For those who do not know Tuenda not even heard tell that the owner is too passionate and there are lots of best folk bands. I'm looking for someone contesting it on and start a healthy debate, and certainly convince you. Tuenda formed in 2003 by initiative of mutual friends of the three members of the band.
The singer, Xosé Both came from N'Arba, flutist, Pepin of Munal, La Bandino of Tombo and buzukista, Elias Garcia, Llan de Cubel. Not have greatly complicated Tuenda owner when his records, numbered consecutively with 1, 2 and 3. And Tuenda 3 is known as a finding for the gourmet taste of the good folk of the Atlantic Arc.
No, no bagpipes, not even miss him. Voice, flute and bouzouki are sufficient to develop a repertoire that hitch up that was not an initiate in the territories of folk and world music. In this third installment, Tuenda has recorded 14 tracks, 11 of them collected by both and Ramses Ilesies throughout the Asturian and incorporated into the Oral Tradition Archive, 2 consisting of Munal Pepin and another arranged by the latter.
Once again, hats off for the trio discovers a song arcane probably would have been lost over the years and that the group has composed music based on the data provided by informants, such as Fela tevergana d ' Urria, whose repertoire there are three parts. It is not fashionable folk, and nobody wants it to be.
Minority music as the language used by the group, the Spaniard a Romance language in danger of extinction, and this not me but the UNESCO, and to spread goodness that institutions that govern us help financially. Tuenda 3 is a marvel. From this nostalgic piece that opens the album, 'Round Tarna', which closes the 'muñeira of Perl.
Monday, "a song from the repertoire of Somiedo highlands to the their livestock arriving vaqueiros of appeal in the summer. These issues are not smelling of camphor, a whiff of mothballs with other records, because Tuenda has managed to combine, and it is very difficult, tradition and modernity, old and new, with tasteful reworking those roots.
We find Xirandilles, Giraldillas in Castilian, songs for dancing as 'Xirandilles Thistle', who had never danced in this version, there is a wedding song, 'Wedding and muñeira of Tormaleo', in which the veteran buzukista Elias Garcia, gives us one of his best touches. On the other hand, Pepin of Munal, a flutist visionary with a great sense of musicality, signing a composition, which makes the hair stand like hooks, dedicated to his recently deceased father, 'Ca Sindo', which was the site of their ancestors and manages a vintage (lullabies), 'The Miou maridín', her mother sang as a child, and the instrumental, "Cadorna", dedicated to folk harpist recalled Fernando Largo.
But what surprised me the disk, if it was not enough this, is the voice of Xosé Ambás progression, exceptional in all the songs, and sublime in 'Song of mazar', a cut that was sung to milk churn in the Pola del Pino. Here the trio seems to move to a mysterious ancient world, almost oriental, and both gives us a melismas, connected with other areas thousands of miles from home. .jpg)
The singer, Xosé Both came from N'Arba, flutist, Pepin of Munal, La Bandino of Tombo and buzukista, Elias Garcia, Llan de Cubel. Not have greatly complicated Tuenda owner when his records, numbered consecutively with 1, 2 and 3. And Tuenda 3 is known as a finding for the gourmet taste of the good folk of the Atlantic Arc.
No, no bagpipes, not even miss him. Voice, flute and bouzouki are sufficient to develop a repertoire that hitch up that was not an initiate in the territories of folk and world music. In this third installment, Tuenda has recorded 14 tracks, 11 of them collected by both and Ramses Ilesies throughout the Asturian and incorporated into the Oral Tradition Archive, 2 consisting of Munal Pepin and another arranged by the latter.
Once again, hats off for the trio discovers a song arcane probably would have been lost over the years and that the group has composed music based on the data provided by informants, such as Fela tevergana d ' Urria, whose repertoire there are three parts. It is not fashionable folk, and nobody wants it to be.
Minority music as the language used by the group, the Spaniard a Romance language in danger of extinction, and this not me but the UNESCO, and to spread goodness that institutions that govern us help financially. Tuenda 3 is a marvel. From this nostalgic piece that opens the album, 'Round Tarna', which closes the 'muñeira of Perl.
Monday, "a song from the repertoire of Somiedo highlands to the their livestock arriving vaqueiros of appeal in the summer. These issues are not smelling of camphor, a whiff of mothballs with other records, because Tuenda has managed to combine, and it is very difficult, tradition and modernity, old and new, with tasteful reworking those roots.
We find Xirandilles, Giraldillas in Castilian, songs for dancing as 'Xirandilles Thistle', who had never danced in this version, there is a wedding song, 'Wedding and muñeira of Tormaleo', in which the veteran buzukista Elias Garcia, gives us one of his best touches. On the other hand, Pepin of Munal, a flutist visionary with a great sense of musicality, signing a composition, which makes the hair stand like hooks, dedicated to his recently deceased father, 'Ca Sindo', which was the site of their ancestors and manages a vintage (lullabies), 'The Miou maridín', her mother sang as a child, and the instrumental, "Cadorna", dedicated to folk harpist recalled Fernando Largo.
But what surprised me the disk, if it was not enough this, is the voice of Xosé Ambás progression, exceptional in all the songs, and sublime in 'Song of mazar', a cut that was sung to milk churn in the Pola del Pino. Here the trio seems to move to a mysterious ancient world, almost oriental, and both gives us a melismas, connected with other areas thousands of miles from home.
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