A Fairouz - Ya Ghozayel
B Fairouz - Hala La Laya
Thursday, October 05, 2017
Saturday, April 29, 2017
Thursday, April 06, 2017
Wednesday, March 29, 2017
Wednesday, March 22, 2017
Janka Guzová - Takú mi cigáň hraj, Nevydala bi ja še
A Janka Guzová - Takú mi cigáň hraj, Nevydala bi ja še
B Janka Guzová - Hanička konala, Ešči raz budze
Saturday, March 18, 2017
Janka Guzová - Ach Bože môj
A Janka Guzová - Ach Bože môj, Tralalom nepojdem valalom
B Janka Guzová - F tim kľuknavskim poľu
Friday, March 17, 2017
Saturday, March 11, 2017
Tuesday, March 07, 2017
Maybelle Carter - Mother Maybelle Carter
"Mother" Maybelle Carter (May 10, 1909 – October 23, 1978) was an American country musician. She is best known as a member of the historic Carter Family act in the 1920s and 1930s and also as a member of Mother Maybelle and the Carter Sisters.
Maybelle Carter was born Maybelle Addington on May 10, 1909 in Nickelsville, Virginia, the daughter of Hugh Jackson Addington and Margaret S. Kilgore. According to family lore, the Addington family of Virginia is descended from former British prime minister Henry Addington, 1st Viscount Sidmouth. ...to continue here.
Thursday, March 02, 2017
Sunday, February 26, 2017
Wednesday, February 22, 2017
The 50 Guitars of Tommy Garrett - Take you to Hawaii
Thomas Lesslie "Snuff" Garrett (July 5, 1938 – December 16, 2015) was an American record producer whose most famous work was during the 1960s and 1970s. His nickname is a derivation of Levi Garrett, a brand of snuff
Early years
Garrett was born in Dallas, Texas, and attended South Oak Cliff High School, dropping out in the 10th grade. In 1976, he returned to Dallas to receive a special high school diploma that conferred an "honorary music degree."to continue here.
Sunday, February 19, 2017
Pride Of The Pipers
The Pipes and Drums
The Pipes and Drums are an essential part of Regimental life, with Pipe
tunes marking events throughout the day as well as each company within
Battalion.The Pipes and Drums are divided into two sections; the Pipers under the Pipe Major and the Drummers under the Drum Major. Pipers and Drummers are infantry soldiers first and foremost who receive their musical training at the Army School of Bagpipe Music and Highland Drumming in Edinburgh.
On operations they are employed as Assault Pioneers, trained in explosive entry, demolitions and basic base construction. It was while deployed on operations during the Falklands Conflict in 1982 that Pipe Major Riddell produced his pipes on the summit of Mount Tumbledown and composed the famous pipe tune, The Crags of Tumbledown Mountain.
The Pipes and Drums of the Scots Guards are known throughout the world and are regularly called upon to perform at high-profile events. Recent engagements include a two-month tour of the United States, including a performance at the Pentagon, Jules Holland’s Hootenanny and the Royal Edinburgh Military Tattoo.
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Wednesday, February 15, 2017
Saturday, February 11, 2017
Tuesday, February 07, 2017
Sabah - The Wonderful World of Sabah
The Arab world mourns Sabah the singer, beautiful symbol of a vanished golden age
With an ‘entire past’ fading, the death of an admired diva revives memories of the lighter side of life from Cairo to Beirut.
As a child in the late 1950s, the leading Egyptian theatre director Hassan el-Gueretly remembers accompanying his mother to the workshop of Pierre Clouvas, a couturier in central Cairo. Various Miss Egypts bought their dresses there, as did Sabah, the Lebanese singer and actress. For the young Gueretly, it gave a rare frisson to see the superstar’s avant-garde clothes up close.
“I remember walking around the atelier and seeing Sabah’s robes hanging on mannequins in the next room to my mother,” Gueretly recalls. “As a lover of performance and film, I was thrilled to move among her clothes.”
Sabah died last week, aged 87, and her death prompted in Egypt as much as in Lebanon an outpouring of warm memories. At a bleak moment for the region, Sabah’s joyous career and character are reminders of a lighter side to life.
“When you think of the gloom we’re in in the Arab world, to hear her voice is to make life liveable,” said Gueretly. “It doesn’t make me nostalgic – I don’t think in terms of past and present, I think of the future – but to hear this dead woman sing, it makes you think she has a lot more life than many people who are living.”
Born Jeanette Feghali in a mountain village in Lebanon, Sabah took her nickname from the Arabic word for morning, an appropriate nom-de-plume for a woman adored for her sunny vitality. She moved to Egypt in the 40s and became a star of musical cinema, appearing in more than 80 films, performing about 3,000 songs, and developing a reputation for bold fashion choices.
Few remember Clouvas now, and while central Cairo still has its charms, it is no longer grand, and the shops are no longer fancy. Sabah is a throwback to what, according to one nostalgic narrative, was a more triumphant era. An era not of fundamentalism but of pan-Arabism. Of a Cairo, where Sabah spent her cinematic heyday in the 40s and 50s, that housed a flourishing film industry – a Hollywood-on-the-Nile or “Niley-wood”, as Gueretly jokes. And of a pre-civil war Lebanon whose celebrities one by one are dying.
“With her passing away, an entire beautiful past of Lebanon passes away,” Walid Jumblatt, the Lebanese politician, wrote last week. “She was a great singer of a Lebanon that my generation knew that will never come back.”
If in artistic terms Sabah was of another time, in social terms she was in some ways ahead of it. Other divas of her era married and divorced several times. Sabah’s nine or 10 marriages – no one is certain which – outnumbered everyone else’s. She broke taboos with her frank and frequent pronouncements about men and desire. And as she got older she ignored pressure to hide herself away, continuing to wear outlandish outfits and date younger men.
“In a male-dominant society, she was a symbol of woman power,” said Helen Shammas, a Syrian-Lebanese artist and writer who is related to one of Sabah’s husbands. “She was a free woman with nothing to hide. Joy, terror and disappointment all showed behind her heavy makeup. What amazes me most is that she was never ashamed of her old age – she dressed in outfits that betrayed her decaying body. I loved her acceptance of life.”
With fellow divas Fairouz and Umm Kulthum, Sabah became one of the undisputed giants of the age, building a successful stage career in Beirut after leaving Cairo for good in the 60s.
Unlike Fairouz, Sabah’s work was not political, apart from a couple of songs that dealt with pan-Arabism. And unlike Umm Kulthum, her songs were not weighty or serious. Nor was she a strong actress.
Instead her vocal technique, her warmth and sincerity as a performer, and the lighter nature of her songs [Yana Yana] were what made her loved. “She had no relationship with political issues – and that’s why people needed her,” said Momen al-Mohammadi, an Egyptian author and thinker.
Salwa, a Bahraini lawyer, recalls watching Sabah perform at a private wedding in the 80s, at the height of the Lebanese civil war. Her warmth has left a lasting memory. “Usually the famous singers would leave weddings quickly, but Sabah really looked like she was happy to be there,” remembers Salwa. “She would go up to people and interact with them. She sang old songs, new songs, whatever anyone asked her to. She was smiling the whole time.”
And she took people’s minds off the conflict in her homeland, says Salwa. “She was singing and dancing and jumping around when Lebanon was in a war – and she showed a different side to the country. Back then people didn’t go on holiday to Lebanon, and she was one of the few happy Lebanese people we saw.”
In Lebanon itself, 30 years on, Sabah’s death is about more than just the departure of an entertainer. For Fadi al-Abdallah, a Lebanese poet and critic, it has also raised gnawing questions about the nature of Lebanese identity.
“There is a general feeling that the symbols of the era are leaving, and that at the same time they haven’t been replaced by a new generation,” says Abdallah, who wrote a widely shared paean to Sabah last week.
“There is the feeling that the old times were better, and also objectively that the new era of art is less interesting, and less capable of leaving a mark in our heads and hearts. And that the ingredients of our identities are being more and more lost.”
Additional reporting by Raya Jalabi and Manu Abdo
With an ‘entire past’ fading, the death of an admired diva revives memories of the lighter side of life from Cairo to Beirut.
As a child in the late 1950s, the leading Egyptian theatre director Hassan el-Gueretly remembers accompanying his mother to the workshop of Pierre Clouvas, a couturier in central Cairo. Various Miss Egypts bought their dresses there, as did Sabah, the Lebanese singer and actress. For the young Gueretly, it gave a rare frisson to see the superstar’s avant-garde clothes up close.
“I remember walking around the atelier and seeing Sabah’s robes hanging on mannequins in the next room to my mother,” Gueretly recalls. “As a lover of performance and film, I was thrilled to move among her clothes.”
Sabah died last week, aged 87, and her death prompted in Egypt as much as in Lebanon an outpouring of warm memories. At a bleak moment for the region, Sabah’s joyous career and character are reminders of a lighter side to life.
“When you think of the gloom we’re in in the Arab world, to hear her voice is to make life liveable,” said Gueretly. “It doesn’t make me nostalgic – I don’t think in terms of past and present, I think of the future – but to hear this dead woman sing, it makes you think she has a lot more life than many people who are living.”
Born Jeanette Feghali in a mountain village in Lebanon, Sabah took her nickname from the Arabic word for morning, an appropriate nom-de-plume for a woman adored for her sunny vitality. She moved to Egypt in the 40s and became a star of musical cinema, appearing in more than 80 films, performing about 3,000 songs, and developing a reputation for bold fashion choices.
Few remember Clouvas now, and while central Cairo still has its charms, it is no longer grand, and the shops are no longer fancy. Sabah is a throwback to what, according to one nostalgic narrative, was a more triumphant era. An era not of fundamentalism but of pan-Arabism. Of a Cairo, where Sabah spent her cinematic heyday in the 40s and 50s, that housed a flourishing film industry – a Hollywood-on-the-Nile or “Niley-wood”, as Gueretly jokes. And of a pre-civil war Lebanon whose celebrities one by one are dying.
“With her passing away, an entire beautiful past of Lebanon passes away,” Walid Jumblatt, the Lebanese politician, wrote last week. “She was a great singer of a Lebanon that my generation knew that will never come back.”
If in artistic terms Sabah was of another time, in social terms she was in some ways ahead of it. Other divas of her era married and divorced several times. Sabah’s nine or 10 marriages – no one is certain which – outnumbered everyone else’s. She broke taboos with her frank and frequent pronouncements about men and desire. And as she got older she ignored pressure to hide herself away, continuing to wear outlandish outfits and date younger men.
“In a male-dominant society, she was a symbol of woman power,” said Helen Shammas, a Syrian-Lebanese artist and writer who is related to one of Sabah’s husbands. “She was a free woman with nothing to hide. Joy, terror and disappointment all showed behind her heavy makeup. What amazes me most is that she was never ashamed of her old age – she dressed in outfits that betrayed her decaying body. I loved her acceptance of life.”
With fellow divas Fairouz and Umm Kulthum, Sabah became one of the undisputed giants of the age, building a successful stage career in Beirut after leaving Cairo for good in the 60s.
Unlike Fairouz, Sabah’s work was not political, apart from a couple of songs that dealt with pan-Arabism. And unlike Umm Kulthum, her songs were not weighty or serious. Nor was she a strong actress.
Instead her vocal technique, her warmth and sincerity as a performer, and the lighter nature of her songs [Yana Yana] were what made her loved. “She had no relationship with political issues – and that’s why people needed her,” said Momen al-Mohammadi, an Egyptian author and thinker.
Salwa, a Bahraini lawyer, recalls watching Sabah perform at a private wedding in the 80s, at the height of the Lebanese civil war. Her warmth has left a lasting memory. “Usually the famous singers would leave weddings quickly, but Sabah really looked like she was happy to be there,” remembers Salwa. “She would go up to people and interact with them. She sang old songs, new songs, whatever anyone asked her to. She was smiling the whole time.”
And she took people’s minds off the conflict in her homeland, says Salwa. “She was singing and dancing and jumping around when Lebanon was in a war – and she showed a different side to the country. Back then people didn’t go on holiday to Lebanon, and she was one of the few happy Lebanese people we saw.”
In Lebanon itself, 30 years on, Sabah’s death is about more than just the departure of an entertainer. For Fadi al-Abdallah, a Lebanese poet and critic, it has also raised gnawing questions about the nature of Lebanese identity.
“There is a general feeling that the symbols of the era are leaving, and that at the same time they haven’t been replaced by a new generation,” says Abdallah, who wrote a widely shared paean to Sabah last week.
“There is the feeling that the old times were better, and also objectively that the new era of art is less interesting, and less capable of leaving a mark in our heads and hearts. And that the ingredients of our identities are being more and more lost.”
Additional reporting by Raya Jalabi and Manu Abdo
Tuesday, January 31, 2017
Pepé Jaramillo - South of the Border
Pepe Jaramillo (born José Jaramillo García; October 27, 1921, Lerdo - April 30, 2001, Andalucia) was a notable Mexican pianist, composer, arranger, and recording artist. He was most active in London as an EMI recording artist in the 1960s and 1970s. Born in Lerdo, Durango, he began his professional music career playing in night clubs in México City. Relocating to London in the late 1950s, his many recordings and world-wide concert appearances brought him international fame. He died in his sleep of anemia at his villa in Spain. (On the internet, his activity has often been confused with the Ecuadorean singer of the same name.)
source: Wikipedia
Tuesday, January 24, 2017
Louis Bregoli - Accordion a la Carte
Mr. Bregoli, died Saturday, March 6, 2994, in Boston [Massachusetts]
Medical Center, at the age of 81.
Medical Center, at the age of 81.
She mastered the instrument early in life. When he was 11 years old he
won a contest at Jordan Hall. More than 20 accordionists of all ages
competed, but Mr. Bregoli was judged the best of the lot. His picture
was published in the newspaper. The yellowed clipping shows a smiling
young man with sharply parted hair sporting a sardonic smile and an
Armonia accordion nearly as big as he was.
won a contest at Jordan Hall. More than 20 accordionists of all ages
competed, but Mr. Bregoli was judged the best of the lot. His picture
was published in the newspaper. The yellowed clipping shows a smiling
young man with sharply parted hair sporting a sardonic smile and an
Armonia accordion nearly as big as he was.
Louis E. Bregoli was an accordionist who could play almost anything,
but he didn't just play a tune, he was transformed by it.
but he didn't just play a tune, he was transformed by it.
"He was a very quiet, gentle man, who became another person entirely
when he strapped on his accordion," his daughter Laura A. Orlando of
Franklin said yesterday. "He'd brighten right up and get everybody
involved."
when he strapped on his accordion," his daughter Laura A. Orlando of
Franklin said yesterday. "He'd brighten right up and get everybody
involved."
A resident of Braintree, he initially wanted to play the violin, but
his uncle, who owned Tosi Music Store and Sporting Goods Co. on
Hanover Street in Boston's North End, persuaded him to take up the
accordion because it was more popular.
his uncle, who owned Tosi Music Store and Sporting Goods Co. on
Hanover Street in Boston's North End, persuaded him to take up the
accordion because it was more popular.
"If he had played the violin, he would have been playing for the
symphony," his fellow accordionist, Mabel Biagini of Quincy, said
yesterday. "He was a perfectionist."
symphony," his fellow accordionist, Mabel Biagini of Quincy, said
yesterday. "He was a perfectionist."
Mr. Bregoli served in the Army during World War II. Shortly after his
unit reached Rome, he was admitted to a semiprivate audience with the
pope. Once again, Mr. Bregoli's picture was published in the Globe,
this time in military garb accompanied by a picture of his mother
holding a photo of Pope Pius XII.
unit reached Rome, he was admitted to a semiprivate audience with the
pope. Once again, Mr. Bregoli's picture was published in the Globe,
this time in military garb accompanied by a picture of his mother
holding a photo of Pope Pius XII.
After the war, Mr. Bregoli resumed his musical career. Many of his
performances are recorded in a scrapbook he kept. He performed in the
Copley Plaza Hotel, the Hotel Touraine, and for more than 20 years he
entertained at Lombardo's Restaurant in East Boston. He was in the
band at Mama's Leone's Restaurant in Boston and spent summers at the
Flying Bridge in Falmouth. He performed with the Jimmy Stella
Orchestra and on the Italian Hour on Radio Station WJDA.
performances are recorded in a scrapbook he kept. He performed in the
Copley Plaza Hotel, the Hotel Touraine, and for more than 20 years he
entertained at Lombardo's Restaurant in East Boston. He was in the
band at Mama's Leone's Restaurant in Boston and spent summers at the
Flying Bridge in Falmouth. He performed with the Jimmy Stella
Orchestra and on the Italian Hour on Radio Station WJDA.
Tucked away in his scrapbook is an autographed picture of The Three
Stooges with whom he made a joint appearance in Boston.
Stooges with whom he made a joint appearance in Boston.
Mr. Bregoli recorded three albums, "Accordion a la Carte," "Italian
Favorites," and "Accordion Favorites with Mabel Biagini." "He could
play anything," another daughter, Diane M. Wojtkiewicz of Orlando,
Fla., said yesterday. He specialized in Italian music, but he could
play whatever was appropriate.
Favorites," and "Accordion Favorites with Mabel Biagini." "He could
play anything," another daughter, Diane M. Wojtkiewicz of Orlando,
Fla., said yesterday. He specialized in Italian music, but he could
play whatever was appropriate.
Mr. Bregoli never traveled far from Boston so he could remain close to
his wife and the daughters he named after songs and the sons he named
after saints.
his wife and the daughters he named after songs and the sons he named
after saints.
After a late night onstage, he was always willing to get up early and
drive his children to school. If one was sick, he wrote a note to the
teacher in painstakingly crafted capital letters.
drive his children to school. If one was sick, he wrote a note to the
teacher in painstakingly crafted capital letters.
Mr. Bregoli gave private lessons at Tosi Music and Sporting Goods Co.
and Charles Bean Music Co. in Quincy. He also taught in a studio in
the basement of his home. When he wasn't teaching, he was practicing.
and Charles Bean Music Co. in Quincy. He also taught in a studio in
the basement of his home. When he wasn't teaching, he was practicing.
And he never stopped working. He was preparing to play at Kelly's
Landing in Weymouth on St. Patrick's Day.
Landing in Weymouth on St. Patrick's Day.
Thursday, January 19, 2017
Saturday, January 14, 2017
Tuesday, January 10, 2017
Saturday, January 07, 2017
Tuesday, January 03, 2017
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