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Huun-Huur-Tu: Spirits from Tuva (Remixed)
Jaro 2002
etno/ethno / fusion / trans / World Music: Tuva - Mongolia/Syberia
HUUN HUUR TU
gardłowy śpiew spotykany w tuwańskiej i mongolskiej muzyce ludowej zrobił prawdziwą furrorę na świecie.
Ta imponująca technika wokalna pozwala na jednoczesne wydobywanie z gardła kilku niezależnych od siebie dźwięków, od niskich, przypominających dźwięk didgeridoo (styl kargyraa), aż po wysokie poświsty (styl sygyt), przywodzące na myśl japoński, buddyjski flet shakuhachi.
Najwybitniejsi wykonawcy potrafią emitować nawet do 6 niezależnych dźwięków w różnych tonacjach. Inna nazwa tej techniki to "śpiew alikwotowy".
Słowa tego używa się zarówno na określenie jednego ze stylów tuwańskiego gardłowego śpiewu, jak i szerzej na wszystkie jego rodzaje. Muzyka ta zainspirowana jest życiem na stepach i słowa piosenek często opowiadają o koniach.
Tuwański śpiew zainspirował muzykę wielu innych kultur - w starożytności zaadaptowali go tybetańscy mnisi, zaś współcześnie robią to amerykańscy muzycy new age'owi.
[za: pl.wikipedia.org]
DYSKOGRAFIA:
- 60 Horses In My Herd (1996) JARO 4196-2 / Huun-Huur-Tu
- Fly Fly My Sadness (1996) JARO 4197-2 / The Bulgarian Voices Angelite, Moscow Art Trio, Huun-Huur-Tu
- The Orphan's Lament (1997) JARO 4204-2 / Huun-Huur-Tu
- If I'd been born an Eagle (1998) JARO 4216-2 / Huun-Huur-Tu
- Mountain Tale (1998) JARO 4212-2 / The Bulgarian Voices Angelite, Moscow Art Trio, Huun-Huur-Tu
- Where Young Grass Grow (1999) SHANACHIE SH66018 / Huun-Huur-Tu
- Best Live (2001) JARO 4236-2 / Huun-Huur-Tu
- Spirits From Tuva (2002) JARO 4243-2 / Huun-Huur-Tu
- More Live (2003) JARO 4246-2 / Huun-Huur-Tu
- Live in Munich (DVD) (2007) JARO 4284-8 / Huun-Huur-Tu
- Mother-Earth! Father-Sky! (2008) JARO 4281-2 / Huun-Huur-Tu
Do współczesnych gwiazd (głównie za sprawą JARO MEDIEN) z tego kręgu należy zespół HUUN HUUR TU, laureaci prestiżowej nagrody BBC Awards for World Music.
W 1992 roku Kaigal-ool Khovalyg, Alexander Bapa, Sayan Bapa, i Albert Kuvezin, postanowili założyć kwartet Kungurtuk, którego celem miała być prezentacja tradycyjnych pieśni i muzyki tuwińskiej. Jednak szybko się okazało, że muzycy wychodzili poza tradycje i często prowadzali innowacje do starej muzyki. Wkrótce potem zmienili nazwę na Huun-Huur-Tu w tej chwili najbardziej znany na świecie zespół z Tuwy. W 1993 roku muzycy z Tuwy (w tym członkowie Huun-Huur-Tuu) pojechali do Stanów Zjednoczonych i wzięli udział w nagraniach takich muzyków i zespołów jak: Frank Zappa, Ry Cooder, the Chieftains, czy Kronos Quartet. Od 1993 roku zespół intensywnie koncertuje (USA, Japonia, Anglia, Australia, występował w 1999 roku w Polsce), ma także na koncie 6 płyt CD i kilkanaście wraz z innymi wykonawcami. Jak sami mówią, czują potrzebę nie tylko sprawiania, że piękna muzyka trwa, ale czują potrzebę wprowadzania do niej witalnych i ciekawych pomysłów. Tak stało się podczas współpracy z bułgarskim chórem Angelite (występ na festiwalu w Sopocie w 1999 r.), gdzie wysokie, charakterystyczne głosy Bułgarek, połączono ze śpiewem gardłowym.
[za: serpent.pl]
SPIRITS FROM TUVA (Remixed)
to zremiksowane utwory HUUN HUUR TU przez czołówkę DJs z całej Europy. W roku 2002 był to absolutny hit na całym świecie. Ta piorunująca mieszanka muzyki klubowej, brzmień mongolskich stepów i niesamowitych wręcz wokali spowodowała spore zamieszanie na rynku muzycznym!
11 dj-ów z Rosji, Grecji, Niemiec i Francji zafascynowanych twórczością Huun-Huur-Tu postanowiło zremiksować ich wybrane utwory. Jeden z nich Eki Attar znalazł się na szczytach list przebojów w 2002 roku w Grecji. Dla młodej publiczności to było pierwsze zetknięcie się z zespołem. Zróżnicowane stylowo utwory tworzą jedną z najlepszych płyt z remixami jakie pojawiły się w sklepach muzycznych. Kto ma otwarty umysł na wprowadzanie unowocześnień do sztuki tradycyjnej i jest miłośnikiem dobrej muzyki pop zapewne odbędzie niesamowitą podróż w głąb stepów.
[za: folk.pl]
Zobacz stronę www grupy: www.huunhuurtu.com
SKŁAD:
- Kaigal-ool Khovalyg – głos (khöömei, sygyt, kargyraa), igyl
- Anatoli Kuular – głos (barbang-nadyr), byzaanchi, khomuz (drumla)
- Sayan Bapa – głos (kargyraa, khöömei), toschpulur, igyl, gitara
- Alexey Saryglar – głos (sygyt), tuyug, tungur (bęben), igyl
TRACKLISTA:
- Eki Attar (G. Bitsikas Mix) (Radio Edit)
- Far Away From Home (Da Loop Radio Edit)
- Legend (Payuta Sitar Mix)
- Descarga (Goldenberg & Schmuyle Mix)
- Far Away From Home (DJ Sugar Caine Mix)
- Spring Song (DJ Emjay Mix)
- Mountain Voice (Da Loop Trance Mix)
- Cheedy-Khaan/Seven Kings (Malerija Mix)
- Prayer (Payuta World Mix)
- Love Ride (Malerija Mix)
- River Of Home (Yomano Mix)
- Aa Shuu De Kei-Oo (Live)
Spirits from Tuva (Remixed)
DJs from Russia, France, Greece, and Germany have remixed 11 titles by the fascinating throat singers from Tuva : HUUN-HUUR-TU
Having shot up to pop charts position No. 1, the title "Eki Attar" was the early summer hit in Greece in 2002. For a young audience all over the world, this will be the first touch and taste of throat-singing. Different remix styles make the album one of the most interesting Remix-products on the record market.
No. 1 WORLD MUSIC CHARTS EUROPE in SEPTEMBER 2002.
They are profoundly mysterious: the traditional, ritual laryngeal chants of the Central Asian land of Tuva. For with their unique song technique, the singers from the steppe develop an enthralling sound cosmos rich in undertones and overtones. Something that is no longer a mystery, however, is the world-wide success of the Tuvan quartet HUUN-HUUR-TU, now an established name in international world music, thanks to their modern presentation of traditional laryngeal singing.
And it hardly comes as a surprise when HUUN-HUUR-TU suddenly advance to electronic music stars and much-sought-after idea suppliers to the international DJ scene. The beguilingly meditative chants – which the four musicians contrast with clear, rhythmic structures played on traditional shepherds' instruments – lend themselves perfectly to the sample-happy remix culture and its repetitive sound loops. The consequence being that – in March 2002, for the first time – HUUN-HUUR-TU wasn't taking the ethno and world music hit lists by storm but, with a remix of their title "Eki Attar", the pop charts of a European country. The track by the producer GEORGE BITSIKAS, used in its original form for an commercial on Greek television and later remixed in response to overwhelming demand, made HUUN-HUUR-TU newcomer stars in the clubs of Athens overnight and, beginning in mid May 2002, occupied 1st place on the Greek Top Ten for weeks on end.
The success of "Eki Attar", to be heard as an opener to SPIRITS OF TUVA in its radio version, was occasion enough for the production of this unusual remix-album. DJs, musicians and producer teams from Greece, Germany, France and Russia contributed eleven pieces to SPIRITS OF TUVA, which also comprises an original version by the Tuvan formation (Track 12: "AA-Shuu dekei-OO”). The remixes of a wide spectrum of artists not only give the album great stylistic diversity: Ultimately, they also serve to emphasise the fact that the musical processing of these fascinating chants leaves great scope for personal interpretation – even in the most various of genres.
The spectrum which has thus emerged is as exciting with regard to the overall production as it is plausible in each individual piece. The revised version ("Descarga") of the piece by the DJs GOLDENBERG & SCHMUYLE from the Parisian cult station Radio Nova, for example, is wrapped in a loose garment of Samba and transforms by means of Fender Rhode's piano into a nonchalant Latin-Jazz groove. Exceedingly calm sounds are provided by the relaxation and meditation musician YOMANO, known to many Germans under the name of Volker Kahrs as a former coarse-cut keyboarder under whose pen the title "Barlyk" developed into the spherical ballad "River of Home". In the studio of the German sitar player and ethno trance musician HARRY PAYUTA, the HUUN-HUUR-TU piece "Legend" became the "Legend World Sitar Mix" – a hypnotising atmospheric number which moves with fluid grace and harmony between folkloric influences of Asia, Africa and the Balkans. The internationally renowned German DJs SUGAR CAINE and EMJAY contributed two flawless tracks, one techno and one for the house, with their reworkings of "Borganngadyr" ("Spring Song") and "Exile Song" ("Far Away from Home"). The latter title can also be found in a version by the German production team DA LOOP, whose remixes of "Exile Song" ("Far Away from Home") and "Kargyra" ("Mountain Voice") – with their unbroken synthetic string passages and minimalist rhythm patterns – avail themselves primarily of stylistic elements from electronic trance and ambient music.
HUUN-HUUR-TU, who incidentally have a wide-open attitude towards the remix culture and the linking of pop music with musical tradition, provided not only their recordings but also their active support: The singers even flew to Moscow to re-record the titles "Chedy-Khaan” (original: "AA-Shuu dekei-OO") and "Love Ride" ("Oraila Boidula") with the Russian formation MALERIJA, a popular rock and pop band which left a clear stamp on the two pieces.
HUUN-HUUR-TU
The American producer and critic Ted Levin writes:
"It was shortly after the ensemble HUUN-HUUR-TU left Los Angeles to return to Tuva on the heels of a recording session for the sound track (by Ry Cooder) of a new Hollywood film about Geronimo, the chief of the Apaches, that I sat down to write these notes and realized that I'd forgotten to ask the members of HUUN-HUUR-TU a crucial question: what does HUUN-HUUR-TU mean in Tuvan, and why did they choose it as their monike? I picked up the phone and dialed Kyzyl, the capital of Tuva. In a few seconds, I was speaking with Alexander Bapa, the percussion player in HUUN-HUUR-TU (whose instrumentarium includes a conch shell, an enormous goat-skin shamanic drum, and a rattle made from the ankle bones of a sheep enclosed in a bull testicle. 'HUUN-HUUR-TU' means the vertical separation of light rays that you often see out on the grasslands just after sunrise or just before sunset.
Officially prohibited to foreigners, Tuva had achieved legendary status among a small group of devotees fascinated by the phenomenon of throat-singing, in which a single vocalist produces two or even three notes simultaneously by selectively amplifying harmonics naturally present in the voice. For these devotees, part of the allure of Tuvan throat-singing has undoubtedly been the mystery of Tuva itself. Ringed by mountains, desert, and thick taiga forest where descendants of the aboriginal Siberian forest people still herd reindeer. Tuva seems to be on the way to nowhere.
During the last few years, the political and cultural barriers that isolated Tuva for so long have begun to crumble. Much has changed there since my visit in 1987, when xenophobic officials gave the order to give a whole town a fresh coat of paint before the arrival of our expedition. Additionally all amateur musicians were released from work for one week to be able to prepare the songs that we wanted record. Tuva has welcomed foreigners interested in its culture and nature. Today Tuvans have begun to travel widely to present their remarkable musical art to a steadily increasing, diverse public. The ensemble HUUN-HUUR-TU is a product of Tuva's increasing worldliness."
In 1992 HUUN - HUUR - TU was founded by Sasha Bapa, his brother, Sayan, and two other musicians, Kaigal-ool Khovalyg and Albert Kuvezin. Ever since they have tried to focus on the performance of "old and forgotten songs", as Sasha put it. Sasha, Sayan, and Kaigal-ool were refugees of one of the large state-managed song and dance ensembles that became fixed institutions of the public cultural life during the Soviet era. For decades these ensembles with their glitzy performances of folk music or pseudo folk music offered the only possibility for young musicians to play indigenous music for a living. But throughout the privatization of the music business in the former Soviet Union, many musicians decided to abandon these state ensembles and formed their own groups. The musical results have decidedly been mixed.
The members of HUUN-HUUR-TU have devoted themselves to learning oId songs and tunes but at the same time their performances reflect the values of innovation as much as tradition. For example, the very notion of an ensemble like HUUN-HUUR-TU is new to Tuva: Most Tuvan music has traditionally been performed by a solo singer or instrumentalist, and musicians have tended to specialize in a particular genre or musical style. These genres and styles in turn have deep roots in particular kinds of social occasions. By contrast, HUUN-HUUR-TU's eclectic concert presentations of old songs and tunes fall between the cracks of Tuvan musical life. "In Tuva, there's still no real context for what we do," says Sasha Bapa. "We perform there only rarely because it's so difficult for an independent group like ours: where can we find a good hall and sound equipment, and transportation to get there? How can we deal with all the government and commercial structures that still control a lot of the booking? And who can offer fees that will support us even modestly as professional musicians? Kaigal-ool Khovalyg, the musical leader of our group, might be better known in America than in Tuva. We're trying to preserve our musical heritage, but at the same time, we're trying to look forward. If a musical tradition stops evolving, it is destined to die."
TUVA
This is the name of a remote region, far away from the familiar route of civilization in the center of Asia. The autonomous republic of Tuva, ringed by mountains and deserts (population 300.000) is part of the new formation of countries lead by Russia. It shares its Southern border with Mongolia, the capital is Kyzyl by the river Yennisey.
Tuvan explanations:
Khöömei:
The name for overtone and throat singing
Sygyt (Tuvan: "whistle"):
High overtone singing, sounding like a flute
Igil:
Two-stringed fiddle with a carved wooden horses's head attached to the top of the neck, modern versions with three strings, played vertically, while sitting on the ground or on a chair
Doshpuluur:
Two or three string banjo-like plucked instrument
Khomus:
Mouth harp
Dungur:
Large flat shaman drum or tambourine
Chanzy:
Three string bowed instrument
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