After creating a major stir in the U.S. in 1969, violinist Jean-Luc Ponty returned to his native France for a couple years. One of his few recordings from the period is this stimulating date which was last made available in the U.S. as a Pausa LP. Ponty teams up with keyboardist Joachim Kuhn, guitarist Philip Catherine, bassist Peter Warren and drummer Oliver Johnson for his three-part, side-long "Flipping," the lengthy "Open Strings" and Kuhn's "Sad Ballad." The electric violinist's dynamic playing is heard in peak form throughout the colorful album, an early and creative fusion date.

Scott Yanow, All Music Guide

This record is different. It’s a conversation between three musicians - three musicians who are friends. That is what unites them, that and their musical starting point: the classic jazz of Lester Young at one end of the scale, Zoot Sims at the other, with Lee Konitz and Lennie Tristano serving as a sort of focus point. The great French jazz critic André Hodéir called this type of classic jazz “modern Count Basie”. One could also name it “middle of the road jazz”. It was once common ground for all three, but later each one developed into a distinct direction which suited him best. Each of the three has become known, and when one of their names is mentioned it immediately brings to mind precise musical connotations. Each calls to life a whole musical “world” - each his own. Now the three musicians meet again, after many years, to communicate with each other - in dialogues, triologues, and monologues - in duos, trios, and solos…

Historic recordings of Estonian folk tunes, including several polkas. Traditional instruments used include the parmupill (jew's harp) and torupill (bagpipe).

C560067 Ocora, 1970-73

When music lovers talk of Gamelan music, they generally refer to Balinese Gamelan music, some important types of which came from Java to Bali around 14th or 15th century after Islam had taken root in Java. The word "gamelan" is a Javanese word meaning "orchestra," referring to the instruments that make up the ensemble.
A series devoted to the Yogyakarta style is available on the Ocora label. These are older recordings, and feature musicians who grew up in the court atmosphere. Many of the newer recordings (as per above) use conservatory-trained musicians because of the changing economics of the kratons.
This is a very nice recording of Yogyakarta gamelan in the 'loud' style (mainly bronze). This is not to say the pieces are loud: they form exactly the kind of rippling, smoothly flowing sound for which the Javanese gamelan is famous. The complexity is just somewhat less daunting, consisting of the skeleton melodic line carried by the sarons. The bonang, bonang panerus & peking form patterns on top of it, the piece is supported by the gongs & kenong and led by the kendang.

This field recording offers a diverse assortment of Uganda's many styles. Several ensembles are represented, two modern, the rest more or less traditional. The traditional instruments range from several kinds of drums to harp, xylophone, and one-string fiddle. While the best work comes from the instrumental soloists, especially the three harp players and the endingidi fiddler, perhaps the most unusual traditional performance is by the orchestra of agwara horns. This orchestra is composed of nine horns, each of which can play only one note! They create a melody by taking turns playing. The group could stand to work on its coordination but is still fascinating in its concept. (AMG)

The son of Agujetas el Viejo, Agujeta continues going down the purest ancestral path of Jerez gypsy singing, following the tradition of Manuel Torre. His singing is that of the glorious years of the early twentieth century. He also represents the romantic idea of the undocumented gypsy, about whom even the date and place of birth are not known with any certainty, and of the self-taught artist who leaves the family forge to triumph in Madrid as a cantaor.

Ocora C 560035-36, 1993
he recently recognized musical heritage of Uzbekistan, Tajikistan, Kazakhstan, Kirghizia and Turkmenia.

Cape Verde has attained a fame far beyond what its small geographic stature would seem to justify, in great measure due to the work of morna diva Cesaria Evora. This small group of islands was uninhabited until Portugal settled it with its unwanted poor, its opportunistic pirates, clever business people, and slaves brought from the nearby African coast. Thus the archipelago has a unique, almost artificial culture. It's a true example of how people create culture as much as they are created by it.

A collection of ritual funeral songs from the repertoire of Lobi (also here referring to the Birifor) songs for the jolonbuo (similar to the balafon in many ways). The music is deceptively simple at times, and richly complex at times, sometimes occurring together. Smaller percussion items are added to the music, as is the bembe drum, which is played throughout funeral ceremonies (up to two days straight). For those wishing to learn about the Lobi rituals, this wouldn't be a bad place to start. (AMG)

Lithuania- the Country of Songs, Appears to Be a Most Appropriate Expression to Describe How Lithuanians Express Themselves Through Music. Most Villages and Cities Have Known Singers and Choirs, and Many Different Styles of Singing Have Been Developed. Lithuania Is Well Known for Its Singing Festivals Where More Than 10,000 Singers May Participate. This Cd Is a Rare Opportunity. We Hear Extremely High Quality Recordings from the Beginning of the 20th Century That Survived the Passage of Time. We Hear Singers, Choirs, and Musicians, Now Deceased, Who Offer Us a Marvelous Historical View of the Music of a People Whose History Has Joys, But Also Losses, Wars, and Displacements, and for Whom Singing Has Played a Vital Role In Their Survival as a People. (AMG)

Subramaniam has been a pioneer in exploring intelligent fusions between European classical music, American jazz, rock, and South Indian music. He settled in the Los Angeles area in the late '70s in order to earn a doctorate in Western music at the California Institute of the Arts, where he also taught South Indian music. He led a group with Coryell, George Duke, and Tom Scott in the 1980s, and recorded several fascinating LPs for Milestone, including an LP with Stephane Grappelli, that fused classical music, electric and acoustic jazz, and South Indian music. Subramaniam has also written works for classical orchestras.

Ocora C 560048-49, recorded in Paris, April 1985
Gopal Krishan: vîna, Latif Ahmed Khan: tabla

The vichitra veena is a slide instrument used in North Indian classical music, but it has become quite rare today. Gopal Krishan is one of only a handful of players with recordings available.