They transform traditional Polish songs into Kujawski swing, and they mix folk songs, whispers, and shouts with sounds of…a grater, a knife being sharpened or a bathtub being filled with water. An original trio, Sutari, is gaining popularity on the folk scene with their modern interpretations of old songs.
Sutari is based on the strength of three female talents, temperaments, and voices. Zofia Barańska, Katarzyna Kapela, and Barbara Songin are vocalists, instrumentalists, actresses, and performers who have been active on the Polish artistic scene for many years now in various fields: from music to theatre through dance and film. Kasia collaborates with the Wrocław Song of the Goat Theatre, Basia deals with physical theatre, choreography and produces her own original shows along with the artistic collective FURU, and Zosia collaborates with the Adam Mickiewicz Institute on musical projects. They met a few years ago at the “Gardzienice” Centre for Theatre Practices and that is how their musical collaboration began: on violins, drums, wine glasses, bottles, knifes, graters and even using water. As Zosia Barańska explains:
We feel good on stage together. Playing together and giving concerts gives us great joy. We experiment with sound a lot. It’s enough to change the tempo, slow down, or speed up in order to find jazz, swing or blues in old songs. The idea of using unusual instruments helps us tell the stories of our great grandmothers, it reminds us all of the musical tradition of singing together while peeling potatoes or working in the fields, because singing was a part of everyday life. That is why we incorporated the rhythmization of sounds produced by kitchenware.
Charles ‘Chick’ Ganimian (1926-1988), was an Armenian-American professional musician and singer known for his virtuosity on the oud. Ganimian played the music of Anatolia, Turkey, and Armenia.
Ganimian was born in 1926 in Troy, N.Y., to Armenian parents who had emigrated from Marash, Turkey in 1922. In his home, he heard the music of the “old country” performed by his father, Nishan, an amateur oud player and singer. Since the family spoke both Armenian and Turkish at home, Chick became fluent in both languages. The basic repertoire he used throughout his career was molded by the music he heard and learned in his youth. Major influences were his father, Oudi Hrant Kenkuloglu, and Oudi Yorgo Bacanos. When he was ten, he studied the violin, attaining some skill on the instrument. When he was seventeen, the family moved to Washington Heights, N.Y..
Ali Hassan Kuban was a Nubian singer and bandleader. He was known as the “Captain” or “Godfather” of Nubian music.
The music I feel most connected to beyond rock is from Mali. The melodies are so fluid, so elegant and most of all so trance-inducing. It often sits on one chord and notes played revolve around that chord. It can feel like a drone at times, and in the case of Songhoy Blues it rocks, lulls and the percussion grooves are not only trance-inducing but dance-inducing.
Many of the musicians we know from Mali are in exile, driven out by Islamists threatening musicians and kidnapping them; the members of Tinariwen know this firsthand. There is sadness, defiance and celebration in the music Songhoy Blues brought to the Tiny Desk from a record called Music in Exile, which is co-produced by an artist most of us rock lovers know best from the Yeah Yeah Yeahs, Nick Zinner. Rock and the desert blues, already closely connected in attitude and sound, fuse nicely with his touch — and can be felt in blissful rawness here.
“Sekou Oumarou” 00:00
“Al Hassidi Terei” 03:46