English version – Versión en castellano – Versión en galego

我们身处一个困难重重的时代，有时正是这样的时代能够孕育新的审美语言。在经历了第二次世界大战后的日本，人们将核弹灾难后的反思注入舞蹈中，便衍生了舞踏（butō）。 戈雅（Goya）受到在西班牙的独立战争，回归专制主义以及放弃陈旧政权的复杂斗争的启发，投身创作黑画。 在奥斯曼帝国遭遇分裂的重创后，希腊港口城市的下层社会中出现了rebetiko的乐种，联合国教科文组织于2017年宣布其为人类非物质遗产。

Jako the Muzikante的个性恰恰是源于这样的氛围：在一间名为aman的咖啡店，无阶级人士在此相遇。在这里，咖啡是禁售的，而大麻却是稀松平常；在安纳托利亚西部（Western Anatolia）出生的希腊流亡者（土耳其驱逐了一百万人以上）或是在希腊出生的土耳其人（其中五十万人被迫流亡）常聚于此，他们会和亚美尼亚人、斯拉夫人一起……一部分是西班牙系犹太人（Sephardic）人，他们以拉迪诺语（Ladino）或djudeo-espanyol作为母语。一个世纪前，在这些咖啡店正酝酿着一场新型的全球化，而他们各自身份的根源彼此渗透，得以幸存。

西班牙系犹太人Jako the Muzikante是一位油头粉面、顽皮笑脸的男子，他流连于aman咖啡馆行骗。他靠在婚礼和犹太成人礼派对上献唱，在咖啡馆从被其忽悠的醉酒客人身上偷窃，勉强得以维生。随着时间的流逝，艺术家们经历了风霜雨雪，那些旋律也被人遗忘。但所幸不是一无所有：部分曲调通过那些西班牙系犹太人后裔的记忆重归于世。被保留下来的片段足以成为一张出众艺术专辑的基石，而在一个世纪后，与我们当今现实与渴望如此相洽的歌曲终于面世。

将Jako形象具体化的艺术家Xurxo Fernandes是该音乐项目的创始人，他在千禧年之初了解到了西班牙系犹太人的世界。在一次机场偶遇中，他结识了几位保加利亚人。有趣的是，他们会说某种西班牙语。原来，他们的祖先自15世纪末西班牙驱逐犹太人以来，在流放中一直使用这种语言。Xurxo在了解其过往的历史背景后，便开始了他的研究之旅。他前往以色列和土耳其，寻找该文化的印迹，尤其是留存了奥斯曼帝国时代艺术辉煌的最末一刻：二十世纪早期的表演剧目。Xurxo延续了其探索传统加利西亚音乐的好奇心（自14岁起，他便在加利西亚的各个村庄里积极寻找老师教授他弹奏铃鼓)，注入其音乐上的新追求之中。藉此，他是目前唯一能够流利地说和写拉地诺语的年轻艺术家（专辑中源自Rosa Askenazi的表演剧目已通过Xurxo由希腊语翻译成拉地诺语），拉地诺语从属典型的地中海东部语系，该语言融汇了古西班牙语、土耳其文字和法语的多元影响。

Ven al Luna Park (来Luna公园)是该音乐项目的首张专辑，由一本书籍附上CD呈现，皆由Xurxo Fernandes个人制作完成，其中包括了丰富的有关主题的文献和参考资料，以拉迪诺语、英语及Rashí语（通过希伯来字母书写的拉迪诺语）书写。这是首个西班牙裔犹太人都市音乐的复兴计划，目前已在Spotify上线。该专辑以及同名歌曲标题中的“Luna Park”，在含波兰语、荷兰语和土耳其语中意指一个愉快有趣的地方（最初的Luna公园于1903年建于科尼岛）。该专辑于西班牙拉克鲁尼亚的Nakra工作室完成，由乌德琴手Wafir Shaikheldin（苏丹）、小提琴手Andrea Samek（匈牙利）、来自加泰罗尼亚的打击乐器乐手Alexandre Guitart、去年夏天因故去世，备受尊敬的来自马德里的爵士贝斯手José Luis Yagüe、单簧管手Georgi Yanev “Yoro”（保加利亚）、Antía Vázquez Pantín、Eduardo Bolaños、Guillermo Reiriz以及Paco Ulloa共同参与合作录制。

联系方式

• 有关采访及资料的咨询，请洽Araceli, +34 676302882 – info@mundimapa.com 
• Spotify链接：https://open.spotify.com/artist/6RwNEnLQyPsUWvK9gfR1SZ

Versión en castellano – English version –  普通话传记

Jako el Muzikante, o pícaro buscavidas do café aman

“Ven al Luna Park”, primeiro traballo discográfico de Jako el Muzikante, alter ego do artista galego Xurxo Fernandes, xa dispoñible en Spotify

Estamos en tempos convulsos e, ás veces, en tempos convulsos xorde entre as cinzas unha nova linguaxe estética. Logo da II Guerra Mundial, en Xapón, o butō traduce en danza a reflexión tras o desastre nuclear. A Guerra de Independencia, o regreso ao absolutismo e a complicada loita de España por abandonar o Antigo Réxime inspiran a Goya para crear as súas Pinturas Negras. Nos baixos fondos de cidades portuarias gregas, tras o traumático desmembramento do Imperio Otomano, aparece o rebétiko, declarado en 2017 Patrimonio Inmaterial da Humanidade pola Unesco.

Precisamente nese ambiente nace o personaxe de Jako el Muzikante: nos café aman, alí onde los descastados se daban encontro. Cafés onde o café estaba prohibido pero onde o haxix era cotián. Cafés onde se citaban os exiliados gregos nacidos na Anatolia occidental (Turquía deportaría despóis máis dun millón de persoas) ou os turcos nacidos en Grecia (medio millón mais tarde serían forzados ao exilio), algúns deles xudeus de orixe sefardí, que tiñan o ladino ou djudeo-espanyol como lingua materna, con armenios (que sufrirían un terrible xenocidio en 1915), con eslavos… Neses cafés de hai un século se fraguaba unha incipiente globalización, en canto pervivían as raíces das súas respectivas identidades, na mesma hora, permeables.

Jako el Muzikante, o dandy sefardí, o pícaro buscavidas do café amán, malvive cantando en bodas e en fiestas de bar mitzvah, á vez que furta o que pode aos seus entretidos e bébedos clientes no café. Co paso do tempo esas melodías caen no esquecemento pola complicada situación que os seus intérpretes atravesan. Pero non todas se perderían: algunhas daquelas pezas foron recuperadas da memoria dos descendentes daqueles sefardís. Suficientes para gravar un disco dunha calidade estética excepcional, traendo á vida, un século despois, aquelas cancións, que conectan tan ben coa nosa realidade e os nosos anhelos de hoxe en día.

Xurxo Fernandes, o artista creador do proxecto e que encarna a Jako, entra en contacto a comezos do milenio co mundo sefardí nun encontro casual nun aeroporto cun grupo de búlgaros que, curiosamente, falaban unha sorte de español. O impacto en Xurxo da historia vital destas persoas, cuxos ancestros mantiveron o idioma no exilio desde a expulsión dos xudeus de España a finais do século XV, fará que investigue viaxando a Israel e Turquía, para buscar o que queda desa cultura e de, precisamente, os seus últimos momentos de esplendor artístico durante o Imperio Otomano: o repertorio de principios do século XX. Xurxo aplicaría o mesmo espírito inquisitivo que xa puxera na música tradicional galega (desde os 14 años dedicouse a percorrer as aldeas de Galicia para encontrar quen lle ensinase a cantar) a esta nova paixón. De tal xeito que, na actualidade, é o único artista novo capaz de falar e escribir ladino con fluidez (unha peza do disco, do repertorio de Rosa Askenazi, foi traducida polo propio Xurxo do grego ao ladino), con esa mistura de castelán medieval, palabras turcas e galego-portuguesas e influencias francesas, típica do idioma na vertente do Mediterráneo oriental.

Ven al Luna Park é o primeiro traballo discográfico do proxecto. Trátase dun libro con disco, con abundante documentación e referencias sobre os temas, producido polo propio Xurxo Fernandes, escrito en ladino, inglés e rashí (ladino escrito en alfabeto hebreo), que supón o primeiro proxecto de recuperación da música urbana dos xudeus de orixe peninsular. A música está xa dispoñible en Spotify. O título do traballo, que é tamén o da peza homónima, fai referencia á expresión “Luna Park”, que significa un lugar pracer e diversión, en idiomas tan diversos como o polonés, o holandés ou o turco (o Luna Park orixinal fundouse en Coney Island, en 1903). Gravouse na Coruña, en Nakra Studios, con Wafir Shaikheldin (Sudán) no ud, a violinista Andrea Samek (Hungría), o percusionista catalán Alexandre Guitart, o memorable contrabaixista de jazz madrileño recentemente falecido José Luis Yagüe, Georgi Yanev “Yoro” (Bulgaria) ao clarinete e as colaboracións de Antía Vázquez Pantín, Eduardo Bolaños, Guillermo Reiriz e Paco Ulloa.

“A band that fired up the audience in moments of pure happyness.” El Watan

“A mind-blowing show… A glorious, terrific very entertaining concert” Fernando Íñiguez, Radio 3-RNE

Versión en galego – 普通话传记

Jako el Muzikante, the roguish hustler from the café aman

Sephardic urban music at the crossing point between East and West. A final toast at the café aman. An empire about to break off.

“Ven al Luna Park”, the first album by Jako el Muzikante, alter ego of the Galician artist Xurxo Fernandes, now available in Spotify

We are in troubled times and sometimes in troubled times a new aesthetic language emerges from the ashes. This is the music from troubled times… one century ago.

After World War II, in Japan, butō translated the reflection after the nuclear disaster into dance. The War of Independence, the return to absolutism and the complicated struggle of Spain to abandon the Old Regime inspired Goya his Black Paintings. In the underworld of the Greek port cities, after the traumatic dismemberment of the Ottoman Empire, the rebetiko, declared in 2017 Intangible Heritage of Humanity by Unesco, emerged.

The character of Jako el Muzikante is born in the ambience of the café aman, also known as kavanes, usual at the Ottoman empire during XIX century and beginnings of XX century. Cafes where the classless met. Cafes where coffee was prohibited most of the time but where hashish was routine. Cafes where Greek exiles born in Western (Turkey would deport more than a million people later) or Turks born in Greece (half a million would be forced into exile in the 20s) used to gather, with Armenians (that would suffer a tragic genocide in 1915), with Slavs… Some of them were Jews of Sephardic origin, who had Ladino or djudeo-espanyol as their mother tongue. In those cafes, one century ago, an incipient globalization was brewing, while the roots of their respective identities, at the same time permeable, survived.

In words by Alberto Conejero López, as quoted in the book from his Carmina Urbana Orientalium Graecorum. Poéticas de la identidad en la canción urbana greco-oriental, kavanes were multicultural places, “governed by its own rules. One of them time. In this habitat time does not spring from the past or progress towards the future. Time is encapsulated, only referencing itself within the actions that take place in that space.”

Who is Jako the Muzikante?

Jako is the Sephardic dandy, the roguish hustler from the café aman, who barely survives singing at weddings and at bar mitzvah parties, as well as pilfering what he can from his drunken and entertained clients at the café. Over time, these melodies were forgotten because of the complicated situation that those artists went through. But not all was lost: some of those pieces have been recovered from the memory of the descendants of those Sephardim. Enough to record an album of exceptional aesthetic quality, bringing to life, a century later, those songs that connect so well with our present reality and yearnings.

Xurxo Fernandes, the artist who created the project and who embodies Jako, found out about the Sephardic world at the beginning of the millennium. In a casual encounter at an airport he met some Bulgarians who, funnily, spoke a kind of Spanish that even had some hints of the current Galego language (spoken in the Spanish Galicia, north-west of Spain, where Xurxo is from). The impact on Xurxo of the life history of those people, whose ancestors have kept the language in exile since the expulsion of the Jews from Spain at the end of the 15th century, would impel him to research. He travelled to Israel and Turkey, to search for what remained of that culture and, specifically, of its last moments of artistic splendor during the Ottoman Empire: the repertoire of the early twentieth century. Xurxo would apply the same inquisitive spirit that he already put into traditional Galician music (from the age of 14 he was devoted to touring the villages of Galicia to find someone to teach him how to play the tambourine) to this new passion. In such a way that, at present, he is the only young artist capable of speak and write fluent Ladino (a piece from the album, from Rosa Askenazi’s repertoire, Cursed Kokaine, recorded by her in 1932, has been translated by Xurxo from Greek to Ladino), with that mixture of Spanish ancient, Turkish words and French influences, typical of the language on the Eastern Mediterranean branch.

Nowadays Xurxo continues his research and he is usually posting videos and other materials at the Facebook page of Jako el Muzikante. He is also regular participant in the email group Ladinokomunita and he is providing lectures and workshops about Sephardic music in several European countries.

The book-CD “Ven al Luna Park”

Ven al Luna Park (come to the Luna Park) is the first official album of the project. It is a book with a CD, with abundant documentation and references on the themes, produced by Xurxo Fernandes himself, written in Ladino, English and Rashí (Ladino written in the Hebrew alphabet). It is the first project to recover urban music of the Jews of Spanish origin. The music is already available on Spotify and the physical book-CD is available in eBay.

The repertoire of this book-CD comes from diverse archives of oral tradition, dated from 1906 to 1995 (Emili Sene’s, Jakob Michael’s or Victor Besso’s for instance) and it is full of anecdotes, references and pictures, collected over the years by Fernandes.

The title of the work, which is also that of the eponymous piece, refers to the expression “Luna Park”, which means a place of pleasure and fun, in languages as diverse as Polish, Dutch or Turkish (the original Luna Park was founded on Coney Island in 1903). It was recorded in Coruña, at the Nakra Studios, with the oudist Wafir Shaikheldin (Sudan), the violinist Andrea Samek (Hungary), the Catalan percussionist Alexandre Guitart, the missed jazz bassist from Madrid who died last summer José Luis Yagüe, the clarinetist Georgi Yanev “Yoro” (Bulgaria) and the collaborations of Antía Vázquez Pantín, Eduardo Bolaños, Guillermo Reiriz and Paco Ulloa.

This editorial work is also supported by a concert program that has been already performed in Spain and in Algeria and that is ready, with line up from trio to sextet. In fact, the recording is the result of 8 years live experience, reflection and a thorough work of arrangements and documentation. So far, the live show has got critics like “A band that fired up the audience in moments of pure happyness.” by El Watan or “A mind-blowing show… A glorious, terrific very entertaining concert” by Fernando Íñiguez (Radio 3-RNE).