Zulya | Aloukie

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Zulya Westpark Music

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Russian Federation

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Folk: Modern Folk World: Eastern European Moods: Solo Female Artist
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Aloukie

by Zulya

Award-winning Zulya Kamalova is the leading proponent of Tatar music as well as one of the most versatile and accomplished vocalists on the world music scene today.
Genre: Folk: Modern Folk
Release Date: 

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  Song Share Time Download
1. Saginou - Yearning
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4:17 album only
2. Sahralarda - In the Woods
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5:52 album only
3. Onyta Almyim - I Can't Forget
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4:57 album only
4. Atikaemneng Oenda - At My Father's
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3:29 album only
5. Tugan Il - Homeland
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4:10 album only
6. Hairan Bulam - In Amazement
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5:14 album only
7. Ai Bolubolum - Nightingale
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3:12 album only
8. Hadicha Abiem - Grandmother Hadicha
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2:47 album only
9. Kubalagem - Butterfly
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1:43 album only
10. Minem Donyada - In My World
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3:21 album only
11. Sarman - Sarman River
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3:25 album only
12. Bishek Jyry - Lullaby
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3:13 album only
13. Aloukie
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5:16 album only

ABOUT THIS ALBUM


Album Notes
Artist of the Year 2001

World Music Artist of the Year 2002
(Australian Live Music Awards)
Album of the year 2000 for "Aloukie"
(Australian World Music Awards)

Award-winning Zulya Kamalova is the leading proponent of Tatar music in Australia as well as one of the most versatile and accomplished vocalists on the world music scene today. A native of Volga River region of Central Russia, Zulya began performing Russian and Tatar songs at the age of 9. Later she studied music and languages at university level. Inspired by the diversity of cultures, Zulya made a dramatic decision to settle in Australia in 1991 and began to not only share her indigenous music, but master the musical and linguistic riches of the multitude of cultures living side by side in Australia. Zulya's first release in Australia "Journey of Voice" received accolades for its versatility, passion and the achingly beautiful tone of her voice.

In the following years, Australian audiences have been able to witness the continuing rise of this unique musical treasure. Zulya's second album, "Aloukie" (meaning a soulful song, that invokes memories of home) was awarded the World Music Album of the Year 2000 at the Australian World Music Awards and features traditional and original songs in her distinctive Tatar style. Zulay's work has been repeatedly featured on radio and television to high acclaim, and she was also awarded "Female artist of the year" at the World Music Awards for 2001.

Zulya also conducted numerous workshops in Tatar and Russian singing for festival goers and choirs so that others may experientially share her musical inheritance. She has performed with Slava Grigoryan, 'Sirocco', Kavisha Mazzella and Valanga Khoza among others. Zulya continues to dazzle audiences with her multi-cultural proficiency and passion for music and song and during the last few years has performed at most major venues and festivals in Australia including Sydney Opera House - Festival of Asian Music and Dance, The Basement, The Boite Winter Festival, National Folk Festival (ACT), "10 Days on the Island" Arts festival, Woodford Folk Festival (Qld), 'Women in Voice" (Qld), Brunswick Music Festival (Vic), Femmes Funk 99 (New Caledonia), Brisbane Biennial Festival of Music (Qld), Apollo Bay Music Festival (Vic), Fairbridge Festival (WA), Songs of the Wind Festival (NSW), Kulcha (WA), Musician in Residence Program, Aboriginal communities (N.T) and many others.


Reviews


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Tamara Turner, CD Baby


An award-winning proponent of Tatar music (a collective name applied to the Turkic speaking people of Eastern Europe and Central Asia), Zulya, a native of Volga River region of Central Russia, spreads her music and lulling voice now from her home of Australia. One of the most versatile and accomplished vocalists on the world music scene today, she beautifully delivers these haunting and moving traditional and original songs with grace and care. Awarded "Female artist of the year" at the World Music Awards for 2001, she is quickly gaining a reputation for her musical warmth and spirit. Aloukie is an album highly deserving of acclaim.

Iskander Magdeev

some suggestions
Several years ago, I wrote a commentary onto Zulya’s personal site, beseeching her not to perform one of the well-known Tatar songs. My message had been posted and remained there only a few hours, before it was speedily removed by site's administrator. I repeatedly sent my message. However, it was censored again, and again. I stopped trying to contact her after that...
Zulya has absolutely no sense for Tatar music. It is not because Tatar music is something incredible, or difficult to understand, or render for a foreign audience. No. It is quite a simple question of the performer's musical culture, pertaining to his or her level of scrupulousness and diligence. She (excuse my French) always f*cks up the Tatar tunes, both traditional and non-traditional, in every points where possible, deforming, distorting and defacing them pretty sadistically. And what happens after such an act of sadism? Some of the critics, who have absolutely no idea how neither Russian, nor – surely! - Tatar songs have to be performed, quickly mint generous expressions about “jazz-like interpretations”, "new releases" of a "very talented new voice" from “the very heart of Asia”, “still remembering the stampings of Genghis Khan’s hoofs”. Show some mercy, folks! Such misrepresenting does not work with Tatar folk songs. They were already seriously murdered on regular basis for the last thirty years or so by so-called Tatar “popsá”-singers (a Russian neologism for popular music of shitty quality), who were carrying out what even the Soviet vlast’ (regime) could not have fulfilled in seventy years.
Well, some suggestions... Only two ways exist. First, the most gracious one is (excuse my French again) - to stop f*cking around with Tatar tunes and beats, and begin singing professionally and vividly. What is going to happen? A poor, self-destructive and culturally endangered Tatar nation, undoubtedly, shall kneel down before their ex-pat, propagating Tatar heritage worldwide. The second way is as brief and tough as a crack of a whip, but also effective as well: to stop performing Tatar songs at all. Behold, I guarantee you, all Tatar professional musicians will thank Zulya with tears of deep gratitude in their eyes. Doing so, Zulya will never resemble a bizarre blend of Uzbek and Turkish popsá anymore, sounding like Yulduz Usmonova hit by a car, and like Sezen Aksu run over by a following vehicle.
I may not be a very good singer myself, I never thought I was, but I know good singing from bad.
For Tamara Turner: Turkic speaking peoples of Central Asia have their own ethnonyms, say, Uzbeks, Uighurs, Karakalpaks, Turkmens, Kyrgyzs, Kazakhs, etc. However, the Kazan (Volga) Tatars, to whom Zulya proudly belongs, are not autochthonous for Central Asian region and had moved there long times ago in a few waves of migration. You perhaps do not call Ernest Hemingway a Spaniard for driving a truck under regime of Franco, or a Frenchman for drinking absinth in a Paris street café with a scenic view to the Eiffel tower…

Elena Orlova


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