik MarenËe − klaviature / keyboardsNikola MatošiË − kontrabas / double bassAldo IvanËiÊ − programiranje ritmov, oblikovanje zvoka / rhythm programmer, sound designerGostja / Guest:Polona JanežiË − ploskanje / clapping

Kontakt / Contact: www .vesnazornik .com

Vesna Zornik

Glavna vokalistka zasedbe Katalena in nedvomno ena najbolj izraznih pevk v Sloveniji . S svojim prepoznavnim vokalom in karizmo je marsikateri slovenski ljudski pesmi dala svoj osebni peËat . Hkrati jo že lep Ëas spremlja tango . Po nastopih s pianistom Erikom MarenËetom ter sodelovanju z zasedbo Astorpia je leta 2010 v sodelovanju s producentom Aldom IvanËiÊem posnela svojo prvo samostojno plošËo, posveËeno argentinskemu tangu . PlošËa z naslovom TangoApasionada ponuja glasbena dela znanih in manj znanih avtorjev tega žanra v novi, sodobni preobleki, ki je tu in tam moËno elektronsko obarvana, vendar kljub nenavadnemu naboru instrumentov ohranja melodiËne znaËilnosti in emotivne momente tanga . Album TangoApasionada je nastal v sodelovanju z mnogimi priznanimi slovenskimi glasbeniki, kot so pianist Erik MarenËe, kitarist Andraž Mazi, kontrabasist Nikola MatošiË, bobnar Rok Koritnik ter številnimi gosti (Oksana PeËeny, Davor Herceg, Adonai Meru idr .) .

Pesmi, v katerih so Zornikova, producent in Ëetica izkušenih glasbenikov dobro zadeli razmerje med modernostjo, patino in neposrednostjo strastnega tanga, pa nas prepriËajo in nekajkrat tudi navdušijo z veËslojnimi aranžmaji, dobro izvedbo, s skrbjo za detajle in šarmantnim vokalom . Mario BateliÊ, Radio Študent

Vesna Zornik is the lead singer in the band Katalena and undoubtedly one of the most expressive singers in Slovenia . She has placed her own personal stamp on many Slovenian traditional songs through her easily recognisable vocals and charisma . At the same time, she is also an ardent admirer of tango . Following performances with pianist Erik MarenËe and in collaboration with the band Astorpia, she recorded her first solo album with producer Aldo IvanËiÊ in 2010, a disc devoted to Argentine tango entitled TangoApasionada . The album offers songs from both well­known and lesser­known composers in the genre with new and updated instrumentations, while preserving the melodic characteristics and emotional momentum of tango . TangoApasionada features many acknowledged Slovenian musicians, such as pianist Erik MarenËe, guitarist Andraž Mazi, double bassist Nikola MatošiË, and drummer Rok Koritnik, and also features guest artists, including Oksana PeËeny, Davor Herceg, and Adonai Meru .

The songs in which Zornik, the producer, and a procession of experienced musicians find a very good balance between modernity, pathos and the directness of passionate tango are most convincing − and occassionally even rapturous in their multilayered arrangements, good performances, attention to detail and charming vocals .Mario BateliÊ, Radio Študent

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Skladba / Composition:Uej uej (Magdalenca)(glasba in aranžma / music and arrangement: Katarina JuvanËiË & Dejan Lapanja; besedilo / lyrics: Katarina JuvanËiË, ljudsko / traditional)

Naslov albuma / Album title:Val 09 − Imamo dobro glasbo / Val 09 — We Have Good MusicP & C RTV Slovenija(ZKP RTV Slovenija, 2009)

Zasedba / Line­up:Katarina JuvanËiË − vokal, kalimba, shruti box, spremljevalni vokal / vocals, kalimba, shruti box, backing vocals Dejan Lapanja − akustiËna kitara, elektriËna kitara, bas kitara, bobni, tolkala, spremljevalni vokal / acoustic guitar, electric guitar, bass guitar, drums, percussion

Kontakt / Contact: katarina .juvancic@gmail .comwww .myspace .com/katarinajuvancic

Katarina JuvanËiË & Dejan Lapanja

Duo je na slovenski glasbeni sceni naredil preboj konec leta 2009, ko se je s punkfolk skladbo Uej Uej (Magdalenca) uspešno predstavil na nateËaju Vala 202 in nastopil na zakljuËni prireditvi nateËaja v Kinu Šiška . Junija 2010 je bil nagrajen na Kantfestu − slovenskem kantavtorskem festivalu . Katarina upesnjuje bogat izpovedni svet ženskih sentimentov ter gradi most med sodobnimi trendi in arhaiËnimi ljudskimi naËini pesnjenja in senzibilnosti . Aranžmajsko piko na i postavlja njen odrski kompanjon, vsestranski glasbenik in producent Dejan Lapanja, ki se je kalil v odmevnih slovenskih skupinah Olivija in Bast, trenutno pa nastopa še s skupinami Vasko Atanasovski trio, Mljask, Salamandra Salamandra ter v duu s priznano pevko Severo Gjurin .

OdliËen je bil nastop letošnjih dobitnikov bronaste kante, Katarine JuvanËiË in Dejana Lapanje, ki je bil suveren in izvrstno dramaturško zgrajen . Vrhunec sta dosegla s kompleksno razgradnjo in dopolnitvijo pesmi Adamov . Upajmo, da bosta tudi Katarina in Dejan v doglednem Ëasu svoje skupno delo zabeležila v ustrezni obliki .Milko Poštrak, Radio Študent

The duo made their break­through debut on the Slovene music scene at the end of 2009, when they presented their song Uej, uej (Magdalenca) in the Val 202 Radio’s newcomers contest . As one of the contest’s best bands, they also performed at the closing event in Kino Šiška . In June 2010, they were awarded at the Slovenian songwriting competition Kantfest . Katarina’s lyricism portrays a rich expressive world of female sentiment, bridging modern trends with more archaic folk influences and sensibilities . The duo is completed by her counterpart, Dejan Lapanja, a versatile musician and producer, who honed his skills in the acclaimed Slovenian bands Olivija and Bast . Aside from composing and performing his own music, he also currently plays with the Vasko Atanasovski Trio, Mljask, Salamandra Salamandra, and renowned singer Severa Gjurin .

The performance delivered by this year’s bronze winners, Katarina JuvanËiË and Dejan Lapanja, was excellent . Superb dramatic intensity culminated in a complex expansion and completion of Adam’s Song . Let’s hope that Katarina and Dejan record their work in a proper format within a reasonable time . Milko Poštrak, Radio Študent

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Skladba / Composition:Snijeg pade na behar na voÊe / Snow Is Falling on Blossoms and Fruit(glasba in besedilo / music and lyrics: ljudska / traditional; aranžma / arrangement: Sedef)

Naslov albuma / Album title:Sedef: Sewda (Sanje, 2010)www .sanje .si

Zasedba / Line­up:Maša PašoviÊ − vokal / vocalsTilen Stepišnik − klasiËna kitara, saz, tres / classical guitar, saz, tresŠemsudin Džopa − akustiËna kitara / acoustic guitarGostje / Guests:Sergej RandjeloviÊ − RunJoe − tolkala / percussionBarbara Žorž − violonËelo / celloVasilij Centrih − violina / violin

Kontakt / Contact: +386 (0)31 231 072trio .sedef@gmail .com www .sedef .si

Sedef

Od svojega nastanka leta 2004 se skupina posveËa glasbeni tradiciji sevdalink . V tem Ëasu je razvila prepoznaven pristop do aranžiranja in izvajanja te glasbene zvrsti, v katero vpleta elemente jazza, klasike, flamenka in sodobne glasbe . Sevdalinka (iz turške besede sevdah, ≈ljubezen«) je ljubezenska pesem, v kateri se zvok strunskega inštrumenta prepleta z melanholiËnim vokalom, ki ubeseduje neuslišano ljubezen ali hrepenenje . Skupina sodeluje z razliËnimi glasbeniki ter tako vpleta v svojo glasbo glasbila, kot so violonËelo, violina, tolkala, kontrabas, harmonika, saz in tres . Leta 2007 je skupina posnela svoj prvi studijski album − Sedef (Goga), oktobra 2010 pa je izšel drugi album skupine, ki nosi naslov Sewda (Sanje) . Skupina je zabeležila nekaj pomembnejših nastopov v tujini, denimo na Festival International de Musique Universitaire v Belfortu (Francija, 2005 in 2008), v Romero Haus v Luzernu (Švica, 2007), na Festival am Keltengehöf v Großkleinu (Avstrija, 2010), na Sarajevo Sevdah Fest (BiH, 2011) itd .

Skupina Sedef goji poseben odnos do sevdalink . Vsak njen nastop je polna posvetitev življenja in glasbe tisti skrivnostni zmesi ljubezni in strasti, ki jo v sebi nosi turška beseda ≈sevdah« .Janko RožiË, KUD Sestava

From their formation in 2004, Sedef have been devoted to the musical traditions of sevdalinka and have since developed a distinctive approach to arranging and performing these songs, interweaving elements of jazz, classical, flamenco and contemporary music . Sevdalinkas (from the Turkish word sevdah, ‘love’) are love songs in which the sound of a plucked instrument is combined with melancholy vocals expressing unrequited love or longing . Sedef collaborates with various musicians, weaving less typical instruments such as the cello, violin, percussion, double bass, accordion, saz and tres into their music . In 2007, the group recorded their first studio album Sedef (Goga), while in October 2010 they released their second album, Sewda (Sanje) . Sedef have made a number of important appearances abroad, including at the International de Musique Universitaire in Belfort (France, 2005 and 2008), the Romero Haus in Lucerne (Switzerland, 2007), the Festival am Keltengehöf in Großklein (Austria, 2010), the Sarajevo Sevdah Fest (Bosnia and Hercegovina, 2011) and others .

The group Sedef fosters a unique relationship with sevdalinka songs . Each of their performances is a complete dedication of life and music to the mysterious fusion of love and passion contained in the Turkish expression ‘sevdah’ .Janko RožiË, KUD Sestava arts association

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Skladba / Composition:Ne de mi veË rasla / (Green Grass) Will Grow No More(glasba in besedilo: ljudska / traditional; aranžma / arrangement: Igor Leonardi)

Naslov albuma / Album title:Fake Orchestra: Made in China (Goga, 2009)www .goga .si/

Zasedba / Line­up:Ana Vipotnik − vokal / vocals Jelena Ždrale − violina, vokal / violin, vocals Boštjan GombaË − flavta / flute Primož Fleischman − saksofon / saxophone Igor Leonardi − kitara / guitar Nino de Gleria − bas kitara / bass guitar Blaž Celarec − tolkala / percussion Aljoša JeriË − bobni / drums Matija Leonardi − vokal / vocals Issiaka Sanu − džembe / djembe

Kontakt / Contact: igor .leonardi@gmail .com www .myspace .com/fakeorchestra

Fake Orchestra

SedemËlansko skupino, ki združuje slovensko tradicionalno glasbo z balkansko, afriško in latino ritmiko, avantgardnim jazzom in pop glasbo, je leta 1997 ustanovil kitarist Igor Leonardi, mnogim bolj znan kot Ëlan nekaterih osrednjih slovenskih avantgardnih in jazz skupin (Begnagrad, Quatebriga) . Študiral je na Univerzi za glasbo in uprizarjajoËe umetnosti v Gradcu (Avstria) in se kasneje posvetil raziskovanju afriške in vzhodnjaške glasbe . Deset let je živel v ZDA, kjer je sodeloval z Donom Cherryjem, Ëlanom Metallice Jasonom Newstedom in mnogimi drugimi svetovno znanimi glasbeniki . EklektiËni repertoar Fake Orchestra je rezultat veËletnega nastopanja na domaËih in tujih odrih ter glasbene improvizacije in medigre glasbenikov . Skupina je do danes nastopila na mnogih festivalih jazz in world glasbe v Evropi, ZDA in drugod, prav tako pa je v tem Ëasu izdala tudi tri albume . Zadnji, Made in China, je bil nominiran za prestižno nagrado ≈album leta«, ki jo podeljuje britanska revija Songlines . V zadnjem Ëasu Fake Orchestra koncertira z mednarodno uveljavljenimi glasbeniki, kot sta Arto Tuncboyancian iz Armenije in Sekou Kouyate iz Gvineje .

Fake orchestra goji obËudujoËe nespoštovanje do mednarodnih in žanrskih loËnic .Chris May, All About Jazz

A seven­piece band fusing Slovenian traditional music with Balkan, African and Latin rhythms, avant­garde jazz and pop sensibilities, Fake Orchestra was founded in 1997 by guitarist Igor Leonardi . In the early eighties, Leonardi was a member and co­founder of pivotal Slovene avant­garde and jazz groups (Begnagrad, Quatebriga) . He received his education at the University of Music and Performing Arts in Graz, Austria, and later developed a great interest in West African and Oriental music . Leonardi spent 10 years in the USA, where he collaborated with Don Cherry, Metallica bassist Jason Newsted, and numerous other musicians from around the world . Fake Orchestra’s eclectic repertoire is not merely the result of years of performing in diverse settings and venues at home and abroad, but also of a lot of interplay and improvisation on stage . They have performed at many international world music and jazz festivals in Europe, the United States and elsewhere, and released three albums . The most recent, Made in China, was nominated for the prestigious Songlines Music Magazine Album of the Year award . Lately, the band has joined forces with international musicians like Arto Tuncboyancian of Armenia and Sekou Kouyate from Guinea .

Fake Orchestra has an admirable disregard for international and genre boundaries .Chris May, All About Jazz

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Skladba / Composition:SiniËja tožba / The Titmouse’s Lament(glasba / music: anonim / anonymous; besedilo / lyrics: Fran Levstik; aranžma / arrangement: Bossa de Novo)

Naslov albuma / Album title:Bossa de novo: Nova (DruGod, 2009)www .drugagodba .si/zaloznistvo

Zasedba / Line­up:Primož Vitez − vokal / vocalsAljoša Kosor − kitara / guitarDrago Ivanuša − harmonika / accordionMarko GregoriË − kontrabas / double bassMitja Vrhovnik Smrekar, Sergej RandjeloviÊ − RunJoe − tolkala / percussionAna Zwitter Vitez − spremljevalni vokal / backing vocals

Kontakt / Contact: primoz .vitez@guest .arnes .si www .bossadenovo .com

Bossa de Novo

V ospredju zanimanja skupine je baladni jazz, bossa nova, zmes afrobrazilskih glasbenih tradicij (samba) in cool jazza z zahodne ameriške obale . Bossa de Novo prviË predstavlja to enigmatiËno, v vseh pogledih asimetriËno glasbo slovenskemu obËinstvu v razliËnih jezikih, zlasti pa za to glasbeno zvrst samoumevni portugalšËini, z virtuozno harmoniko in nepredvidljivimi tolkali . Poleg obdelav skladb znanih brazilskih skladateljev (Tom Jobim, Caetano Veloso, João Gilberto, Dorival Caymmi, Ary Barroso, Carlos Lyra) skupina v to specifiËno ritmiko in harmonije vnaša še druge glasbene zvrsti, denimo jazzovske standarde in slovenske ponarodele pesmi . Zasedba vkljuËuje nekaj vrhunskih slovenskih instrumentalistov in skladateljev . Prvenec z naslovom Vivo! (Goga Musica, 2006) je nastal na dveh živih koncertnih nastopih, in sicer radijski oddaji Izštekani februarja in v klubu Fraga oktobra 2006 . Leta 2009 je pri založbi DruGod izšel drugi album zasedbe, Nova, ki je prav tako požel izrazito odobravajoËe kritike .

BožajoËih ritmov najveËjih mojstrov ne more poustvariti nihËe, a slovenska bossa nova je ravno prav slovenska in ravno prav žametna, da ji oba opisa povsem ustrezata .Tit Podobnik, Radio Študent

At the forefront of Bossa de Novo’s interest is ballad jazz, bossa nova, a mixture of Afro­Brazilian musical traditions (samba) and cool jazz from the American West Coast . Bossa de Novo are the first ensemble to present this enigmatic and thoroughly asymmetric music to the Slovenian public in various languages, especially − and most obviously for this genre of music − Portuguese, together with virtuosic accordion and unexpected percussion . In addition to arrangements of pieces by acclaimed Brazilian composers such as Tom Jobim, Caetano Veloso, João Gilberto, Dorival Caymmi, Ary Barroso, Carlos Lyra and others, the group inject many other musical styles into these specific rhythms and harmonies, such as jazz standards and Slovenian popular songs . The ensemble includes some excellent Slovenian instrumentalists and composers . Their debut album Vivo! (Goga Musica, 2006) was produced from two concert appearances: from a recording of a radio programme Izštekani (Unplugged) in February 2011 and from the Fraga Club from October 2006 . In 2009, the band released their second album, Nova, on the DruGod label, which also went on to receive glowing reviews .

No one can possibly recreate the caressing rhythms of the greatest masters, but Slovenian bossa nova is Slovenian enough and velvety enough to fit both descriptions .Tit Podobnik, Radio Študent

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Skladba / Composition:Todi (dedicated to Pt. Suresh Talwalkar) (glasba in aranžma / music and arrangement: Igor Bezget)

Objavljeno na spletnih straneh / Released on the artist's website:www.freewebs.com/igorbezget (22 . 4 . 2011)

Zasedba / Line­up:Igor Bezget − kitara, sarod / guitar, sarodSharat Chandra Srivastava − violina / violinMarko »rnËec − klaviature / keyboardsTadej Kampl − bas kitara / bass guitarBernhard Shimplsberger Taalis − bobni / drumsGyan Singh − table / tablasNino MureškiË − tolkala / percussion

Kontakt / Contact: igabez@gmail .comwww .freewebs .com/igorbezget

Kurkuma

Multiinstrumentalist Igor Bezget že vrsto let deluje na podroËju improvizirane glasbe, jazza ter glasb sveta . Kitaro je študiral na Brucknerjevem konservatoriju v Linzu (Avstrija), trenutno pa se posveËa študiju indijske klasiËne glasbe . Posnel je veË kot štirideset projektov avtorske glasbe . Projekt Kurkuma združuje zahodno urbano glasbo z indijsko klasiËno glasbeno tradicijo, v njem pa sodelujejo glasbeniki iz Slovenije, Indije in Avstrije: Igor Bezget (kitara in sarod), Sharat Chandra Srivastava (violina), Marko »rnËec (klaviature), Tadej Kampl (bas), Bernhard Shimplsberger Taalis (bobni), Gyan Singh (tabla) in Nino MureškiË (tolkala) . Skladbe so avtorske in temeljijo na tradicionalnih formah, ki izhajajo iz indijske glasbene tradicije in iz standardnih form zahodnih popularnih glasb, kot sta jazz in rock . Glasba zasedbe Kurkuma vsebuje kompozicijske in improvizacijske pristope, ki so odsev razliËnih glasbenih kultur, okolij in dedišËin, s katerimi se na svojih glasbenih poteh sreËujejo sodelujoËi .

Glasba se neprisiljeno zliva v enoten, gladko tekoË amalgam zvokov, obrazcev, tem, ritmov, njihovih veËplastnih kombinacij in skupinskih improvizacij, ki imajo bolj ali manj prepoznavno podlago v vsaj dveh kulturnih tipih, vendar na novo ustvarjeni ali sestavljeni vzpostavljajo vsaj vzporeden, Ëe že ne povsem avtonomen zvoËni svet . Zoran Pistotnik, Radio Študent

Multi­instrumentalist Igor Bezget has worked for a number of years in improvisation, jazz and world music . He studied guitar at the Anton Bruckner Private University for Music, Drama, and Dance in Linz, Austria, and currently devotes himself to the study of Indian classical music . He has recorded more than forty projects of original music . The Kurkuma ensemble brings together urban music with Indian classical music and involves musicians from Slovenia, India and Austria: Igor Bezget (guitar and sarod), Sharat Chandra Srivastava (violin), Marko »rnËec (keyboards), Tadej Kampl (bass), Bernhard Shimplsberger Taalis (drums), Gyan Singh (tabla) and Nino MureškiË (percussion) . They play original songs based on forms derived from traditional Indian music and on standard forms found in Western popular music like jazz and rock . Kurkuma’s music features approaches to composition and improvisation that are a reflection of the diverse musical cultures, environments and legacies that they meet on their musical path .

The music flows freely into a uniform, smooth and fluid amalgam of sounds, themes, rhythms; their multi­layered combinations and ensemble improvisations, which have a more or less recognisable foundation in at least two cultural types that are nevertheless newly created or constructed, reinstate at least a parallel − if not completely autonomous − sound world .Zoran Pistotnik, Radio Študent

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Skladba / Composition:Niger Sundown (glasba in aranžma / music and arrangement: Dirtmusic)

Naslov albuma / Album title:Dirtmusic: BKO (Glitterhouse Records, 2010)www .glitterhouse .com

Zasedba / Line­up:Chris Eckman − akustiËna kitara / acoustic guitarHugo Race − drsna kitara / slide guitarChris Brokaw − banjo Lassana Diabate − balafonIssa Kone − n’goni

Kontakt / Contact: www .myspace .com/dirtmusicband

Dirtmusic

Skupina rockovskih veteranov iz ZDA in Avstralije, ustanovljena leta 2006 . Chris Eckman je vodja priznane ameriške skupine The Walkabouts, ki je sodeloval tudi z Willard Grant Conspiracy in mnogimi drugimi . Chris Brokaw je sodeloval z Evanom Dandom iz skupine The Lemonheads, Liz Phair in Thurstonom Moorom . Tema AmeriËanoma se je pridružil Avstralec Hugo Race, vodja skupine True Spirit in prvotni Ëlan zasedbe The Bad Seeds . Prvenec skupine Dirtmusic, posnet leta 2007 v Ljubljani, kjer danes živi Eckman, je prišel v roke selektorju malijskega Festivala v pušËavi, Ëemur je sledilo povabilo v Afriko . Tam je skupina navezala stike z mlado tuareško pušËavsko blues­rock skupino Tamikrest . »ez leto dni se je zasedba vrnila v Mali, da bi s Tamikrest posnela album BKO . »eprav se skupini povezujeta na neobiËajen naËin, je skupni jezik obeh glasba . Ponovno sreËanje je postalo jam session, razgovor v besedah in ritmu skozi tradicionalne pesmi, pesmi obeh skupin in porodilo nove hibride v skupnem repertoarju . Album je požel odliËne kritike v mednarodni glasbenokritiški srenji, Dirtmusic in Tamikrest pa sta obredli odre world music festivalov po vsem svetu .

Eden od ≈naj« albumov, kar sem jih po dolgem Ëasu uspel slišati: najbolj melodiËen, najkompleksnejši, najbolj fascinanten, najizvirnejši in povrhu vsega tudi najbolj prijeten .Andy Snipper, Music News

Formed in 2006 by a group of rock veterans from the USA and Australia . Chris Eckman is the leader of acclaimed US band The Walkabouts, and has also collaborated with Willard Grant Conspiracy and many others . Chris Brokaw has collaborated with Evan Dando of The Lemonheads, Liz Phair and Thurston Moore . The two Americans are joined by Australian­born Hugo Race, the leader of True Spirit and one of the original members of The Bad Seeds . Dirtmusic’s first album, recorded in 2007 in Eckman’s adopted home city of Ljubljana, Slovenia, somehow got into the hands of the booker of Mali’s annual Festival of the Desert, who invited them to perform . There they hooked up with a young Touareg desert blues­rock band Tamikrest . A year later, Dirtmusic returned to Mali to record their new album BKO − with Tamikrest backing them in the studio . Connecting in lateral ways, the mutual language of both bands is really music, and the reunion became a jam session, a discussion in word and rhythm − traditional songs, Dirtmusic songs, Tamikrest songs, passing hybrids of the two . The album received excellent reviews on the international music circuit and the Dirtmusic­Tamikrest combo has toured world music festivals around the globe .

One of the 'most' albums I have heard in so long: most musical, most complex, most intriguing, most original and, above all, most enjoyable . Andy Snipper, Music News

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Skladba / Composition:Kovaška / Blacksmith’s Song (glasba in besedilo / music and lyrics: ljudska / traditional; aranžma / arrangement: Aleš Hadalin)

Naslov albuma / Album title:Aleš Hadalin: Jaz mam pridno gospodinjo / I’ve Got a Good Housewife (Celinka, 2010)www .celinka .si/zalozba

Zasedba / Line­up:Aleš Hadalin − vokal / vocals

Kontakt / Contact: +386 (0)31 632 806

Aleš Hadalin

S petjem in glasbo se ukvarja že od otroških let . Je glasbeni samouk, a je kasneje študiral muzikologijo . Velja za enega najizvirnejših vokalistov, raziskovalcev Ëloveškega glasu in petja v Sloveniji . Bil je Ëlan za slovensko akustiËno glasbo kljuËnih skupin Tantadruj ter Uršula Ramoveš in Fantje z Jazbecove grape . Kot glasbenik, plesalec in igralec je dolgo sodeloval s plesno skupino En­knap, s katero so veliko nastopali v tujini . Nastopil je na vseh pomembnejših festivalih in v dvoranah po Sloveniji . Leta 2003 je s skladbo Norec zmagal na Festivalu slovenskega šansona . Izvaja in snema glasbo razliËnih žanrov, od jazz standardov, šansona in bluesa do avtorskih ter ljudskih pesmi . Posnel je sedem albumov ter ob tem gostoval in sodeloval pri številnih projektih drugih glasbenikov .

Z zanimivimi efekti, nasnemavanjem glasu in sem ter tja z uporabo preprostih ritmiËnih ali melodijskih glasbil se album odstira kot svojevrsten zvoËni teater, ki se z dobrim izborom pesmi, odliËno interpretacijo in prav takšno produkcijo krasno in spretno prekopicuje okrog meje med starodavnim, ≈avtentiËnim«, in modernimi avtorskimi posegi v dedišËino .Mario BateliÊ, Radio Študent

Aleš Hadalin has been singing and involved with music ever since he was a child . Self­taught in music, although he later studied musicology, he is considered one of the most innovative vocalists and researchers of the human voice and singing in Slovenia . He was a member of the pivotal Slovenian acoustic ensemble Tantadruj, as well as of Uršula Ramoveš in Fantje z Jazbecove grape (Uršula Ramoveš and the Boys from Badger Ravine) . For many years he was active as a musician, dancer and actor with the dance troupe En knap, with whom he performed abroad numerous times . He has appeared at all of the most prominent festivals and venues in Slovenia . In 2003, he won the interpretation prize at the Slovenian Chanson Festival with the song Norec (Crazy Man) . He performs and records music from many diverse genres, from jazz standards, chansons and blues to original songs and folk songs . He has seven albums to his credit, as well as guest artist appearances and collaborations with other musicians on numerous projects .

Using interesting effects, voice overdubbing, simple rhythmic or melodic instruments, the album unveils a unique sound theatre . With a good selection of songs, excellent interpretation and equally superb production, the artist skillfully traverses the boundaries between old­fashioned, ‘authentic’ and modern approaches to interpreting the heritage .Mario BateliÊ, Radio Študent

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Skladba / Composition:Krušna (Dremava) / Bread Song (Then a Nap) (glasba in besedilo / music and lyrics: ljudska / traditional; aranžma / arrangement: Same Babe)

Naslov albuma / Album title:Same Babe: TerezijanskeP & C RTV Slovenija(ZKP RTV Slovenija / Sanje, 2011)www .rtvslo .si/zkp

Zasedba / Line­up:Marko Jelovšek − vokal, kontrabas / vocals, double bass Marko VoljË − vokal, trobenta / vocals, trumpetMiha NemaniË − vokal, shaker / vocals, shaker Viki Baba − vokal, akustiËna kitara / vocals, acoustic guitar

Kontakt / Contact: +386 (0)41 967 037samebabe@gmail .comwww .samebabe .org

Same babe

Jedro skupine sestavljajo štirje vokalisti in instrumentalisti (Miha NemaniË, Marko VoljË, Marko Jelovšek in Viki Baba), ki se jim pogosto pridruži tolkalec in vokalist Uroš Buh . Skupina je nastala spomladi 2003, da bi sodelovala na literarnem veËeru, posveËenem pesniku Janezu Menartu . Nastopila je na vseh pomembnejših etno (in sorodnih) festivalih v Sloveniji in izdala dva albuma: zgošËenko uglasbene poezije Janeza Menarta Za ljubi kruhek in njene Ërne Ërne lase (Sanje, 2007) in Terezijanske (ZKP RTV Slovenija / Sanje, 2011), na kateri je predstavila avtorske pesmi ter svoje videnje ljudskih pesmi in uglasbitev priznanih slovenskih pesnikov (Kajetan KoviË, Frane MilËinski − Ježek) . Leta 2009 je skupina z avtorskim šansonom Dobri možje zmagala na Festivalu slovenskega šansona . Zasedba pri svojem ustvarjanju besedila dobesedno ≈opremlja« z glasbo, tako da je glasbeni del nekakšno ogledalo besednemu . V glasbenem smislu daje velik poudarek veËglasnemu petju, njene nastope pa spremlja velik odmerek humorja in performansa .

Bend, ki preprosto zveni . Bend, ob poslušanju katerega te ne zanima, kaj je in kaj ni in iz Ëesa je in iz Ëesa ni njihova muzika . Ker preprosto uživaš . In veš, da so to Same Babe . Ker noben drug bend ne zveni tako . Tako odliËno . Jure Longyka, Radio Slovenija, Val 202

The core of Same babe is comprised of four vocalists and instrumentalists (Miha NemaniË, Marko VoljË, Marko Jelovšek and Viki Baba) who are frequently joined by percussionist and vocalist Uroš Buh . The group was formed in spring 2003 in order to take part in a literary happening dedicated to the writer Janez Menart . They have performed at all of the prominent world music (and related) festivals in Slovenia and released two albums: a disc of poetry by Janez Menart set to music called Za ljubi kruhek in njene Ërne Ërne lase (For Precious Bread and Her Dark Dark Hair, Sanje, 2007) and Terezijanske (ZKP RTV Slovenija / Sanje, 2011), on which they present original songs alongside their versions of traditional songs and settings of well­known Slovenian poets such as Kajetan KoviË and Frane MilËinski ­ Ježek . In 2009, the group won at the Slovenian Chanson Festival with the original song Dobri možje (Good Men) . In creating their work, the group literally ‘equips’ the text with the music, so that the music mirrors the text . In a musical sense, they place a strong emphasis on multi­part vocals, while their performances are infused with a strong dose of humour and liveliness .

A band that simply sounds ­ you don’t care what their music is made of and what it is not, because you simply enjoy it, knowing that these are Same babe . No other band can sound like that . So great .Jure Longyka, Radio Slovenia, Val 202

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Skladba / Composition:Banda kravatarska / The White Collar Gang (glasba / music: Renata Lapanja; besedilo in aranžma / lyrics and arrangement: Jani Kutin)

Naslov albuma / Album title:Bakalina: Bouhdidabra / God Grant Us Good Fortune (»adrg Records, 2011)

Zasedba / Line­up:Jani Kutin − vokal / vocalsRenata Lapanja − harmonika / accordion

Kontakt / Contact: +386 (0)41 641 862 jani .krizar@gmail .com www .macefizelj .si/bakalina

Bakalina

Duo Bakalina sestavljata harmonikašica Renata Lapanja ter vokalist in tekstopisec Jani Kutin . Slednji si je koncertno in studijsko kilometrino nabiral v priznanih eksperimentalnih zasedbah Salamandra Salamandra in »arangi . Svoj prvenec z naslovom Pakašnca (nareËni izraz za pogostitev po skupinskem delu) je duo izdal leta 2010, leto kasneje pa je sledil album Buohdidabra (nareËno za ≈bog daj dobro«) . Besedila na hudomušen naËin opisujejo kmeËko življenje, kakršno je bilo nekoË, dotaknejo se sodobnega sveta ter kritizirajo sistem, v katerem se je znašel sodobni kmet, oziroma kar svet v celoti in nenazadnje na humoren naËin opisujejo odnose med moškim in žensko . Z nareËnim petjem se celotno dogajanje postavlja v tolminsko hribovje, harmonika pa s preprostimi in igrivimi melodijami asociira na ljudsko glasbo .

»eprav se v miselnem oziru duo Bakalina navezuje na staro kmeËko življenje, je ob šaljivih tekstih moËno zaznamovan tudi z družbenim angažmajem, kakršnega se ne bi sramovali niti kaki hudi punkerji!Mario BateliÊ, Radio Študent

The duo Bakalina comprises accordionist Renata Lapanja and songwriter/vocalist Jani Kutin . The latter racked up concert and studio milage in the notable experimental groups Salamandra Salamandra and »arangi . The duo’s debut album, Pakašnca (a dialect word meaning a banquet that follows communal work), was released in 2010 and was followed a year later by the album Buohdidabra (dialect for ‘God, grant us good fortune’) . Their lyrics recount rural life as it once was in a playful, mischievous way, while touching upon the modern world, criticising the system − or sometimes the entire world − in which the modern rural dwellers find themselves and, also in a humorous way, upon the relations between the sexes . With vocals coloured by local dialect, the whole affair is transported to the hills around Tolmin, while the accordion, with its simple and playful melodies, recalls folk music .

Even though the duo Balkalina is steeped in bygone rural life, their witty texts reveal a strong social engagement of which even wild punk rockers would not be ashamed!Mario BateliÊ, Radio Študent

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Skladba / Composition:Lendvavidék / Lendava Country (glasba / music: Béla Szomi Kralj; besedilo / lyrics: Pál Szomi, Béla Szomi Kralj; aranžma / arrangement: Béla Szomi Kralj, Dušan Železnikar)

Naslov albuma / Album title:Kontrabant: Dobri geni / Good Genes (KUD Kontrabant, 2009)

Zasedba / Line­up:Béla Szomi Kralj − vokal, klasiËna kitara / vocals, classical guitarDušan Železnikar − akustiËna kitara / acoustic guitarJanez Vrenjak − bobni / drumsMatjaž Medvešek − viola / violaVid KlanËiËar − kontrabas / double bass

Kontakt / Contact: +386 (0)41 868 371info@kud­kontrabant .si www .kontrabant .net

Kontrabant

Skupino so leta 1994 ustanovili Béla Szomi Kralj (harmonika, kitara), Urh Vrenjak (kitara, banjo, kazu) in Vid KlanËiËar (kontrabas), ki se jim v teku let pridružujejo še drugi Ëlani zasedbe . Trenutno z njimi ≈kontrabantajo« Matjaž Medvešek (violina), Janez Vrenjak mlajši (bobni, tolkala), Dušan Železnikar (solo kitara, irski buzuki, blok flavta) in Pál Szomi (tonski tehnik, ritem kitara) . Kontrabant je doslej izdal pet albumov, na katerih najdemo panonsko obarvane aranžmaje, prvine ljudskega petja in avtorske pesmi, ki Ërpajo navdih iz tradicionalnih glasb iz tega dela sveta . Najbolj razpoznavna je zasedba po svojih prekmursko dišeËih ≈glasbenih gibanicah« in nekatere pesmi so v Prekmurju že tako rekoË ponarodele, kar dokazujejo stalna gostovanja na tamkajšnjih odrih in v medijih . »lani zasedbe prepevajo v razliËnih slovenskih nareËjih, v madžarskem in romskem jeziku ter jidišu . Njihovo glasbo so uporabili v nekaterih televizijskih filmih in oddajah o Romih .

Neposrednost in raznolikost njihovega etno folka je dovolj privlaËna za najširše poslušalstvo, s prefinjenostjo pa pritegnejo tudi petiËneže . Tako tiste, ki prisegajo na otožno melanholijo prekmurskih ravnic, kot tiste, ki se ne morejo upreti vrtincem energiËnih glasbenih popotovanj .Dušan Jesih, spletni portal MMC RTV Slovenija

Kontrabant was founded in 1994 by Béla Szomi Kralj (accordion, guitar), Urh Vrenjak (guitar, banjo, kazoo) and Vid KlanËiËar (double bass), and joined over the years by other members . Currently ‘Contrabanding’ with the original members are Matjaž Medvešek (violin), Janez Vrenjak Jr . (drums, percussion), Dušan Železnikar (solo guitar, Irish bouzouki, recorder) and Pál Szomi (sound technician, rhythm guitar) . Kontrabant has released five albums, offering Panonnia­coloured arrangements, elements of folk singing and original songs inspired by traditional music from this part of the world . The group is most widely known for their Prekmurje­flavoured ‘musical gibanica’ (a local layer cake), and some of their songs have already become popular across Prekmurje, the eastern region of Slovenia, as evidenced by their steady stream of appearances on local stages and in the media . The members of the group sing in various Slovenian dialects, as well as in Hungarian, Roma and Yiddish . Their music has also been used in a few television films and in TV programmes about the Roma people .

The straightforwardness and diversity of their ethno folk music is sufficiently attractive to a broader audience, but their sophistication also attracts musically pampered ears, those who defer to the melancholy of the Prekmurje plains, and those who can not resist their energetic musical journeys . Dušan Jesih, MMC RTV Slovenia website

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Skladba / Composition:Ej mala ej / Hey, Little One, Hey (glasba in besedilo / music and lyrics: Andrej BoštjanËiË; aranžma / arrangement: Brencl banda)

Naslov albuma / Album title:Brencl banda: Zemljin ples / Earth Dance(Samozaložba / Self­released, 2010)

Zasedba / Line­up:Polona Žalec − violina in vokal / violin and vocalsRok Šinkovec − harmonika in vokal / accordion and vocals Matija Krivec − kontrabas in vokal / double bass and vocalsAndrej BoštjanËiË − kitara in vokal / guitar and vocals

Kontakt / Contact: +386 (0)41 257 831andrejruda@yahoo .comwww .brenclbanda .com

Brencl banda

Zasedba je nastala leta 2007 v Bistrici ob Sotli, kraju z bogato glasbeno tradicijo . »eprav je glasba avtorska, je nastala pod vplivom ljudskoglasbenega izroËila z razliËnih koncev sveta, predvsem pa nosi v sebi moËan slovanski duh, tako da deluje, kot da je del te zapušËine in je nastala na podlagi notnih zapisov ljudskih viž s podstrešja . Slovanska krila nosijo to zasedbo po svetu glasbe razliËnih narodov, ki skozi svoje ritme in melodije pojejo o sreËi, žalosti in brezËasju . Glasbeni kritik Andrej Predin je o Brencl bandi zapisal, da jo odlikuje neposrednost, ki v povezavi z uravnanim obËutkom za glasbeno dedišËino sestavlja organsko zvokovno prezenco, ki ji v našem ustvarjalnem okolju ni para . Hkrati premore dovolj humorja in razposajenosti, da se ne zapleta v zanke samovšeËnosti . Skupina je po njegovem mnenju svojevrstni inkubator ljudskega, kolektiv, ki glasbeni dedišËini omogoËa idealne razmere za nadaljnji razvoj .

V komadih je Ëutiti slovanske korenine, ki pa glasbe Brencl bande kljub tesni vezi ne zadržujejo na enem kraju: v njenem igrivem muziciranju se da prepoznati marsikateri tuj glasbeni vpliv, kar daje tej glasbi svežino in izvirnost .Andraž Bizjan, Radio Študent

The group Brencl banda was formed in 2007 in Bistrica ob Sotli, a town with a rich musical tradition . Even though they perform their own songs, their music is influenced by folk music traditions from various corners of the world, exuding a strong Slavic spirit that makes it part of this legacy, as if the songs were based on old melodies discovered in a dusty attic . Slavic wings carry the band across the music of different nations around the world, which timelessly sings of happiness and sadness through their rhythms and melodies . Music critic Andrej Predin has written of Brencl banda that they are distinguished by a directness which, in connection with a sensitivity to musical heritage, creates an organic aural presence that is without peer in the Slovene creative environment . At the same time, there is enough lively humour to prevent the band from becoming entangled in the snares of narcissism . In his opinion, the group is a unique incubator of tradition, a collective which creates the ideal conditions for this musical legacy’s continued development .

Despite not being bound to one place, Slavic roots, as well as many foreign musical influences - which grace their music with freshness and originality - can be recognised in Brencl Banda’s playful music making.Andraž Bizjan, Radio Študent

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Skladba / Composition:Houdre (glasba / music: Jure Tori; besedilo / lyrics: Vlado Poredoš; aranžma / arrangement: Orlek)

Naslov albuma / Album title:Orlek: Anduht / The anniversary celebrationP & C RTV Slovenija(ZKP RTV SLO, 2009)www .rtvslo .si/zkp

Zasedba / Line­up:Vlado Poredoš − vokal / vocalsJure Tori − harmonika / accordionBojan Bergant − banjo / banjoMatej Fele − kitara / guitarMitja Tori − bas kitara / bass guitarSašo Marn − bobni / drumsKristijan Adamlje − saksofon / saxophoneEdvard Matko − pozavna / tromboneJanez Tori − trobenta / trumpet

Kontakt / Contact: +386 (0)41 320 150mitja@tiskarna­tori .siwww .orlek .com

Orlek

Skupina Orlek je nastala konec osemdesetih let in ima domicil v Zagorju ob Savi, v srcu rudarskih revirjev . Ta glasba je izvirna mešanica rocka s pridihom etno glasbe, Ëlani skupine pa ji pravijo ≈folk punk polka rock« . Posebnost so besedila, ki so socialno­humorno obarvana in vsebujejo številne izraze, znaËilne za trpko rudarsko življenje in delo . Virtuozna, nalezljiva ritmiËno­melodiËna glasba Orlekov ter zapomnljivi koncerti so že v prvi polovici devetdesetih vzbudili zanimanje tako strokovne kritike kot širše javnosti . Dokaz za dober sprejem so številni uspešni nastopi na pomembnih festivalih world music po Evropi in drugih celinah ter klubski koncerti (leta 2002 denimo v legendarnem klubu CBGB v New Yorku) . Skupina je za svoje ustvarjanje prejela veË prestižnih nagrad (zlati petelin, zlata ptica, nagrado študentskega radia Maribor − MARŠ) in izdala osem albumov . Delovanje zasedbe je ovekoveËeno v glasbeni biografiji (Zdenko Matoz, Orlek − 20 let knap'n'rolla) in na filmu v produkciji TV Slovenija (Orlek rock gre v Pakistan, režija Iztok Tory) .

Skupina Orlek ima znaËilne socialno obarvane ali socialno­kritiËne pesmi o malih ljudeh nesreËnih usod, obËasno tudi velikih dejanj ali nesreË, ki se nalagajo druga na drugo .Milko Poštrak, Radio Študent

Orlek was formed at the end of the 1980's in and around Zagorje ob Savi, a town located in the heart of the Slovenian mining district . Their music is an original mix of rock with traces of world music; the band members call it “folk punk polka rock” . Especially noteworthy are their lyrics, which are coloured with socially conscious humour and contain a number of expressions typical of a miner’s harsh life and work . Orlek’s virtuosic and infectious rhythmic and melodic music, as well as their memorable concerts, began to attract the attention of both music critics and the wider public already in the first half of the 1990’s . Their positive reception has been confirmed by the numerous successful performances they have given at prominent world music festivals across Europe and other continents, in addition to notable club concerts (such as an appearance in 2002 at the legendary CBGB club in New York) . The band has received a number of prestigious awards for their achievements, including the Golden Rooster, Golden Bird and the prize of Maribor Student Radio − MARŠ . Orlek have released eight albums . The group’s work has been immortalised in a biography (Zdenko Matoz, Orlek − 20 let knap’n’rolla / Orlek − 20 Years of Miner’s Rock’n’Roll) and in a film produced by Slovenian National Television (Orlek rock gre v Pakistan/ Orlek Rock Goes To Pakistan, directed by Iztok Tory)

Orlek perform songs that are characteristically either socially aware or critical of society, songs about the unhappy destinies of ordinary working people, their occasional great deeds or misfortunes, which exist side by side . Milko Poštrak, Radio Študent

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Skladba / Composition:Ruj, Êupinj, žaneštra / Smoke Tree, Juniper, Spanish Broom(glasba in aranžma / music and arrangement: Dario MarušiÊ)

Naslov albuma / Album title:Vruja: Ruj, Êupinj, žaneštra / Smoke Tree, Juniper, Spanish Broom (Self­released, 2009)

Zasedba / Line­up: Marino Kranjac − dude / bagpipesRok Kleva IvanËiË − violina / violinPeter KaligariË − harmonika / accordion Gabrijel Križman − kitara / guitarGorast RadojeviÊ − bas kitara / bass guitar

Kontakt / Contact: +386 (0)31 336 102marino@vruja .net www .vruja .net

Vruja

Glasbena skupina nadaljuje tradicijo glasbenih skupin iz slovenske Istre, ki so v zadnjih desetletjih popularizirale tamkajšnjo tradicionalno glasbo . Vruja je zaËela delovati marca leta 2001 in se je tako doma kot v tujini uveljavila kot prepriËljiv, svež interpret istrske glasbene dedišËine, ki predstavlja vso pesemsko, jezikovno, melodiËno, plesno in instrumentalno raznolikost izroËila s tega veËkulturnega in veËetniËnega obmoËja . Vruja je v desetih letih delovanja izdala tri albume, Vruja (Folkest dischi, 2002), Od mladega vina do pustne frtàde (Samozaložba, 2006) in Ruj, Êupinj, žaneštra (Samozaložba, 2009), ter nastopila na pomembnih festivalih pri nas in v tujini: Mediteran festival (2001), Druga godba (2002, 2009), Festival Lent (2005), Folkest (2002, 2005) . »lani skupine so zelo aktivni tudi na pedagoškem podroËju predstavljanja glasbene tradicije Istre . Izvajajo vokalne, plesne in glasbene delavnice ter predavanja za otroke in odrasle .

Da (vsaj nepriuËenemu ušesu) neka viža ali balada zveni enako ali še bolj ljudsko kot ljudske same, je potrebne ne le obilo domišljije, ampak tudi filigransko poznavanje zakonitosti lokalnih glasbenih idiomov in pesemskih kodov, in tega Vruji nikoli ni in ne bo primanjkovalo .Katarina JuvanËiË, Muska

The group Vruja continues the tradition of ensembles from Slovenian Istria who have popularised the region’s folk music in recent decades . Vruja began performing in March 2001 and have since earned a name for themselves both in Slovenia and abroad as convincing, fresh interpreters of Istria’s musical legacy, presenting all the poetic, linguistic, melodic, dance and instrumental variety of the multi­cultural and multi­ethnic region’s traditions . In the 10 years of the band’s existence, they have released three albums: Vruja (Folkest dischi, 2002), Od mladega vina do pustne frtàde (From Young Wine to Carnival Frtáda, self­released, 2006) and Ruj, Êupinj, žaneštra (Smoke Tree, Juniper, Spanish Broom, also self­released, 2009), and have appeared at prominent festivals both in Slovenia and abroad, including the Mediteran Festival (2001), Druga godba (2002, 2009), Lent Festival (2005) and Folkest (2002, 2005) . Individually, the band’s members are also very active in musical education, sharing with others the musical traditions of Istria and giving vocal, dance and musical workshops and lectures for both children and adults .For a tune or ballad to sound the same or even more ‘folky’ than folk music itself (at least to the ignorant ear), it is necessary to have not only plenty of imagination, but also a filigree knowledge of local musical idioms and song codes, which is something that Vruja is not and will never be short of .Katarina JuvanËiË, Muska music magazine

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Katice

Ženska pevska skupina izhaja iz Akademske folklorne skupine Franceta Marolta, širša javnost pa jo je spoznala preko sodelovanja z Magnificom na albumu Od srca do srca (1993) . »lanice prepevajo ljudske pesmi vseh slovenskih pokrajin, najraje tiste z obrobja slovenskega etniËnega prostora, iz Rezije, Bele krajine, Istre in Prekmurja, ki so pod vplivom sosednjih kultur še posebej raznolike . Pojejo tudi sodobne priredbe ljudskih pesmi . Velik izziv jim predstavlja povezovanje starega z novim, tradicionalnega s sodobnim . Svojo prepoznavnost so gradile tudi na podlagi sodelovanj z znanimi imeni na glasbeni sceni (Vlado Kreslin, Zoran Predin, Lauferji, Terrafolk, Aldo Kumar, The Stroj, Dario MarušiÊ idr .), ki so prestavljala glasbene meje pri Katicah . V skoraj dvajsetih letih delovanja so s svojim petjem prekrižarile lep kos sveta in izdale tri zgošËenke priredb ljudskih pesmi, Katice (Helidon, 1995), Se dela greh ... se sliši smeh (Helidon, 1998), Jungfraua (Menart; Dom svobode, 2001) in album zimskih kolednic Oj, fijole, novo leto je! (Celinka, 2009) .

S pravim odmerkom neponarejene ljudskosti na eni ter inovativnosti na drugi strani so ustvarile zrel, doreËen in konceptualno zaokrožen album, ki ga bodo ignorirali pravoverni Ëistuni in spregledali ljubitelji zabavljaške banalizacije .Dušan Jesih, spletni portal MMC RTV Slovenija

The female vocal group Katice grew out of the France Marolt academic folklore ensemble, while the wider public may know them through their collaboration with the pop singer Magnifico on the album Od srca do srca (Heart to Heart, 1993) . The ensemble sings traditional songs from all regions of Slovenia, preferably those from the fringes of the Slovenian ethnic territory such as Rezija, Bela krajina, Istria and Prekmurje, which are especially diverse, as they all bear traces of influence from neighbouring cultures . Katice also sing modern arrangements of folk songs, and enjoy the challenge of connecting the old and new, traditional and modern . They have also built their reputation on collaborations with well­known names from the Slovene music scene such as Vlado Kreslin, Zoran Predin, Lauferji, Terrafolk, Aldo Kumar, The Stroj, Dario MarušiÊ − artists who helped Katice break down music borders . During their almost 20­year career they have travelled a good part of the world and released three albums of arrangements of traditional songs: Katice (Helidon, 1995), Se dela greh . . . se sliši smeh (One Sins . . .Another Hears Laughter, Helidon, 1998), Jungfraua (Maiden, Menart; Dom svobode, 2001) and an album of Christmas music Oj, fijole, novo leto je! (Hey, Hey, It’s a New Year!, Celinka, 2009) .

With the right dose of genuine folksiness on the one hand and innovation on the other, Katice have created a mature, firm conceptual album that will be ignored by orthodox purists and overlooked by fans of banal entertainment . Dušan Jesih, MMC RTV Slovenia website

Skladba / Composition:Oj, fijole (glasba in besedilo / music and lyrics: ljudska / traditional; aranžma / arrangement: Dario MarušiÊ)

Naslov albuma / Album title:Katice: Oj, fijole, novo leto je! / Hey! Hey! It’s a New Year!(Celinka, 2009)www .celinka .si/zalozba

Zasedba / Line­up:Katice − vokali / vocalsPetra Trobec − umetniški vodja / artistic director

Kontakt / Contact: + 386 (0)41 555 129tanja .drasler@gmail .com www .katice .si

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Bogdana Herman & Jure Tori

Bogdana Herman že veË kot trideset let poje ljudske pesmi in raziskuje neznane svetove petja . Sodelovala je z velikimi slovenskimi umetniki 20 . stoletja, z glasbeniki, s pesniki, slikarji, mojstri video umetnosti in fotografije . Z glasom je opremljala filme in gledališke predstave, napisala je pesniško zbirko ter nekaj radijskih in televizijskih serij o slovenski ljudski glasbi . Zadnjih pet let sodeluje z Borutom Savskim, Marko bando, Tomažem Pengovom, Zvonko SimËiË, Cirkulacijo 2 in Juretom Torijem . Jure Tori je eden najprepoznavnejših in najbolj samosvojih virtuoznih harmonikarjev na Slovenskem . Z Ewaldom Oberleitnerjem in zasedbo Tori Trio igra po Evropi in doma, s folkrock skupino Orleki pa je prekrižaril že skorajda cel svet . Na zaËetku leta 2011 sta Bogdana Herman in Jure Tori izdala odmevno zgošËenko »as je …, na kateri najdemo v subtilnih, minimalistiËnih priredbah za glas in harmoniko tako ljudske pesmi iz celega sveta, vkljuËno s slovenskimi, kot tudi skladbe znanih domaËih in tujih avtorjev (Tom Waits, Shane McGowan, Vlado Kreslin) .

Drznemo si izjaviti naslednje: kdor koli se bo še kdaj lotil predelave kakega od teh komadov, si ne bo smel privošËiti, da ne bi poznal samosvojih, obËutenih razliËic Jureta in Bogdane … njune inaËice marsikatero pesem ≈preberejo« v novi luËi .Mario BateliÊ, Radio Študent

Bogdana Herman has been singing traditional songs and exploring unknown worlds of singing for more than thirty years . She has worked with many great Slovenian artists of the 20th century ­ poets, painters and masters of video and photographic art ­ as well as musicians . She has lent her voice to films and theatre presentations, authored a volume of poetry, and some radio and television series about traditional Slovenian music . In the last five years, she has worked with Borut Savski, Marko banda, Tomaž Pengov, Zvonka SimËiË, Cirkulacija 2 in Jure Tori . Jure Tori is one of the most recognisable and original accordion virtuosos in Slovenia . With Ewald Oberleitner and the ensemble Tori Trio he has appeared throughout Europe and Slovenia, while with the folk­rock band Orlek he has travelled practically half the world . At the start of 2011 Bogdana Herman and Jure Tori released the well­received album »as je … (It’s Time . . .), featuring traditional music from all over the world (including Slovenia) alongside songs by well­known Slovenian and non­Slovenian authors (Tom Waits, Shane McGowan, Vlado Kreslin) in subtle, minimalist arrangements for voice and accordion .

We dare to declare the following: anyone whoever tries to cover any of these songs will have to know the unique, sensual versions of Jure and Bogdana . . . their versions shed a different kind of light on these songs . Mario BateliÊ, Radio Študent

Skladba / Composition:Marko skaËe / Marko's Jumping (glasba in besedilo / music and lyrics: ljudska / traditional; aranžma / arrangement: Jure Tori, Bogdana Herman)

Naslov albuma / Album title:Bogdana Herman in Jure Tori: »as je … / It's Time... (Klopotec, 2011)www .klopotec .si

Zasedba / Line­up:Bogdana Herman − vokal / vocalsJure Tori − harmonika / accordion

Kontakt / Contact:+ 386 (0)31 370 982jure@tiskarna­tori .si www .juretori .com

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Uršula Ramoveš in Fantje z Jazbecove grape

Pevka uglasblja in prepeva poezijo moža Janeza Ramovša, ki je pisana v nareËni govorici Poljanske doline . Najprej je s pianistom Jožijem Šalejem posnela dve plošËi z nareËnimi besedili, Sugar free baby (Samozaložba, 2000) in Na sunËn dan sm se z beciklam pelu (Sanje, 2003), nato pa je maja 2005 ustanovila vokalni kvartet Uršula Ramoveš in Fantje z Jazbecove grape, kjer skupaj z Jožijem Šalejem in Metodom Bankom poje pesmi Janeza Ramoveša, pri Ëemer jih na tolkalih spremlja Marjan StaniÊ . Leta 2006 so pri Cankarjevi založbi kot priloga k pesniški zbirki Staroselski ciklus Janeza Ramoveša izšle pesmi v izvedbi Uršule Ramoveš in Fantov z Jazbecove grape, medtem ko so leta 2007 pri založbi Sanje izdali plošËo AnglËešejne . Leta 2010 se je zasedbi na koncertu v radijski oddaji Izštekani pridružil basist Robert JukiË ter postal njen stalni Ëlan . Zadnji dve leti Ëlani izvajajo znane napeve, za katere je Janez Ramoveš napisal izvirna besedila . Oktobra 2010 je TV Slovenija (v režiji Dušana Moravca) posnela dokumentarec V ritmu volovske vprjege o Uršulinem in Janezovem ustvarjanju.

MagiËen nastop smo prejeli tokrat, pravo gromoglasno skrivnost iz davno koloniziranih, tihih, zagovednih krajev . Poredkoma imamo priložnost spremljati ≈tekoËo folkloro« v najboljšem pomenu izraza . Miha Zadnikar, Delo

Singer Uršula Ramoveš sets to music and sings the poetry of her husband Janez Ramoveš, which is written in the local dialect of the Poljanska Valley . She first recorded two albums of lyrics in a local dialect with pianist Joži Šalej, Sugar­free Baby (self­released, 2000) and Na sunËn dan sm se z beciklam pelu (I Rode My Bicycle on a Sunny Day, Sanje, 2003); then in May 2005, she founded the vocal quartet Uršula Ramoveš in Fantje z Jazbecove grape (Uršula Ramoveš and the Boys from Badger Ravine) who, together with Joži Šalej and Metod Banko, continue to sing the poetry of Janez Ramoveš, accompanied by percussionist Marjan StaniÊ . In 2006, the publisher Cankarjeva Založba released an album of poems interpreted by Uršula Ramoveš in Fantje z Jazbecove grape as a supplement to a volume of poetry by Janez Ramoveš entitled Staroselski ciklus (Native Cycle), while in 2007 the label Sanje released their album AnglËešejne (Vespers) . In 2010, bassist Robert JukiË joined them for a performance on the radio show Izštekani (Unplugged), later becoming a regular member of the group . For the last two years, the ensemble has been performing well­known melodies for which Janez Ramoveš has written original texts . In October 2010, Slovenian Television recorded a documentary film called V ritmu volovske vprjege (In the Rhythm of the Ox’s Yoke) about Uršula and Janez Ramoveš’s work .

This time we received a magical performance, an utterly uproarious secret from long­since colonised, quiet, crude places . We are rarely given a chance to follow 'current folklore' in the best sense of the term .Miha Zadnikar, Delo

Skladba / Composition:Piism, ke ja j piiv adn, ke j pol hmal umaru / A Song That Someone Sang and Then Died Soon After(glasba / music: Brane Frlic; besedilo / lyrics: Janez Ramoveš; aranžma / arrangement: Joži Šalej)

Posneto / Recorded:V živo v oddaji Izštekani (Radio Slovenija, Val 202). / live at the program Izštekani / Unplugged (Radio Slovenia, Val 202)(12 . 3 . 2010)P & C 2010 RTV Slovenija(Predhodno neobjavljeni posnetek . / Previously unreleased .)

Zasedba / Line­up:Uršula Ramoveš − vokal / vocalsJoži Šalej − vokal, harmonika / vocals, accordionMetod Banko − vokal, bršljanov list / vocals, ivy leafAleš Hadalin − vokal / vocalsMarjan StaniÊ − tolkala / percussionRobert JukiË − kontrabas / double bass

Kontakt / Contact: +386 (0)41 39 80 29urska .ramoves@siol .net www .ursularamoves .info www .myspace .com/ursularamoves

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Ljoba JenËe

Deluje kot svobodna umetnica in zbirateljica slovenskega ustnega izroËila ter poustvarjalka, pevka in pripovedovalka pravljic . Vodi šolo umetnosti pripovedovanja pravljic, raziskuje in razvija metodo pouËevanja petja starih ljudskih pesmi . Zavzema se za razvoj naravnega glasu in podpira uvajanje slovenskega izroËila v šolski izobraževalni sistem . Namerno se izogiba uteËenim potem formalne glasbene izobrazbe, a se je udeleževala šolanja za naravni glas na inštitutu Tonalis − Emerson College v Angliji . Vokalno tehniko razvija tudi pri prof . Marti MoËnik­Pirc . Letno izvede do sto nastopov, predvsem v prostorih z naravno akustiko . Veliko gostuje po Evropi in drugod po svetu . Izdala je vrsto zgošËenk z lastnimi priredbami ljudskih pesmi in terenskimi etnomuzikološkimi posnetki, posnela je CD s tibetanskimi Gyuto menihi (Lepote modrosti, Društvo za podporo Tibetu, 2001) ter sodelovala pri številnih dokumentarnih filmskih, televizijskih in radijskih oddajah .

Slovenija. Odmevi veËnosti so ena tistih plošË, ob katerih radovedni poslušalec odkriva nove razsežnosti. In se iskreno Ëudi: uau, tudi to je (lahko) slovenska ljudska glasba? Kul! … V kontekstu preporodne ljudskosti je nenavadna, izjemna, brezËasna.Jure Longyka, Radio Slovenija, Val 202

Ljoba JenËe is a freelance artist and collector of Slovenian oral traditions, in addition to being a performer, singer and storyteller . She heads a school devoted to the art of storytelling, while researching and developing a method of teaching the vocal performance of old traditional songs . She is committed to the development of the natural voice, and actively supports the inclusion of Slovenian traditions in the national education curriculum . She intentionally avoids established and formal music education, but underwent training in natural voice at the Tonalis Institute of Emerson College in England . She also continues to develop her vocal technique under the guidance of Marti MoËnik­Pirc . She performs roughly 100 times a year, primarily in places with natural acoustics, with many guest appearances in Europe and elsewhere to her credit . She has released a series of albums featuring her own arrangements of traditional songs and ethno­musicological field recordings . She has recorded a CD with the Tibetan Gyuto monks (Lepote modrosti, [The Beauty of Wisdom] Society for the Support of Tibet, 2001) and has worked on a number of documentary films, and television and radio programmes .

Slovenija . Odmevi veËnosti (Slovenia . Echoes of Eternity) enables a curious listener to discover new dimensions and to be honestly surprised. Wow - can this also be Slovenian folk music? Cool! ... In the context of the traditional folk music revival, it is exceptional, timeless.Jure Longyka, Radio Slovenija, Val 202

Skladba / Composition:Cin cin cin belo (glasba in besedilo / music and lyrics: ljudska / traditional; aranžma / arrangement: Ljoba JenËe)

Naslov albuma / Album title:Ljoba JenËe: Slovenija. Odmevi veËnosti / Slovenia. Echoes of Eternity (Mohorjeva založba, 2011)www .mohorjeva .si

Zasedba / Line­up:Ljoba JenËe − vokal / vocalsDuško Mamut Badovinac ZupanjiË − fujara / fuyara

Kontakt / Contact: +386 (0)41 430 224ljoba .jence@guest .arnes .si

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Skladba / Composition:Ne ori, ne sejaj / Do Not Plough, Do Not Seed (glasba in besedilo / music and lyrics: ljudska / traditional; aranžma / arrangement: Marko banda)

Posneto / Recorded:Na koncertu ob 20. obletnici delovanja skupine. / at the concert celebrating the ensemble’s 20th anniversary(22 . 11 . 2010)

(Predhodno neobjavljen posnetek . / Previously unreleased)

Zasedba / Line­up:Miha Kavaš − violina / violinSlavko Petek − kontrabas / double bassTomaž Rauch − viola / violaBoštjan Rous − klarinet / clarinetŽeljko Ritlop − klarinet / clarinetAndi SoboËan − cimbale / cimbalomGostja / Guest:Regina (Irena Kogoj) − vokal / vocals

Kontakt / Contact: www .markobanda .com

Marko banda feat. Regina

Zasedba se je zbrala leta 1990 za potrebe Folklorne skupine KUD Beltinci . Pozneje se je osamosvojila in postala prepoznavna godËevska zasedba, katere ustvarjanje temelji na zvoku tradicionalnih prekmurskih in madžarskih godËevskih band, ki so igrale plesne napeve ob raznih priložnostih, zlasti na svatbah . Po zvoËni plati se je skupina zgledovala po zasedbi Kociper­Baranja banda (oz . Beltinška banda), katere cimbalist Miško Baranja je bil prvi mentor skupine . S Ëasom in priložnostno se je skupina nekoliko spreminjala, vendar je jedro ostajalo isto: cimbalist Andi SoboËan, klarinetist Boštjan Ros in kontrabasist Slavko Petek, po nekajletnem premoru pa sta se jim leta 2005 pridružila violinist Miha Kavaš in klarinetist Željko Ritlop . V dvajsetih letih so odigrali preko 700 koncertov v Sloveniji in tujini, kjer so gostovali na številnih festivalih ljudske glasbe . Izdali so dve zgošËenki: No1 (MCA, 1997) in Vöra bije (MCA, 2008) . Regina je priznana vokalistka, ki deluje v domeni popularne glasbe . Leta 1996 je Slovenijo zastopala na Evroviziji .

Marko banda ne le ohranja glasbeno izroËilo Prekmurja, temveË zavestno goji kontinuiteto v izroËilu, tisto živo vez s preteklostjo torej, ki predstavlja pomemben dejavnik današnje glasbene podobe dela Slovenije onkraj Mure . Igor Cvetko, etnomuzikolog

Marko Banda (Marko Band) came together in 1990 to fulfill the needs of the Folklore Ensemble of the Beltinci cultural arts society . Later, they struck out on their own and evolved into a recognisable folk band whose art is based on the sound of traditional Prekmurje and Hungarian folk ensembles that play dance music at various events, especially weddings . In terms of sound, the ensemble took Kociper­Baranja Banda (otherwise known as Beltinška Banda) as their model, the cimbalom player of which, Miško Baranja, was the first mentor of the group . While the group's membership has changed, the core has remained the same: cimbalom player Andi SoboËan, clarinettist Boštjan Ros, and double bass player Slavko Petek . Following a few years' hiatus, they were joined in 2005 by violinist Miha Kavaš and clarinettist Željko Ritlop . Over their 20­year career they have played more than 700 concerts in Slovenia and abroad, where they have made guest appearances at a number of folk music festivals . They have released two albums: No1 (MCA, 1997) and Vöra bije (The Clock Has Struck; MCA, 2008) . Regina is a prominent pop vocalist . She represented Slovenia in the Eurovision Song Contest in 1996 .

Marko Banda not only preserve the musical tradition of Prekmurje, but consciously nurture the continuity of that tradition as a living link with the past, which is an important factor in today's musical image of the Slovenian region on the other side of the River Mura . Igor Cvetko, ethnomusicologist

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Pella

Skupina nosi ime tretje prestolnice antiËne Makedonije, rodila pa se je spomladi 2004 na pobudo akademskega glasbenika Ljubena Dimkaroskega ob promociji knjig makedonskega pisatelja Milana R . Durla . Osebna izkaznica skupine je petje starih makedonskih in slovenskih pesmi . Pesmi so arhaiËne, govorijo o veri, upanju in ljubezni . Aranžmaji Ljubena Dimkaroskega svežijo pesmi, ki tako pridobivajo nova oblaËila . Njihova dinamika je izrazito kontrastna, agogiËne spremembe ritmov so vidne in potencirane . Prevladujejo nepravilni, kombinirani in svobodni ritmi, ki dajejo skupini izviren izraz . Z naËinom petja in celostno podobo povezuje Pella stari in novi Ëas ter opozarja na slovensko in makedonsko glasbeno (in širše kulturno) bogastvo . Na zadnjem, tretjem CD­ju skupine, Pella in prazvok, Dimkaroski igra na repliko 55 .000 let stare pišËali iz kosti medveda, ki so jo našli v Divjih babah na Cerkljanskem in velja za najstarejši inštrument na svetu .

Ljudska pesem, ki jo poje Pella, najsi bo makedonska Planino ali slovenska Oj, Božime, je kakor voda, ki se stalno vraËa k izviru, vedno znova zopet Ëista .Janko RožiË, KUD Sestava

Named after the third capital of ancient Macedonia, the Pella trio was established in the spring of 2004 on the initiative of the classically­trained musician Ljuben Dimkaroski to promote a book by Macedonian writer Milan R . Durla . The group specialises in singing old Macedonian and Slovenian traditional songs . The songs are archaic and speak of faith, hope and love . Ljuben Dimkaroski’s arrangements revitalise the songs, dressing them in new garb and ­ propelled by a dynamic of pronounced contrast ­ agogic changes of rhythm are clear and potent . Irregular, combined and free rhythms predominate, lending originality to the ensemble’s playing . Their individual approach to singing and their overall image connect Pella to both modern and ancient times, calling attention to Slovenian and Macedonian musical and broader cultural riches . On the band’s third CD, Pella in prazvok (Pella and Ancient Sounds), Ljuben Dimkaroski plays a replica of a 55,000 year old flute ­ the original being made from the bone of a bear ­ which is considered by some experts to be the oldest musical instrument in the world; the original was found in a cave in the Cerkno region of Slovenia .

A folk song sung by Pella ­ whether a Macedonian Planino or a Slovenian Oj, Božime ­ is like water that is constantly returning to its source, always clean again .Janko RožiË, KUD Sestava arts association

Skladba / Composition:Pobelelo pole ovcama / A Field Whitened with Sheep(glasba in besedilo: ljudska; aranžma / arrangement: Ljuben Dimkaroski)

Naslov albuma / Album title:Pella: Pella in prazvok / Pella and Ancient Sounds (CPA d .o .o ., 2010)

Zasedba / Line­up:Vesna Mladenova, Majda Pezdirec, Metoda Postolski Košir − vokal / vocalsLjuben Dimkaroski − praglasbilo (replika 55 .000 let stare pišËali), umetniški vodja / replica of a 55,000 year old flute, artistic director

Kontakt / Contact: +386 (0)41 918 884cox@cpa .siwww .cpa .si/pella .html

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Skladba / Composition:SozvoËja / Concord (glasba / music: ljudska, Janez DovË; aranžma / arrangement: Janez DovË)

Naslov albuma / Album title:Jararaja: Od srede do torka / From Wednesday to Tuesday (Celinka, 2010)www .celinka .si/zalozba

Zasedba / Line­up:Gregor Budal − klarinet / clarinet Vasilij Centrih − violina / violinJanez DovË − harmonika / accordionPetra Trobec − kontrabas / double bassGosta / Guests:Sergej RanđeloviÊ − RunJoe − tolkala / percussionRobert Pikl − kitara / guitar

Kontakt / Contact: info@jararaja .orgwww .jararaja .org

Jararaja

Od leta 2002 delujoËo skupino zaznamuje preigravanje slovenske ljudske glasbe in poigravanje z njo . Ustanovili so jo uveljavljeni glasbeniki: harmonikaš Janez DovË, klarinetist Gregor Budal, violinist Vasilij Centrih in kontrabasistka Petra Trobec . Leta 2007 se je skupini pridružil tolkalec in vokalist Sergej RanđeloviÊ − RunJoe . Zasedba je izdala dve zgošËenki, posnetek z živega nastopa Jara raja (FM Studio, 2006) in studijski album Od srede do torka (Celinka, 2010), s katerim se je predstavila v prenovljeni zvoËni podobi, tj . z opaznejšimi vplivi razliËnih popularnoglasbenih žanrov (na albumu je tretjina avtorskih skladb in besedil Ëlanov skupine), ter koncertni DVD Jararajanje z gosti (Samozaložba, 2006) . Jararaja je nastopila na številnih koncertih in festivalih po Sloveniji in v veËini evropskih držav . Vsi Ëlani skupine sodelujejo v projektu Sounds of Slovenia, ki združuje vrhunske slovenske glasbenice in glasbenike .

Etnoskupina Jararaja se suvereno sprehaja med praktiËno vsemi segmenti in pristopi k ljudskemu (in širše) v vsej pestrosti sodobne glasbene palete; to poËne v prepoznavno neobremenjeni avtorski maniri ter z obilico tako glasbenega znanja in pretehtanega eklekticizma kot sprošËeno igrive, že kar humorne duhovitosti .Darinko Kores Jacks, VeËer

Active since 2002, Jararaja have been known for both playing Slovenian folk music and for playing with it . The group was formed by established musicians: accordionist Janez DovË, clarinetist Gregor Budal, violinist Vasilij Centrih and bassist Petra Trobec . Percussionist and vocalist Sergej RanđeloviÊ − RunJoe − joined the band in 2007 . The group has released two albums, a recorded live performance entitled Jara raja (FM Studio, 2006) and a studio album, Od srede do torka (From Wednesday to Tuesday; Celinka, 2010) on which the band introduced an updated sound with noticeable influences of various popular music genres (a third of the songs on the album were composed by the band members), as well as a concert DVD, Jararajanje z gosti (Merrymaking with Jararaja and Guests, Self­published, 2006) . Jararaja has performed numerous concerts and at festivals across Slovenia and most European countries .

The ethno music group Jararaja boldly walks between virtually all segments and approaches to folk music (and beyond) with all the diversity offered by a contemporary musical palette . They do this in a recognisable, carefree manner, and with plenty of knowledge and considered musical eclecticism, thanks to their playful sense of humour and wit . Darinko Kores Jacks, VeËer daily newspaper

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Mlada beltinška banda

Zasedba je nastala leta 1997 v okviru Folklorne skupine KUD Beltinci . Ustanovljena je bila z namenom negovanja tradicije prekmurske ljudske glasbe, torej kot naslednica legendarne zasedbe Kociper­Baranja banda, ki jo poznamo tudi kot Beltinško bando (nekdanja spremljevalna zasedba Vlada Kreslina) in na katero se sklicuje že s svojim imenom, in Marko bande, katere Ëlan Samo Budna je bil mentor novonastale skupine . Prvotna desetËlanska zasedba se je z leti izoblikovala v kvintet, ki ga sestavljajo Dani KolariË na cimbalah, Blaž ŠËavniËar na klarinetu, David Santro na harmoniki in akustiËni kitari, Miha Kavaš na violini in Luka ŠËavniËar na kontrabasu . Njihov repertoar obsega ljudske pesmi iz Prekmurja, Bele krajine, Madžarske in Rusije . Razen tega se skupina posveËa tudi iskanju novih sozvoËij modernejših skladb v preobleki starih ljudskih instrumentov in je nastopila na številnih glasbenih prireditvah, festivalih in koncertih po Sloveniji in tujini . Izdala je dva albuma: Prekmurska herbija / Prekmurje Musical Heritage (KUD Beltinci, 2001) in Špilaj! / Play! (God Bless This Mess, 2009).

Album Špilaj! je veË kot vreden naše pozornosti, saj ponuja žilavo, ubrano igro, tenkoËutne aranžmaje, fino izpeljano dinamiko albuma in še kak skriti adut.Mario BateliÊ, Radio Študent

The Mlada Beltinška banda (The Young Beltinci Band) was formed in 1997 by members of the folklore ensemble of the cultural arts society in the town of Beltinci . The band was founded in order to nurture the traditions of Prekmurje music as a successor to both the legendary Kociper Baranja Band − also known as Beltinška Banda (Vlado Kreslin’s former backing ensemble) and to whom they refer with their name − and Marko Banda, whose guitarist, Samo Budna, was a mentor to the new group . Originally a 10­member ensemble, it took shape through the years as a quintet made up of Dani KolariË on cimbalom, Blaž ŠËavniËar on clarinet, David Santro on accordion and acoustic guitar, Miha Kavaš on violin, and Luka ŠËavniËar on double bass . Their repertoire includes traditional songs from the Prekmurje region, Bela krajina, Hungary and Russia . The band are also devoted to exploring new ways of presenting modern songs on authentic folk instruments, and they have performed at a number of music events, festivals and concerts in Slovenia and abroad . They have released two albums: Prekmurska herbija / Prekmurje Musical Heritage (KUD Beltinci, 2001) and Špilaj! / Play! (God Bless This Mess, 2009) .

The album Špilaj! (Play!) is more than worthy of our attention . It offers robust yet harmonious playing, delicate arrangements, finely controlled dynamics and other hidden strengths .Mario BateliÊ, Radio Študent

Skladba / Composition:Ciganska suita / Gypsy Suite(glasba / music: Wilhelm Bernau; aranžma / arrangement: Mlada beltinška banda)

Naslov albuma / Album title:Mlada beltinška banda: Špilaj! / Play! (God Bless This Mess, 2009)www .gbtm .si

Zasedba / Line­up:Miha Kavaš − violina / violinLuka ŠËavniËar − kontrabas / double bass David Santro − harmonika / accordion Blaž ŠËavniËar − klarinet / clarinetDan KolariË − cimbale / cimbalom

Kontakt / Contact: +386 (0)31 373 015mladabanda@gmail .com

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Skladba / Composition:Amaro kher / Our Home (glasba in besedilo / music and lyrics: ljudska / traditional; aranžma / arrangement: Šukar)

Posneto / Recorded:V živo v oddaji Naše poti v okviru prireditve Romano chon − mesec romske kulture (Radio Slovenija, 1 . program) . / live performance as part of the programme Naše poti (Our Paths) during the Romano chon − Month of Roma Culture (Radio Slovenia Channel 1) (26 . 4 . 2010) P & C 2010 RTV Slovenija (Predhodno neobjavljeni posnetek . / Previously unreleased .)

Zasedba / Line­up:Igor Misdaris − vokal, bugarija / vocals, bugaria Nenad Ljubotina − 2 . braË, spremljevalni vokal / 2nd brac, backing vocalsPeter Lozar − tamburaško Ëelo, spremljevalni vokal / cello tamburica, backing vocals Matevž Lavrinc − 1 . braË / 1st brac Štefan Švagelj − kontrabas / double bass Adam Bicskey − cimbale / cimbalom

Kontakt / Contact: +386 (0)41 403 922 info@sukar .org www .sukar .org

Šukar

Ima najdaljši staž med skupinami, ki igrajo romsko glasbo v Sloveniji, Ëeprav Ëlani sami niso Romi . Leta 1990 je skupino Šukar ustanovilo pet Ëlanov tamburaške sekcije folklorne skupine Emona . Romsko glasbo izvajajo v postavi tamburaškega orkestra (1 . braË, 2 . braË, tamburaško Ëelo, bugarija in kontrabas), njihov repertoar pa obsega glasbo Romov iz cele Evrope . Skupina zbira zapisane, posnete in ustno posredovane pesmi, ki jih nato na izviren naËin predela in izvaja . Šukar izvaja pesmi v razliËnih dialektih romskega jezika . Poleg romskih pesmi Šukar izvaja tudi druge popularne pesmi z Balkana (starogradske, sevdalinke, šlagerje) . Skupina je izdala šest albumov in sodelovala s številnimi znanimi glasbeniki, kot so Zoran Predin, Vlado Kreslin in Jadranka Juras, še posebej pa velja izpostaviti pokojno legendo balkanske romske glasbe, Šabana BajramoviÊa .

Preseganje obstranskosti in popularizacija romske kulture in glasbe v slovenskem kulturnem prostoru je ena od številnih vrednot, ki jih Šukar širi v zadnjih dveh desetletjih.Jože Horvat Muc, romski aktivist

Šukar has had the longest career of the groups that play Roma music in Slovenia, although the members themselves are not Roma . In 1990, the ensemble Šukar was formed by five members from the tamburica section of the folklore ensemble Emona . The group perform Roma music in the typical line­up of a tamburica orchestra (1st brac, 2nd brac, cello tamburica, bugaria and bas), and boast a repertoire drawn from different Roma communities around Europe . The group collect notated, recorded and orally transmitted songs, which they then arrange and perform in their own way . Šukar perform in various dialects of the Roma language . In addition to Roma songs, Šukar also perform other popular songs from the Balkans, including old town songs (starogradske), Bosnian sevdalinkas, and commercial pop songs . The group has released six albums, and collaborated with a number of well­known musicians, such as Zoran Predin, Vlado Kreslin and Jadranka Juras, as well as ­ it is especially worth mentioning ­ the late Balkan Roma music legend Šaban BajramoviÊ .

Overcoming the marginalisation and popularisation of Roma culture and music on the Slovenian cultural scene is one of the many values that Šukar have spread in the last two decades .Jože Horvat Muc, Roma activist

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Vlado Kreslin

Z glasbo se je zaËel ukvarjati najprej kot bobnar, kasneje pa je kot vokalist deloval v razliËnih pop in rock skupinah . Leta 1980 je s skladbo Dan neskonËnih sanj zmagal na festivalu Slovenska popevka . Kmalu po tem se je prikljuËil skupini Martin Krpan, ki se je odtlej razvila v eno najpopularnejših slovenskih sredinskih rock zasedb . Konec 80­ih se je Kreslin priËel glasbeno družiti s starejšimi godci iz rojstnih Beltincev, t . i . Beltinško bando, s katero je ponesel ljudsko glasbo daleË prek meja rodnega Prekmurja in v slovenskem prostoru zanetil ponovno (medijsko in glasbeno) zanimanje za ljudskoglasbeno dedišËino . Vzporedno je sodeloval z razliËnimi glasbeniki, predvsem z Mirom Tomassinijem . Še vedno tudi sodeluje z mlajšimi slovenskimi in s priznanimi tujimi glasbeniki (Alan Taylor, R .E .M ., Rade Šerbedžija, Hans Theessink, Vlatko Stefanovski, Chris Eckman, Gabriella Gabrielli itd .) in koncertira po celem svetu . Številne njegove pesmi so ponarodele, druge so postale navdih za romane, celoveËerne filme in diplomske naloge . Nastopal je v filmih in gledališËu, pisal je filmsko in gledališko glasbo . Doslej je izdal 14 albumov in tri zbirke poezije .

Kreslin je Bob Dylan z Balkana, poet/trubadur izgubljene Evrope .Noah Charney, profesor umetnostne zgodovine ameriške univerze v Rimu

Vlado Kreslin first became involved with music as a drummer; he then worked as a vocalist in various pop and rock bands . In 1980, he won at the Slovenian Pop Song Festival with the song Dan neskonËnih sanj (Day of Infinite Dreams) . Soon after, he joined the band Martin Krpan, which blossomed into one of the most popular Slovenian rock bands . Towards the end of the 1980’s, Kreslin began musical collaborations with the traditional music ensemble from his hometown of Beltinci, Beltinška banda (Beltinci band), with whom he recorded traditional music from well beyond the borders of his native Prekmurje, once again igniting both media and musical interest in folk music . At the same time he collaborated with other various musicians, chiefly Miro Tomassini . He continues to work with other younger Slovenian and well­known non­Slovenian musicians − including Alan Taylor, R .E .M ., Rade Šerbedžija, Hans Theessink, Vlatko Stefanovski, Chris Eckman, Gabriella Gabrielli and others − and performs on concert stages all around the world . A number of his songs have become very popular, while others have inspired novels, feature films and even academic theses . He also has appeared in − as well as composed music for − films and theatre productions . Thus far, he has released fourteen albums and three volumes of poetry .

Kreslin is the Bob Dylan of the Balkans, a poet/troubadour of a lost Europe .Noah Charney, Professor of Art History, American University of Rome

Skladba / Composition:Poj mi pesem / Sing Me a Song (glasba / music: Miro Tomassini; besedilo / lyrics: Vlado Kreslin; aranžma / arrangements: Miro Tomassini, Vlado Kreslin, Gal Gjurin)

Naslov albuma / Album title: Vlado Kreslin: Drevored / Avenue (Kreslin, 2010)

Zasedba / Line­up:Vlado Kreslin ­ vokal, akustiËna kitara, orglice, bas boben / vocals, acoustic guitar, harmonica, bass drumMiro Tomassini ­ mandolina, akustiËna kitara, spremljevalni vokal / mandolin, acoustic guitar, backing vocalsGal Gjurin ­ kontrabas, harmonika, mandolina, klavir, trobenta, sopranska pozavna spremljevalni vokal / double bass, accordion, mandolin, piano, trumpet, soprano trombone, backing vocalsŠtefan Banko ­ saksofon, spremljevalni vokal / saxophone, backing vocalsDomen Gracej ­ trobenta / trumpetSamo Budna ­ violina, spremljevalni vokal / violin, backing vocalsAndrej SoboËan ­ cimbale, spremljevalni vokal / cimbalom, backing vocalsGašper Peršl ­ tolkala / percussionGašper Konec ­ klavir, spremljevalni vokal / piano, backing vocals

Kontakt / Contact: vlado@kreslin .comwww .kreslin .com

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Etno Glasbene poti − podolgem in poËez / Music Routes − Highways and BywaysSlovenia 2011

Izbor skladb za kompilacijo je opravila strokovna komisija v sestavi / The compositions were selected by an expert committee with the following members: dr . Rajko MuršiË, vodja izbirne komisije / Chairmandr . Svanibor PettanKatarina JuvanËiËMario BateliÊ

Uredništvo / Editor: SIGICStrokovna sodelavka / Professional assistant: Katarina JuvanËiË Besedila / Texts: dr . Rajko MuršiË, dr . Svanibor Pettan, Katarina JuvanËiËLektorica slovenskih besedil / Slovenian language copy editor: Monika JeriËPrevod / Translation: Neville Hall, Steven Loy, Katarina JuvanËiËLektor angleških besedil / English language copy editor: Philip BurtMastering / Mastering: Martin ŽvelcOblikovanje / Design: Eda PavletiË Tisk / Print: Ciklus, d . o . o .Naklada / Print run: 2000 izvodov / 2000 copiesZaložnik / Publisher: Slovenski glasbenoinformacijski center (SIGIC) / Slovenian MusicInformation Centre (SIGIC)Zanj / For: Zoran KrstuloviÊNaslov / Address: Trg francoske revolucije 6, 1000 Ljubljana, SlovenijaTel .: / Phone: +386 (0)1 241 20 90E­pošta / E­mail: info@sigic .sihttp://www .sigic .si/

Projekt je finanËno podprlo Ministrstvo za kulturo Republike Slovenije . / This publication received financial support from the Ministry of Culture of the Republic of Slovenia .

Zahvaljujemo se avtorjem, izvajalcem in založbam za pomoË in dovoljenje, da se njihove posnetke uvrsti na priËujoËo kompilacijo, ter Ëlanom izbirne komisije za sodelovanje . / We would like to thank the authors, musicians and publishers for their help and permission in putting together the recordings on this compilation, as well as the members of the selection committee for their collaboration .

SGC CD 002

© SIGIC, 2011

Slovenski glasbenoinformacijski center − SIGIC

SIGIC, Slovenski glasbenoinformacijski center, je osrednja informacijska toËka za dostop do informacij o slovenski glasbi, glasbenikih in glasbenih strokovnjakih ter aktualnih glasbenih aktivnostih. SistematiËno skrbi za promocijo slovenske glasbe in glasbenikov tako doma kot v tujini. V ta namen se SIGIC uspešno povezuje s številnimi glasbenimi institucijami doma in po svetu in je od leta 2006 polnopravni Ëlan Mednarodne zveze glasbenoinformacijskih centrov IAMIC. SIGIC izdaja spletno revijo o glasbi Odzven, ki ponuja kritiËno refleksijo in analitiËno misel o aktualnem glasbenem dogajanju in glasbi vseh žanrov. Z letom 2011 je SIGIC zaËel izdajati pregledne kompilacijske zgošËenke, s katerimi predstavlja aktualne glasbene presežke v posameznih glasbenih žanrih. Prva v vrsti je bila zgošËenka Jazz Slovenia 2011, sledila pa ji je ta, ki jo držite v rokah, se pravi kompilacija, namenjena orisu aktualnega stanja na podroËju glasbenega ustvarjanja na temeljih tradicijskih glasb, Etno Slovenia 2011: Glasbene poti − podolgem in poËez.

Slovenian Music Information Centre − SIGIC

The Slovenian Music Information Centre − SIGIC − is the central information point for Slovenian music, musicians, musical professionals, and current musical events and activities . The organisation systematically promotes Slovenian music and musicians, both nationally and internationally . To this end, SIGIC connects numerous musical institutions in Slovenia and around the world, and, since 2006, has been a full member of IAMIC, the International Association of Music Information Centres . SIGIC publishes a web music magazine called Odzven, which offers critical reflection and analysis of current musical activities in all genres . In 2011, SIGIC launched a project to make compilation CDs of contemporary Slovenian representatives of individual musical genres . The first of these was the compact disc Jazz Slovenia 2011, followed by this album, a compilation intended to give a sketch of the current state of artistry based on traditional music: Etno Slovenia 2011: Music Routes − Highways and Byways.

VeË o SIGIC­u najdete na: / More about SIGIC: www.sigic.si .

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etnoSlovenia 2011

CD 1 • Podolgem / Highways:

1. Arsov feat. Lara Baruca: Dajte, dajte / Give, Give . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:31

2. Eva Hren & Sladcore: Ne ori, ne sejaj / Do Not Plough, Do Not Seed . . . . . . . . . . . . . . . . . . . . . . . . . . 1:42

3. Katalena: Komur se dremlje / Whoever Is Sleepy . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:18

4. Sounds of Slovenia feat. Brina Vogelnik: Lepa Vida / The Fair Vida . . . . . . . . . . . . . . . . . . . . . . 5:25

5. Maja Osojnik Band: Da ta na Sarti / Way Up on Sarta Mountain . . . . . . . . . . . . . . . . . . . . . 4:23

6. Carmina Slovenica: Puknula, oj! . . . . . . . . . . . . . . . . 4:37

7. Essaouira Project: Mr. Baha (izsek / excerpt) . . . 3:43

8. Terrafolk: Nori veter / Liver Dance . . . . . . . . . . . . . 5:41

9. Vesna Zornik: Noche Transfigurada / Transfigured Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:00

10. Katarina & Dejan: Uej uej (Magdalenca) . . . . . . . . 3:22

11. Sedef: Snijeg pade na behar na voÊe / Snow Is Falling on Blossoms and Fruit . . . . . . . . . 5:41

12. Fake Orchestra: Ne de mi veË rasla / (Green Grass) Will Grow No More . . . . . . . . . . . . . . 5:22

13. Bossa de Novo: SiniËja tožba / The Titmouse’s Lament . . . . . . . . . . . . . . . . . . . . . . . . 3:22

14. Kurkuma: Todi (izsek / excerpt) . . . . . . . . . . . . . . . 3:19

15. Dirtmusic: Niger Sundown . . . . . . . . . . . . . . . . . . . . . . 4:16

CD 2 • PoËez / Byways:

1. Aleš Hadalin: Kovaška / Blacksmith’s Song . . . . 4:04

2. Same babe: Krušna (Dremava) / Bread Song (Then a Nap) . . . . . . . . . . . . . . . . . . . . . . 2:45

3. Bakalina: Banda kravatarska / The White Collar Gang . . . . . . . . . . . . . . . . . . . . . . . . . 5:04

4. Kontrabant: Lendvavidék / Lendava Country . . . . 4:09

5. Brencl banda: Ej mala ej / Hey, Little One, Hey . . 2:58

6. Orlek: Houdre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:20

7. Vruja: Ruj, Êupinj, žaneštra / Smoke Tree, Juniper, Spanish Broom . . . . . . . . . . 5:18

8. Katice: Oj, fijole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:26

9. Bogdana Herman & Jure Tori: Marko skaËe /Marko’s Jumping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:35

10. Uršula Ramoveš in Fantje z Jazbecove grape: Piism, ke ja j piiv adn, ke j pol hmal umaru / A Song That Someone Sang and Then Died Soon After . . 4:17

11. Ljoba JenËe: Cin cin cin belo . . . . . . . . . . . . . . . . . . . 1:38

12. Marko banda feat. Regina: Ne ori, ne sejaj / Do Not Plough, Do Not Seed . . . . . . . . . . . . . . . . . . . 3:17

13. Pella: Pobelelo pole ovcama / A Field Whitened with Sheep . . . . . . . . . . . . . . . . . . 3:02

14. Jararaja: SozvoËja / Concord . . . . . . . . . . . . . . . . . . 3:49

15. Mlada beltinška banda: Ciganska suita / Gypsy Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:05

16. Šukar: Amaro Kher / Our Home . . . . . . . . . . . . . . . 4:32

17. Vlado Kreslin: Poj mi pesem / Sing Me a Song . . 3:50


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