Artist.......: Tinger-Too
Album........: Mountain Music of Kyrgystan (Music of Central Asia
Label........: Smithsonian Folkways
Genre........: Ethnic
Catnr........: 40520
source.......: CDDA
rip.date.....: Mar-18-2006
str.date.....: Mar-14-2006
quality......: VBR/44.1Hz/Joint-Stereo
Url..........: http://www.folkways.si.edu/index.html
track title time
01. jangylk (novelty) 03:14
02. erke kyz (the spoiled girl) 02:07
03. kuidum chok (i burn i smoulder like charcoal) 03:26
04. kokotoi memorial feast 06:26
05. belek (gift) 02:03
06. kara ozgoi (impudent one) 03:21
07. kyiylyp turam (im sad to say goodbye) 02:33
08. attilla khan 03:27
09. ak satkyn and kulmyrza 09:10
10. fantasy on the chopo choor (ocarina) 02:01
11. gul (flower) 03:35
12. jol jurush (on the road) 02:28
13. kengesh (soviet) 03:14
14. esimde (i remember) 05:05
15. ker ozon (wide valley) 02:39
16. sagynam (i miss you) 03:33
17. kambarkan 04:52
18. kyz oigotoor (a melody that wakes up a girl) 02:47
Runtime 66:01 min
Size 89,3 MB
Release Notes:
When Kyrgyz musician Zainidin Imanaliev was first
sought out by Western ethnomusicologists willing to
make the trek to his hinterland home, he denied
that he played the komuz, a three-stringed,
fretless lute whose playing is characterized by
stylized hand gestures that make Jimi Hendrix look
like a lightweight. Like many traditional older
musicians in the region who lived in the shadow of
Soviet policies that sought to replace folk
traditions with nationalized music forms, Imanaliev
had traded in his love of music for a love of the
flask. After some coaxing, the virtuoso took his
komuz out of hiding. This eventually led to a
standing-ovation performance at the English
National Opera. Now Imanalievùwho appears on
Tengir-TooÆs CD/DVD Mountain Music of Kyrgyzstanùis
leading the way with a return to the
master-disciple oral tradition, and teaches five
live-in students when he is not touring the world.
Tengir-Too. The music of Tengir-Too (Too is
pronounced like ôtoeö)ùled by Nurlanbek Nyshanov,
the 40-year-old innovator on traditional
formsùfuses nomadic musical traits such as an
emphasis on a nature-based spirituality, the
ever-present bard, and epic tales as long as thirty
times the length of HomerÆs Iliad with European
compositional techniques. As the Kyrgyz came under
the sphere of Russian cultural and political
influence, European musical forms and instruments
supplanted local styles and traditional folk
instruments. Though conservatory-trained, Nyshanov
broke away from these Eurocentric models. His
breakthrough occurred when he understood that,
rather than rely on the academic conventions of
ensemble music, he had to let his music ôspeakö in
its own language. ôI want to uncover the whole
timbral palette of Kyrgyz traditional instruments,ö
said Nyshanov. ôSo many nuances, so many colors!ö
Audiences and listeners also have a chance to see
and hear Tengir-TooÆs dynamic shaman-like epic
reciter, Rysbek Jumabaev, as he lets the spirit of
Manasùa legendary warrior who united the
Kyrgyzùspeak through him. The manaschi alternates
between a rapid oratorical style for narrating
facts and a strongly rhythmic one for depicting
dialogue. Dramatic gesture and facial expression
are integral to the performance: manaschis use all
means at their disposal to hold the attention of an
audience.