08-12-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2015-2005 (3h 13m)

08-12-2021  JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2015-2005 (3h 13m)# Ben Williams, Nels Cline Singers, Thundercat, Hiromi, Gerald Clayton, Russell Malone. Wes Montgomery, Ramsey Lewis, Gabor Szabo, The Bad Plus, Eivind Aarset, Dave Douglas, David Becker, Joe Diorio

J A Z Z   M U S I C (3h 13m)

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2015-2005

Jazz bassist Ben Williams is a forward-thinking musician who crosses easily between straight-ahead, funk, and gospel-influenced jazz. A native of Washington, D.C., Williams graduated from the Duke Ellington School of Music before studying with renowned bassist Rodney Whitaker while earning a B.A. in jazz studies at Michigan State University. He is an in-demand sideman and has performed with a veritable who's who of jazz, including Wynton Marsalis, Roy Hargrove, Mulgrew Miller, Terence Blanchard, and others...

Ben Williams 

Black Villain Music (Ben Williams) 4:27

Forecast (Ben Williams) 8:15

Smells Like Teen Spirit - Nirvana cover (Kurt Cobain / Dave Grohl / Krist Novoselic) 3:20

from Coming of Age 2015

Ben Williams' sophomore full-length album, 2015's Coming of Age, finds the adept bassist/composer delivering another sophisticated mix of post-bop, fusion, and contemporary R&B-infused jazz. The album follows up Williams' equally striking 2011 debut, State of Art, and showcases the winner of the 2009 Thelonious Monk International Jazz Competition's further development as a bandleader, composer, and improviser. Once again joining Williams is his longtime backing ensemble Sound Effect, featuring tenor and soprano saxophonist Marcus Strickland, guitarist Matthew Stevens, pianist and Fender Rhodes keyboardist Christian Sands, synth and Fender Rhodes keyboardist Masayuki "Big Yuki" Hirano, and drummer John Davis... 

Up until the mid-2000s, guitarist Nels Cline was probably best-known for his work in the group Quartet Music and other projects in the jazz, rock, and avant-garde idioms, as well as for his general involvement in the West Coast's avant and improv scenes. During the '90s, Cline recorded a pair of duo outings with Thurston Moore and Devin Sarno before embarking on Interstellar Space Revisited: The Music of John Coltrane with drummer Gregg Bendian; he joined the latter's Interzone group while leading his own trio, the Nels Cline Singers. In 2004, Cline opened up a much larger audience for a jazz guitarist than is typical, joining the alt-country and experimental pop act Wilco...

Nels Cline Singers 

Companion Piece (Nels Cline) 5:37

Respira (Nels Cline) 4:19

Seven Zed Heaven (Nels Cline) 11:15

from Macroscope 2014

Macroscope is the fifth offering from the Nels Cline Singers and another album that defies simple stylistic categories. Most people would hesitate to call this a rock album, but probably just as many (especially purist jazz snobs) would not consider it a jazz album either. Ultimately, who cares? The Nels Cline Singers make wonderful, adventurous music and Macroscope may be their most accessible album yet, but that doesn't mean it's for everyone. There are pretty melodies and some cool grooves that most listeners might enjoy, but there's also some serious dissonance and swirling clouds of effects that some people will love and some just won't. Nels' use of effects is pretty well known when he's playing electric, but new bass player Trevor Dunn isn't afraid of effects either and drummer Scott Amendola has been using loops, electronics, and processing for years, so the band often sounds like more than just a trio even when there are no guests present. You never know where a song might lead from where it begins... So while the Nels Cline Singers may have a new bass player and a new label, fortunately their sound has not changed. They're still making some of the most interesting, adventurous, genre-smashing music of the early 21st century. Guitar nerds need to check this out, but it's got wider appeal than that too.

Stephen "Thundercat" Bruner rose during the first decade of the new millennium as the go-to bassist for a multitude of forward-looking artists traversing electric jazz, punk, R&B, and hip-hop. His nimble, syncopated, groove-heavy basslines have propelled songs by Sa-Ra, Erykah Badu, Flying Lotus, and Kendrick Lamar, some of which have also featured his gentle and sweet vocals...

Thundercat 

Tenfold (Stephen Bruner / Steven Ellison) 3:04

The Life Aquatic (Stephen Bruner) 2:36

Tron Song (Stephen Bruner / Steven Ellison) 2:34

from Apocalypse 2013

One of the many charms of Thundercat's first album, The Golden Age of Apocalypse, was the manner in which the supernaturally skilled bassist seemed to wing his way through songwriting -- stumbling upon ideas, going with the flow, goofing off -- and come up with brilliance. On his sharper, more focused second album, he works through anguish -- the loss of close friend and musical partner Austin Peralta -- with some staggeringly emotive and tightly composed content. There's less room for instrumentals and noodling, but even those moments are purposeful... 

Whether playing solo, with a trio, a full-on electric band, or an orchestra, adventurous jazz pianist and composer Hiromi Uehara is as likely to meld post-bop and funk as she is pop and classical -- sometimes in the same composition...

Hiromi 

feat. Anthony Jackson and Simon Phillips

Move (Hiromi) 8:34

Suite Escapism: Reality (Hiromi) 5:32

11:49 PM (Hiromi) 11:29

from Move: The Trio Project 2012

Move is Hiromi's second "Trio Project" recording with electric bassist Anthony Jackson and drummer Simon Phillips, and is a worthy follow-up to 2011's Voice. The pianist/composer defines the compositions on Move as mirroring an average day, starting with the title track, a choppy excursion that finds the trio connecting through a maze of twists and turns...

23-12-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 2019-2011 (2h 34m)

23-12-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 2019-2011 (2h 34m) # Gary Clark Jr., Bernard Allison, John Mayall, Lil' Ed & the Blues Imperials, Keith Richards, The Mannish Boys, James Cotton, Ruthie Foster, Tommy Castro, Albert Castiglia, Magic Slim & the Teardrops

B L U E S    M U S I C (2h 34m)

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2019-2011

With his acclaimed debut Blak and Blu, Gary Clark, Jr. emerged at the dawn of the 2010s as the great hope for modern electric blues. He spent the rest of the decade fulfilling that promise, both by continuing the blues-rock tradition and expanding it to encompass contemporary funk, rock, and hip-hop. Initially, Clark played his cards relatively close to the vest, emphasizing the blues heritage of his hometown in Austin, Texas (and earning the endorsement of local legend Jimmie Vaughan)...

Gary Clark, Jr. 

This Land (Woody Guthrie / Gary Clark, Jr.) 5:41

Dirty Dishes Blues (Lane Evans / Gary Clark, Jr. / Jacob Sciba) 5:03

What About Us (Gary Clark, Jr. / Curtis Ousley) 4:30

from This Land 2019

"F*ck you, I'm America's son/This is where I come from." Gary Clark, Jr. spits out that line with all the venom he can muster on the opening track of 2019's This Land, and while he's specifically challenging a racist neighbor who doesn't believe he can afford the Texas ranch he calls home, it also sounds like he's shouting down anyone who has dared to question his creative ambitions or tried to pigeonhole him as just another bluesman. Since making his major-label debut with 2012's Blak and Blu, Clark has steadily been widening his boundaries as a musician, and This Land is his toughest and most ambitious work to date, a bold and often ferocious set of songs that serves as a polyglot of African-American musical idioms and sharply articulate thoughts about American life in the midst of the Trump era. As on his previous albums, Clark frequently demonstrates he's a gifted and forceful guitarist, but on This Land, the songs are ultimately more important than the solos, and the rich, densely packed production, the melodic diversity of material, and the undiluted passion of the lyrics (and the way Clark delivers them) is what truly makes this album succeed...  This Land is not an album many were expecting Gary Clark, Jr. to make when he burst into nationwide recognition at the start of the 2010s, and that's one of its greatest strengths -- it frequently upends expectations while confirming Clark's broad talent and imagination, and if this doesn't convince you he's a major artist, nothing will.

Bernard Allison is the guitar-playing, singing, and songwriting son of late legendary blues guitarist Luther Allison. True to form for this chip off the old block, the young Allison injects every bit as much energy into his live shows as his father did. Bernard counts among his influences icons like Albert King, Muddy Waters, and Freddie King, and later, Stevie Ray Vaughan and Johnny Winter.

Bernard Allison 

Cruisin For A Bluesin (Bernard Allison, Mario Dawson) 4:55

Backdoor Man (Bernard Allison) 3:49

You're Gonna Need Me (Luther Allison) 4:38

from Let It Go 2018

Painful admission: When this reviewer saw the title of the aforementioned CD, she popped it into her stereo and fast-forwarded to that track, hoping and praying it wasn’t a cover of the pop hit from Disney’s Frozen. Then she thought, “Bernard Allison would never do that. He’s a legend!” His Let It Go is an original tune and an entire album besides. When blues runs in the blood as thickly and purely as it does between a father and his youngest son, nary a sour note is played. Bernard’s groove persists and embellishes itself throughout twelve tracks... Perhaps the best part of Bernard’s blues is his vocals, savory as barbecue ribs: hot and tangy, just the thing to warm one’s ears like a full rack of “baby back” warms the stomach. Of course, his guitar is iconic, and it makes a bold appearance in electric, slide, and acoustic varieties. Ruf Records has done it again, providing pristine-quality music from a pristine-quality, traditional blues artist.

John Mayall, OBE is the godfather of the British blues. A singer/songwriter and multi-instrumentalist, he has been a bandleader and recording artist since 1965. A generation older than most of his sidemen, Mayall was a mentor; his bands were both a lab and finishing school for iconic musicians -- particularly guitarists. Eric Clapton, Peter Green, and Mick Taylor served, as did bassists Jack Bruce and John McVie and drummers Mick Fleetwood and Aynsley Dunbar among dozens of others...

John Mayall 

Talk About That (John Mayall) 4:25

The Devil Must Be Laughing (John Mayall) 6:57

Blue Midnight (John Mayall) 4:02

from Talk About That 2017

John Mayall enlisted the aid of a Rock And Roll Hall Of Famer for Talk About That, his latest release in a career that stretches back to the early ’60s, but have no fear! With James Gang/Eagles superstar Joe Walsh along for the ride, the undisputed Godfather Of British Blues delivers a heaping portion of the music four generations of fans have come to know and love... Available through all major marketers Talk About That proves once again that Mayall is a musical treasure. It’s comfortable, yet fresh throughout — and strongly recommended.

John Mayall Trio and Joe Walsh

21-12-2021 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX (2h 15m)

21-12-2021 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX (2h 15m) [2019-2021] # Son Lux, TOY, Eerie Wanda, Rose City Band, Goat Girl, Benjamin Lazar Davis, Urlaub in Polen, Bradford Cox / Cate Le Bon, Lost Under Heaven, The Growlers, Pom Poko, Deap Vally, King Gizzard & the Lizard Wizard, Night Flowers, Desert Sessions

M U S I C (2h 15m)

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Originally the post-rock project of composer/keyboardist/vocalist Ryan Lott, Son Lux grew over the course of the 2010s to include guitarist/composer Rafiq Bhatia and experimental drummer Ian Chang. Combining live instruments with computer-manipulated acoustic performances, samples, and Lott's strained vocal delivery, Son Lux's bold, dystopic sound often correlates with anxious lyrics about a fearful future.

Son Lux 

Bodies 2:41

Warning 3:02

from Tomorrows II 2020

Son Lux released the first installment of their Tomorrows trilogy in August of a turbulent 2020. Fourth months later, and loosely reminiscent of the second movement of a classical symphony, Tomorrows II proves to be a relatively more hushed, introspective volume. Like Tomorrows I, it was recorded with group members and contributors separated in such far-flung locales as New York, Los Angeles, Indianapolis, and Budapest... 

London's TOY borrow from shoegaze, Krautrock, and classic psychedelia to make pulsating, absorbing music. 

TOY 

Down on the Street 4:43

A Doll's House 3:35

from Songs of Consumption 2019

TOY started 2019 with one of their lushest releases and ended it with a study in minimalism. On the full-length Happy in the Hollow, they indulged in as many styles and sounds as they could pack into its songs, but on Songs of Consumption, they don't pile on layer after layer to keep things interesting. Both rawer and more electronic than any of their previous music, this covers EP finds TOY drawing on the evocative simplicity of vintage synth pop, minimal wave, and electro-punk as they reimagine songs by artists ranging from the Troggs to John Barry. Not only does the band have an enviable record collection, they know how to pick songs that challenge them. They begin the EP with one of their biggest departures: Their taut version of "Down on the Street" trades the Stooges' raw power for sullen synth rock with a cruise-controlled Motorik beat... The band gives Nico's "Sixty Forty" a makeover that's nearly as radical, miniaturizing its dark, rolling majesty into something more intimate but just as poignant... Their dedication to stripping these songs down to their bones yields especially fascinating results on "A Doll's House," where they translate the complexity of John Barry's composition with just a handful of instruments. Even when TOY returns to a more familiar sound, they do it creatively...

The Dutch band Eerie Wanda are led by vocalist/songwriter/guitarist Marina Tadic, whose warmly intimate vocals are paired with melancholy pop songs influenced by psychedelia (as on their debut album, 2016's Hum) or, as on their second record, 2019's Pet Town, sweet early-'60s ballads and rockabilly.

Eerie Wanda 

Pet Town 3:27

Rockabiller 3:32

Hands of the Devil 2:35

from Pet Town 2019

...There are traces of girl group sweetness, soda shop, rockabilly, and lots of Ricky Nelson's "Lonesome Town" in the sound Tadic and her mates create. It's quiet and peaceful, but never boring thanks to the richness of Tadic's voice and the power of her lyrics. There's a disarming directness to both the melodies and the words, and though one might miss Verhulst's pulsing basslines or the electric guitars, the unbroken mood Tadic creates is entrancing. .. Pet Town makes for the perfect record to calm down at the end of a typically bonkers day or as a brief respite from the storm during the middle of it. Tadic's vocals are endlessly soothing, the arrangements are comforting, and the warmth of the songs emanates from the speakers like gentle heat waves from a crackling fire. Stripping back from the already gentle sound of Hum could have been a step in the wrong direction' instead, it's a perfect evolution and a wonderful album.

After initially appearing as a semi-anonymous psychedelic country jam band, Rose City Band was revealed to be the project of Wooden Shjips/Moon Duo guitarist/vocalist Ripley Johnson. He worked with indie giant Thrill Jockey to reissue the band's 2019 self-titled debut after a self-released pressing quickly sold out. ..

Rose City Band 

Rip City 3:49

Rivers of Mind 6:34

Fog of Love 4:22

from Rose City Band 2020

Mysterious and calm, the debut album from Rose City Band rolls in slowly like the morning fog. Produced by Moon Duo/Wooden Shjips member Ripley Johnson, the project filters the softer side of the Grateful Dead's jammy explorations through a gentle, spaced-out haze. Where other late-2010s disciples of Garcia and Weir sometimes reworked the Dead's amped-up boogie rock tendencies, Rose City Band's self-titled debut leans more into the moments of soft, cosmic elegance that sometimes arrived deep into lengthy space jams... Rose City Band is ultimately less about the songs, or even the jamming, and more about the muted, textural palette it stretches out on.

19-12-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2002-2006 (2h 45m)

HAPPY WiTH WHAT YOU HAVE TO BE HAPPY WiTH FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2002-2006 (2h 45m)  >>King Crimson, Peter Gabriel, Radiohead, King Crimson, Steve Winwood, PJ Harvey, Califone, Cowboy Junkies, Adrian Belew, Ali Farka Touré, The Black Keys<<

 M U S I C  (2h 45m)

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2002-2006

If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but it made their albums some of the most enduring and respectable of the prog rock era...

King Crimson 

Happy With What You Have to Be Happy With (Adrian Belew / King Crimson) 3:54

Potato Pie 5:03

from Happy With What You Have to Be Happy With 2002

The relationship between this EP and King Crimson's Power to Believe (2003) long-player mirrors that of the six-track Vrooom (1994) sampler and subsequent full-length release Thrak (1994). The music perfectly contrasts the primarily instrumental and live Level Five (2001) EP by honing in on the latest lyrical contributions from Adrian Belew (guitar/vocals)... This slams headlong into the thrashing title track, which is not too far removed from the angst-ridden alternative metal from the likes of Therapy?, Tool, and Rammstein. In true Belew style, he incongruously twists the subject matter into a sonically aggressive backdrop, cleverly dissecting his craft as a singer/songwriter, exemplified in the lyrics: "And when I have some words/This is the way I'll sing/Through a distortion box/To make them menacing."... This is without a doubt one of the most lyrically poignant and musically refined tunes in the King Crimson repertoire, taking its rightful place alongside tracks such as "One Time" or "Frame by Frame." Belew's vocals hang ethereally over the languid, inspired instrumentation. "Potato Pie" is a moody and dark blues containing angular chord structures as well as some symbiotic fretwork from Fripp and Belew... 

As the leader of Genesis in the early '70s, Peter Gabriel helped move progressive rock to new levels of theatricality. He was no less ambitious as a solo artist, but he was more subtle in his methods. With his eponymous debut solo album in 1977, he explored dark, cerebral territory, incorporating avant-garde, electronic, and worldbeat influences into his music. The record, as well as its two similarly titled successors, established Gabriel as a critically acclaimed cult artist...

Peter Gabriel 

Darkness (Peter Gabriel) 5:51

Sky Blue (Peter Gabriel) 6:37

I Grieve (Peter Gabriel) 7:24

from Up 2002 

Ten years is a long time, especially in pop music, but waiting ten years to deliver an album is a clear sign that you're not all that interested in the pop game anyway. Such is the case with Peter Gabriel, who delivered Up in 2002, a decade after Us and four years after he announced its title. Perhaps appropriately, Up sounds like an album that was ten years in the making, revealing not just its pleasures but its intent very, very slowly... Really, there is no other choice for an artist as somber and ambitious as Gabriel to craft an album as dense as Up; those who have waited diligently for ten years would be disappointed with anything less and, frankly, they're the only audience that matters after a decade. And they're not likely to be disappointed, since this album grows stronger, revealing more with each listen. Initially, it seems to simply carry on the calmer, darker recesses of Us, but this is an uncompromising affair, which is to its advantage, since Gabriel delves deeper into darkness, grief, and meditation... But those serious fans who want to spend time with this will find that it does pay back many rewards.

Radiohead is an English alternative rock band from Abingdon, Oxfordshire, UK which formed in 1985. The band is composed of Thom Yorke (lead vocals, rhythm guitar, piano, beats), Jonny Greenwood (lead guitar, keyboard, other instruments), Ed O'Brien (guitar, backing vocals), Colin Greenwood (bass guitar) and Phil Selway (drums, percussion).

Radiohead 

2 + 2 = 5 (Radiohead) 3:19

Sail to the Moon (Radiohead) 4:18

There, There (Radiohead) 5:23

A Punchup at a Wedding (Radiohead) 4:57

from Hail to the Thief 2003 

Radiohead's admittedly assumed dilemma: how to push things forward using just the right amounts of the old and the older in order to please both sides of the divide? Taking advantage of their longest running time to date, enough space is provided to quench the thirsts of resolute Bends devotees without losing the adventurous drive or experimentation that eventually got the group into hot water with many of those same listeners. Guitars churn and chime and sound like guitars more often than not; drums are more likely to be played by a human; and discernible verses are more frequently trailed by discernible choruses... At nearly an hour in length, this album doesn't unleash the terse blow delivered by its two predecessors. However, despite the fact that it seems more like a bunch of songs on a disc rather than a singular body, its impact is substantial. Regardless of all the debates surrounding the group, Radiohead have entered a second decade of record-making with a surplus of momentum.

2021. 12. 17. 15:52 > magyarugar:MiX > FALLOW/HU:MiX # 33 válogatott szám / 2h 32m

Bada Dada, drMáriás

2021. 12. 17. 15:52 > magyarugar:MiX > FALLOW/HU:MiX # 33 válogatott szám / 2h 32m Tudósok, Vágtázó Halottkémek, Happy Dead Band, Pál Utcai Fiúk, Spenót, Aurora, Kispál és a Borz, Hobo Blues Band, Vágtázó Halottkémek, Másfél

Z E N E  /  M U S I C 2h 32m
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magyarugar címke A lejátszó mindig a legújabb playlist számait játssza. / The player always plays the latest playlist tracks.

Tudósok 

Lapátold a kabátod 3:12

Italozás, motorozás, csajozás, tanulás 3:04

Pénzt! Pinát! Pálinkát 4:19

~ Ne aggyad az agyad! 1993

Guitar – Kovács Benedek

Lyrics By, Vocals, Voice, Speech – Bada Dada

Lyrics By, Vocals, Voice, Speech, Music By – drMáriás

Tenor Saxophone, Harmonica – Walter Hollinetz (tracks: 13, 15)

Vágtázó Halottkémek 

Hajnal (Live) 17:12

Halálos szél visz (Live) 5:42

Tárulj világ! (Live) 2:20

~ Óriás tér 1992

Bass, Violin, Backing Vocals [Throat] – Lajos Soós

Drums – László Ipacs

Guitar – Attila Fido

Guitar, Timpani [Cattle], Whistle – László Németh

Lyrics By [Text] – Attila Grandpierre

Music By – VHK

Timpani [Cattle Drums], Whistle, Kalimba, Backing Vocals [Throat] – Endre Boli Balatoni

Vocals, Whistle – Attila Grandpierre

Happy Dead Band 

Mese / Felejts el, hogy eszedbe jussak  4:57

Miért lobog a pöttyös befőtt? 2:49

OTP ( Jazz-Rock-Phantazy) 2:11

Őrültek voltunk és bolondok lettünk 4:27

~ Himalája 1991

Bass Guitar – Waszlavik Miklós

Drums – Molnár Gábor

Guitar – Szulovszki István, Horányi Sándor

Keyboards, Lead Vocals – Ef. Zámbó István

Saxophone – Makó László

Vocals – Czerovszky Henriett

14-12-2021 WORLD:MUSiC:MiX # 33 selected GLOBAL MUSiC tracks 2015-2021 # WmW 2h 11m

g l o b a l  m u s i c a l   v i l l a g e

14-12-2021 WORLD:MUSiC:MiX # 33 selected GLOBAL MUSiC tracks 2015-2021 # WmW 2h 11m: David Eugene Edwards, Alexander Hacke, Meybahar, Meridian Brothers, Rodrigo Amarante, Juçara Marçal, Joachim Cooder, Dexter Story, Bombino, Monika Lakatos, Piers Faccini, Dawn Landes, Bixiga 70

M  U  S  I  C / WmW 2h 11m

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2015-2021

David Eugene Edwards is the lead singer of Wovenhand, and also the main songwriter and the principal musician on the recordings of the band. He is the former lead singer of 16 Horsepower. Their music contains elements of old-time, folk, punk, medieval, gypsy, Native American music, and most recently late 1980s and early 1990s Gothic Rock.

Alexander Hacke) is a guitarist, bass guitarist, singer, musician, record producer, writer and film maker from Germany. He is primarily known as a longtime member of the influential German industrial music group Einstürzende Neubauten.

David Eugene Edwards, Alexander Hacke 

Triptych 4:37

The Tell 5:00

Teach Us to Pray 3:34

from Risha 2018

...'Risha' cannot be described in traditional terms. This sound is a sweeping tapestry of Americana, Neo-Folk, Industrial, Ambient, Electronic and Arabic Music. 'Risha' - which means 'Feather' in Arabic - contains 10 parts: Beginning with the mystic 'Tryptich' which is followed by the furious beat of 'All in the Palm'. Hacke and Edwards keep the pace with 'The Tell' and its driving industrial rhythm and break it down completely with track #4, “standing stone, Helios”. 'Kiowa 5' is shaped by fascinating drum patterns and the shamanic vocals of David Eugene Edwards. 'Lily' is the song that is inspired most by early Wovenhand, followed by the dark and hypnotic 'Parish Chief' with its almost Suicide-like vintage drumbeat, the drone excursion 'Akhal', before the memorable 'Teach Us To Pray' and the final and epic 'Breathtaker'. Each one a piece of the puzzle; made to be listened in its entirety... 

Meybahar was born of a duo with Marilia Pilti (GR) on santouri (a cousin of the Hungarian cymbalom) and violinist Márton Kopcsik (HU) who plays his own custom-made instrument: a 5 string viola with sympathetic strings. When her santouri and his violin meet on stage it forms a magic atmosphere that drives you to undiscovered lands. The pulsation of the music is supported by David Krolikowski (HU) on percussion, Merse Varga (HU) on doholla and frame drums; and Péter Takács (HU) on tabla.

Meybahar 

Abyss 4:06

Eridanus 4:53

The Bridge of Drama 6:48

from Abyss 2019

The music of Meybahar explores and resonates in hidden places of our soul, through a music fusion that delves deep into the music cultures of the Aegean Sea and Middle East.

On their first single album, Meybahar (Abyss, Fonó 2019) delivers a multicolored puzzle of melodies from different traditions, brought into a parallel music field through the band’s sound. Tunes directly inspired by Greek and Turkish music and original compositions presented by Meybahar, melt into a common path created by a dynamic rhythmical background of percussion with clear reference to Indian mysticism....