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Krushevo


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Audio CD, April 20, 1999
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Product Details

  • Audio CD (April 20, 1999)
  • Number of Discs: 1
  • Label: M.a. Recordings
  • ASIN: B00000IJG3
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (20 customer reviews)
  • Amazon Best Sellers Rank: #151,617 in Music (See Top 100 in Music)

1. Gajdarsko Oro
2. Jano, Mori
3. Jovano Jovanke
4. More Cico Rece Da Me Zeni
5. Proseta Se Jovaka Kumanovka
6. Ni Prela Gora Ni Tkala
7. Dafino Vino Crveno
8. Izlezi, Vido
9. Ajde Da Liznaes, Pametis Milice
10. Oj. Ovcarce

Editorial Reviews

Customer Reviews

4.8 out of 5 stars
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See all 20 customer reviews
This is rich, somber, wonderful music being beautifully played by musicians who love it.
greg taylor
In his subsequent solo career, Stefanovski turned more towards etno and jazz, recorded more albums, and wrote music theatrical performances and motion pictures.
Primoz Peterlin
I have heard alot of Vlatkos previous work and this is absolutely his best work so far (not that the previous was bad).
Oliver

Most Helpful Customer Reviews

24 of 24 people found the following review helpful By Primoz Peterlin on June 10, 2001
Format: Audio CD
What can be the outcome when two virtuoso guitar players with similar cultural roots, but different musical careers meet for a common project? In mid-seventies, Vlatko Stefanovski founded the Macedonian art-rock group Leb i sol (Bread and salt, the traditional Slavic welcome), which gained international fame and recorded in total 13 albums before the group was dismissed in the early nineties. In his subsequent solo career, Stefanovski turned more towards etno and jazz, recorded more albums, and wrote music theatrical performances and motion pictures. Miroslav Tadic, also a former Yugoslavia native, left his home country during study, which led him to Italy and finally USA. Since 1985, he has been teaching at the Californian Institute of Arts in Los Angeles. In their January 1997 issue, the editors of GUITAR PLAYER magazine voted Miroslav Tadic one of the world's 30 most radical and individual guitarists.
In summer of 1997, Stefanovski and Tadic met for a recording session in Makedonium, in the small town Krushevo in the central Macedonia. Two acoustic guitars are recorded in a specific, almost sacred, chapel-like atmosphere of the interior of the Ilinden uprising memorial site monument.
Recorded are ten Macedonian folk songs or dances - usually in an odd-meter rhythms and archaic scale structures - arranged for two acoustic guitar players (Tadic plays flamenco guitar on most tracks, and Stefanovski plays dobro on the last two tracks). The sound is clear with no often disturbing studio post-processing. Indeed, the guys sound just as splendid when you hear live (I had one such privilege at the Ljubljana Jazz festival last year).
The whole project bears resemblance in spirit with earlier John McLaughlin/Paco De Lucia fusion sessions. If you like them, it is worth giving this album a chance, for not only you will hear two virtuoso guitarists at their best, but will bring you to - most likely - new and exotic rhythms and tunes of Macedonia.
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11 of 11 people found the following review helpful By greg taylor VINE VOICE on November 8, 2002
Format: Audio CD
One of the great things about Amazon for us parochial American types is that it allows us to explore more of the many insanely rich traditions of music that abound all over the planet. This CD is an exemplar of what we are missing.
This CD presents Vlatko Stefanovski and Miroslav Tadic playing the music of Macedonia. The liner notes are careful to distinguish the Macedonia that used to be the southern part of Yugoslavia (where this music comes from) from the Macedonia area of northern Greece. It was recorded in June of 1997 inside the Macedonium Monument in Krushevo, Macedonia. The music is beautifully recorded and it is deserving of that treatment.
The compositions are based on traditional melodies. The technique of these players is impeccable and their musical sensibilities have been informed by many different styles of playing: classical, flamenco, jazz, rock among others. One of the pieces, "Jano, mori", sounds like something Bill Frisell might do if he knew this material. Other times, these guys remind me of Ry Cooder or Paco De Lucia.
In the end, however, all such comparisons are mostly irrelevant. They merely serve to suggest to American ears the level of which Stefanovski and Tadic play.
What is important is the merger of player and material. Stefanovski and Tadic sounds as if this tradition of folk melodies is at the core of their musical souls. This is rich, somber, wonderful music being beautifully played by musicians who love it. If you love guitar music, this CD belongs in your collection.
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7 of 7 people found the following review helpful By Erika Borsos VINE VOICE on January 9, 2003
Format: Audio CD
Yamaha electric steel-string guitars provide the power surge and circuit revision to this already exotic and odd-metered Macedonian traditional music. The experiment works! Traditional folk tunes such as "Gajdavsko Oro", "Jano Mori", "Jovano Jovanka", "Dalino Vino Crveno", "Ajde Da Li Znaes pametis Milice" sound great when when played on the Sakura nylon guitar and Yamaha steel-stringed guitar. The melodies and rhythms remain unaltered but the quality of music becomes 21st century ... I love Macedonian folk music & the musicians ensure that the musical scales which create its uniqueness remain intact. *IF* you are a risk taker you'll have no regrets hearing Balkan music with a "new attitude". Erika Borsos (erikab93).
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7 of 8 people found the following review helpful By ptitchitza on April 29, 2000
Format: Audio CD
Had Stefanovski taken a year "off", and moved from Macedonia to America, I have no doubts he too would soon have been short-listed by the Guitar Player magazine, whose editors voted Miroslav Tadic as one of the world's thirty most radical and individual guitarists. However, as is evident in previous reviews, those of the fortunate listeners who have heard some of Vlatko Stefanovski's 12 records with his original band "Leb i sol" (and subsequent solo records), feel that he has also ensured his artistic 'immortality'. Discography of both Vlatko and Miroslav is not easy to follow. In Vlatko's case it's due to geography (and it's marketing consequences). Miroslav's stylistic versatility and a fact that he played with a great number of other musicians made his records dispersed on a number of record labels.
When I first heard Tadic on his CD "Bracha" (Brothers), seeing his photograph on a cover, I actually thought it might be Vlatko Stefanovski's alter ego (! ), appearing under a different name - there is some physical resemblance of the two. Silly. I soon started wondering how would it sound if the two met and played together, and after a long wait, "Krushevo" finally gave me that opportunity.
I had some reservations about Krushevo, though, but they haven't lasted long. When guitarists reveal in details what guitars they've used on the CD I fear that the music may not be more than a mere show-off of a guitar virtuoso. After first listening I knew that fingers that "operated" Sakura nylon and Yamaha steel string guitars and Ramirez classical guitar were all powered by singing hearts and inspired minds. Vlatko also plays dobro on "Ajde, da li znaes...
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