Ljiljana Buttler

Ce disque n’est pas fait pour les brutes. Ou plutôt si, pour qu’elles se radoucissent. Il en émane des flots de mélancolie qui vous submergent : aucune digue ne tient ! Ljiljana Buttler, bosniaque d’origine serbe et croate, est une des plus fameuses chanteuses qu’a connues l’ex-Yougoslavie, dans les années 1970 et 1980. Célèbre sous le patronyme Petrovic – Buttler est son nom d’épouse –, elle est surnommée la « mère de l’âme » et fait vivre un répertoire traditionnel fortement influencé par la musique tzigane. Juste avant que ne commence la guerre de la décennie 1990, elle quitte son pays parce qu’on n’y apprécie plus son art – celui-ci dépend beaucoup des kafanas, spacieux restaurants qui commencent à être démodés. On goûte plus alors – et encore maintenant – une version « moderniste » de la musique balkanique : le turbofolk. Fin de la première partie de l’histoire. Voici la suite. En 2000, Dragi Sestic, le producteur du présent album, se lance dans une patiente enquête à travers l’Europe. Il veut retrouver la chanteuse, dont la voix grave, quasi androgyne, l’a bouleversé un soir qu’il écoutait une vieille cassette – il raconte son aventure dans le livret. Il la retrouve : elle ne chante plus et mène une existence « normale ». Longtemps réticente, Ljiljana finit par se laisser convaincre. C’est heureux, car la chanteuse et ses musiciens, réunis dans les studios du Centre Pavarotti de Mostar, ont enregistré un de ces disques qui brillent par leur simplicité. Guitare, piano, violon, accordéon, clarinette, percussions et voix se laissent emporter par un vague à l’âme communicatif, au gré de belles mélodies aux teintes parfois surannées. C’est ce qui rend si précieuses les musiques rom. Quand elles ne visent pas à exciter le fêtard, elles vous font ressentir de ces émotions délicieusement incertaines…





De longs extraits en écoute

Magnifique réapparition dans le plus pur style de son peuple qui goûte à ce point la liberté qu'il s'affranchit de toute forme de cohérence historique. Ainsi Lijliana Buttler a-t-elle sans vergogne faussé compagnie à ses admirateurs pendant 15 ans.

Ce disque est splendide et on en saura jamais assez te savoir gré de dénicher ce genre de choses Rom. Maintenant, peut-on trouver d'anciens enregistrements de cette chanteuse?



Pour ce qui est du turbo folk, je confirme pour en avoir entendu - plutôt subi - que c'est abominable. Abominable comme l'usage généralisé su Synthé à la place des splendides orchestres à cordes d'antan dans les Balkans et le monde arabe quand un petit malin a inventé des claviers qui jouaient les quarts de ton et mis des milliers de musiciens au chômage, brisé des traditions particulières d'interprétation. L'âme de cette musique en alors pris un grand coup dans la gueule. D'où l'intérêt de la démarche des musiciens de Mostar.

Bannister a écrit:

. Maintenant, peut-on trouver d'anciens enregistrements de cette chanteuse?

Sous le nom de Petrovic il existe des 33t

un autre


Mostar Sevdah Reunion & Ljiljana Buttler
The Legends of Life (Trade Roots Music)


Reviewed in RootsWorld:
Mostar Sevdah Reunion was born in 1993 in the flames of the Bosnian conflict. The sextet rose phoenix-like out of that conflagration to become one of Bosnia and Herzegovina's most popular bands. With fine musicianship and well-crafted arrangements, they put a subtly modern blush on old Yugoslavian and Roma songs... The Legends of Life is a more pensive work with a prevalence of jazz ballads. It features the deep, world-wise voice of Ljiljana Buttler, the "Mother of Gypsy Soul." Buttler brings to mind the voice of Cesaria Evora, with its low range and casual phrasing. She does a slow, sultry take on the traditional favorite "Mala Garava (Dark-Skin Lass)." "Placem Vec' Tri Dana (Three Days Now I Have Been Weeping)" is a dark number with a bluesy guitar solo by Petrovic'. This is a more brooding side of MSR, and they prove to be sensitive accompanists to the soulful Buttler. - Peggy Latkovich





Mostar Sevdah Reunion
A Secret Gate
Mostar Sevdah Reunion and Ljiljana Buttler
The Legends of Life
Both titles: Trade Root Music (www.traderootmusic.com)

Mostar Sevdah Reunion was born in 1993 in the flames of the Bosnian conflict. The sextet rose phoenix-like out of that conflagration to become one of Bosnia and Herzegovina's most popular bands. With fine musicianship and well-crafted arrangements, they put a subtly modern blush on old Yugoslavian and Roma songs.

A Secret Gate was originally released in 2003, but this re-release makes it available in North America for the first time. The songs here are smooth and danceable, with a few moody ballads thrown in for variety. There’s a little country/western brushed snare in the background of "Oj Djevojko Pod Brdom (Hey Girl)." "Okreni Se Niz Djul Bašću (Turn Around in the Rose Garden)" is a love song of such longing, it makes you ache to listen to it. Mustafa Šantić’s mournful clarinet caresses the spaces between the words. Mišo Petrović on guitar and Nedjo Kovačević on violin add some snazzy gypsy jazz to "Nema Ljepše Cure Od Malene Djule (There is No Prettier Girl than Little Djula)."


Mostar Sevdah Reunion



The idea of forming "Mostar Sevdah Reunion" started in the summer of 1993, during the worst war destruction of Mostar.
Dragi Sestic was working as a music editor at the local "war radio station" in Mostar. One evening he visited one of many candlelit concerts, which were performed for a small audience trying just for a moment to forget the war. For the first time in his life he saw and heard Ilijaz Delic, who had spent most of his career and life in Belgrade performing in the most famous bars and restaurants of the city. Amazed by Delic's interpretation of sevdalinkas (traditional Bosnian songs), Sestic made contact with him and went back to the radio station to share his impression with friend, journalist Faruk Kajtaz. A few days later, Delic came to the radio station to perform some songs for the program (in those days his accordion player was Elmedin Balalic). After that concert Sestic and Kajtaz, impressed by Ilijaz's singing, had a pretty crazy idea for those days to make a big world star of Ilijaz.

In October 1993, Sestic recorded one audiotape with Ilijaz "Biseri Sevdaha" (The Pearls of Sevdah), which was released in limited edition because of war circumstances.One month later, in November 1993, Mustafa Santic, a great friend of Ilijaz, came to the radio station. There he met Sestic and Kajtaz. Mustafa was already known as a big virtuoso on the accordion and the clarinet. After their performance of sevdah, the fundamental basis of the future band was clear - the fantastic vocal of Ilijaz Delic and the virtuosity of Mustafa Santic.

After the end of the war in Mostar, Sestic went to the Netherlands. Slowly, the idea of a band of world-class quality performing traditional Bosnian music was frozen.
Everybody was busy with his own life, career, …. A few years later, in September 1998, Sestic returned to Mostar for a holiday, bringing some of the recent CDs of the world music to his friend Kajtaz. After listening to those CDs, they concluded that it was time to renew the idea of starting a band with the name "Mostar Sevdah Reunion".

They met very supportive people in the "Music Center Pavarotti", who had a great sense for sevdah music - David Wilson, the director of the center and one of the establishers of the "War Child" organization and Eugene Skeef, great percussionist and in those days a musical therapist and also a man who gave strong support and spiritual power to the whole idea. Senad Trnovac, excellent rock-jazz drummer from Mostar, joined the band and they made the first demo tracks. Because of the connections of the Music Center Pavarotti with world music stars, somehow those demo tracks ended up in the hands of the famous producer Brian Eno, one of the donators and coordinators of the whole project in Mostar connected with "War Child". Sometime at the end of October 1998, Eno came to Mostar to visit the music center and he had a meeting with Sestic and Kajtaz.

After a few hours of "inspiring" conversation with Eno, Sestic and Kajtaz knew that they were on the right musical track. Eno left them with the promise that he would do as much as possible to help release the CD. After a few months of waiting, Sestic and Kajtaz decided to finish all of the material for the CD. They went back to the studio in January 1999, but with four more musicians: Amir Karahasanovic -guitar, Miralem Basic & Adnan Zimic -bassprim, and Kosta Latinovic -berde bass.

With completed material, Sestic went back to the Netherlands to search for the publisher and record company. After making many contacts, he chose Dutch record label "World Connection", which is supporting the new recording budget. Sestic then invited Miso Petrovic and Sandi Durakovic, a virtuoso guitar duo from Mostar that was living in the Netherlands, and Branko Petkovic, a famous violin player from Sarajevo to join the band. "World Connection" sent Esma Redzepova - "The Queen of the Gypsies"- as a special guest to perform two songs on the CD.

The final material was recorded in July 1999 in the studio of "Music Center Pavarotti" in Mostar, under the direction of Dragi Sestic and Faruk Kajtaz. The CD was released in October 1999. The dream of a summer war night became a reality!

http://www.mostarsevdahreunion.com/

Bannister a écrit:

Ce disque est splendide et on en saura jamais assez te savoir gré de dénicher ce genre de choses Rom. Maintenant, peut-on trouver d'anciens enregistrements de cette chanteuse?

C'est bien le forum des perles rares ici,non?

Elle a enfin son MYSPACE