Ravi Shankar - Ravi Shankar

Ravi Shankar is the 20th century's most famous player of the complex stringed instrument known as the sitar. The 1950s were possibly Shankar's most creative period: he composed and performed, worked as musical director of All-India Radio in Delhi, created the Vadya Vrinda Chamber Orchestra, scored films (most notably the Apu Trilogy of director Satyajit Ray) and began touring the world and winning acclaim for himself and for Indian music. In the 1960s Shankar grew still more famous for his influence on The Beatles, who used a sitar in some of their more psychedelic tunes. (Shankar was particular friends with George Harrison, who produced some of Shankar's later albums.) As years passed Shankar became known less as a performer and more as an elder statesman of world music. In 2000 he was given the French Legion of Honor, and in 2001 he was awarded an honorary knighthood by Queen Elizabeth II.

CD1 EAST GREETS EAST - RAVI SHANKAR IN JAPAN

[01]. [east Greets East - Ravi Shankar In Japan] Padhasapa
[02]. Kaharwa
[03]. Improvisation On The Theme Of Rokudan
[04]. Namah Shivaya
[05]. Tribute To Nippon
[06]. [ragas Hameer & Gara] Raga Hameer

CD2 RAGAS HAMEER & GARA (Fortsetzung)

[01]. [ragas Hameer & Gara (fortsetzung)]
[02]. Tala Farodast
[03]. Raga Gara
[04]. [raga Jogeshwari] Alap
[05]. Jor
[06]. Gat I

CD3 RAGA JOGESHWARI (Fortsetzung)

[01]. [raga Jogeshwari (fortseztzung)] Gat Ii
[02]. [homage To Mahatma Gandhi, Raga Hemant]
[03]. [homage To Baba Allauddin, Raga Hemant]

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France: Landes de Gascogne - La Cornemuse

France. Landes de Gascogne. La Cornemuse, 1996

France: Landes de Gascogne, La Cornemuse [Ocora C 560051] is another CD that focuses on the bagpipes of a particular French region. Unlike Chabretas, it features five different pipers. Four of these are what we would call “revivalists”: people who, in the 70s, learned to build and play the bagpipes of the Landes, reinventing the tradition as they went. The fifth piper featured on the disc is Jeanty Benquet, considered the last of the traditional Landes pipers; Benquet died in 1957, leaving behind only one recording, from which three selections appear on this collection. While we must imagine that Benquet’s playing is closer to the “old style” of Landes piping, we know that he was a cosmopolitan traveler and a semi-professional entertainer, and thus subject to outside influences. No other recording of a traditional Landes piper was ever made, and this one was discovered only recently. Therefore, the post-1968 revival of Landes piping is based much more on Slavic models, and on personal creativity, than on the Landes past. It is an excellent example of a creatively invented tradition. The four revivalists all play their instruments with aplomb, some alone and others with accompaniment from fiddlers, hurdy-gurdy players and clarinetists. Most of the melodies are intended for dancing, and they have a breezy lift that makes for most pleasant listening — provided one likes the sharp tones of the bagpipe to begin with. One interesting feature of the Landes pipe is a short pipe for accompaniment of the melody. It can be sounded more or less continuously as a drone, or used rhythmically like the regulators of the Irish uillean pipes and the trompette of the French hurdy-gurdy. It adds a bit of texture and complexity to several of the tunes on this disc, and is especially noticeable in Benquet’s playing. Like Chabretas. (Rootsworld)

01. Patrice Bianco - Suite De Rondeaux
02. Patrice Bianco - Rondeau 'A Grenade'
03. Michel Harismendy - Valse 'Quoan V (is Ganhar')
04. Patrice Bianco - Scottiche
05. Patrice Bianco - Marches Du Bazadais
06. Michel Harismendy - Polka
07. Michel Harismendy - Rondeau
08. Robert Matta - Valse 'Cervesca'
09. Robert Matta - Fandango Et Arin-arin
10. Robert Matta - Rondeau 'Dessus Le Noste Trilhe' (Sur Notre Treille)
11. Robert Matta - Polka 'Marie Melody'
12. Bernard Desblancs - Suite De Congos
13. Bernard Desblancs - Noel 'Deche Me Droumi' (Lassie-Moi Dormir)
14. Bernard Desblancs - Scottiche
15. Bernard Desblancs - Rondeau 'Nid De La Lebe' (Le Nid Du Lievre)
16. Bernard Desblancs - Suite De Courantes
17. Bernard Desblancs - Suite De Trois Rondeaux
18. Alain Cadeillan - Margot/Janeton/Son D'eau/Cego Aderaldo (Suite Varie medley)
19. Alain Cadeillan - Miqueu Qu'a Nau Topins De Meu/Debat Mon Pe I'a Nau Junquets (airs De Noce Suvis De Deux Rondes medley)
20. Alain Cadeillan - Mazurka
21. Alain Cadeillan - atan Qu'aue/M'i an Balhat Un Mariton (Rondeaux medley)
22. Alain Cadeillan - Suite De Scottiches
23. Alain Cadeillan - Rondeau 'A Lo Coquin De Pire' (A Le Coquin De Pire)
24. Alain Cadeillan - Valse Monica
25. Jeanty Benquet - Congo
26. Jeanty Benquet - Ronde 'Au Barricot Du Novi' (Au Tonneau Du Marie)
27. Jeanty Benquet - La Bazadaise

320 kbps including full booklet scans

HERE

Pandit Jasraj - ChandraGhanta

Born in 1930 in Hissar (Haryana), Pandit Jasraj is one of the best-known classical vocalists. He belongs to the Mewati gharana, as did his father, Pandit Motiram. One of the joys of Jasraj's music is his depiction of the unusual. He has recorded extensively, especially since the late '80s, for a number of the leading companies specializing in Indian classical music including Chhanda Dhara

1. Chandraghanta, Ya Devi
2. Braje Basantham

Durga Jasraj (Vocal Support), Vijay Ghate (Tabla)

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Diga Rhythm Band

During a lull in activities with the Grateful Dead, percussionist and ethnomusicologist Mickey Hart joined with tabla player, Zakir Hussain, son of longtime Ravi Shankar accompanist, Alla Rakha, and students of the Ali Akbar College of Music to form the heavily percussive Diga Rhythm Band in 1975. Recording their sole album, Diga, in Hart's barn/studio in Novato, California, the 11-piece group was augmented by Jerry Garcia on guitar and Jim McPherson, Kathy McDonald and David Freiberg on vocals. One tune on the album, "Happiness Is Drumming (Fire on the Mountain) went on to be a staple at concerts by the Grateful Dead, the Other Ones and Hart's Planet Drum.

Formed as the Tal Vadya Rhythm Band in 1973, the group was renamed the Diga Rhythm Band following Hart's arrival two years later.

Hart severed his connection with the group after returning his focus to a re-energized Grateful Dead in 1976. He has continued to collaborate with Hussain, a charter member of Planet Drum. Other Diga Rhythm Band members who have remained active include tabla player Tor Dietrichson, who signed a solo contract with Global Pacific, and marimba player Jim Loveless, vibes player Ray Spiegel and duggi tarang and nal player Arshad Syed, who joined multi-ethnic fusion group, Ancient Future in 1993.

Originally released on the Grateful Dead's own label, Round records, Diga was released on CD in 1983 as part of a series of Hart-produced recordings issued by Rykodisc. ~ Craig Harris, Rovi

In each of Mickey Hart's albums, the artist submerges himself within a concept and reinvents himself through the project dujour. Hart's rhythmic journey as recorded in the studio has created some duds and crafted some gems. Fortunately, the Diga Rhythm Band produced one of his jewels. In this project, Hart's focus was on the sounds of India. That written, vibes and marimbas are the primary musical instruments on "Diga" -neither of which are Indian and no attempt is made to have them play Indian melodies. The absence of sitars on such a project almost seems odd. Unless the listener is expecting classical Indian sounds, this isn't necessarily a drawback. With respect to authenticity, Mickey Hart always produces his albums in a way that makes ethnic music more accessible to Western ears. In other words, this isn't Indian music, it's really World Music. When it came to the sounds of India, Hart's focus was on rhythm; the tablas are the main vehicle. 'Razooli' sounds like it could be an outtake from the Grateful Dead's "Blues for Allah." 'Sweet Sixteen' is so sugary, it's difficult not to describe it as 'World Pop.' Jerry Garcia plays 'Happiness Is Drumming' as if it were a prototype version of 'Fire on the Mountain.' In terms of rhythm, 'Magnificent Sevens' is the most accomplished composition. The song showcases the group's improvisation within the Diga Rhythm Band's most challenging arrangement. As a drum album, the percussion is stellar thanks in part to Zakir Hussain's nimble hands. Easy to listen to, "Diga" delivers Indian infused World Music.

1. Sweet Sixteen
2. Magnificent Sevens
3. Happiness Is Drumming
4. Razooli
5. Tal Mala

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Shahid Parvez, Kumar Bose - Synergy

Shahid Parvez is one of the more celebrated sitar players in the scene of Indian Classical Music today. He belongs to the Etawah Gharana and belongs to an illustrious musical family.

Now in his 50s and one of the leading sitar players of his generation, Ustad Shahid Parvez was a child prodigy who began receiving instruction from his father in singing and tablas at the age of three, and sitar at the age of four. His style has been influenced by his father’s cousin, famous musician Ustad Vilayat Khan.

Indian classical music is a performing art thriving on spontaneous improvisation of the highest level. Encouraged and inspired by a knowledgeable audience a master musician is able to dig deep into the well of their creative resources. A live concert atmosphere with listeners yearning for quality music is the ideal platform for an artist at the peak of their performance, and the 2002 Saptak Festival provided the perfect environment for Shahid Parvez to demonstrate why he is now regarded as one of India's greatest sitarists.
Shahid Parvez belongs to one of the legendary musical dynasties of the Indian sub-continent; he represents the seventh generation of sitar players, in a family having produced a long line of virtuosos, including his uncle Ustad Vilayat Khan.

As well as ably representing these traditions, he has successfully carved out his own unique style of playing. His playing expresses soulfulness, born out of the vocal style associated with his family, combined with a dynamic virtuosity which has the capacity to produce seemingly endless passages of stunning improvisation. His music has earned him genuine respect amongst fellow musicians and great popularity amongst world audiences.

Regarded as a child prodigy, he has been a regular performer since the tender age of eight years. His father, composer Ustad Aziz Khan, first introduced him to music through the tabla, universally regarded as the most sophisticated percussion instrument in the world. A successful Indian musician has to be at least familiar with the rhythmic concepts of tabla, and many of the best musicians have spent years practicing it.

This performance has brought him together with tabla master Kumar Bose, one of the most established exponents of the Benares school of playing, and a disciple of the legendary Pandit Kishan Maharaj. He has regularly accompanied all the great names of Indian music including Ravi Shankar, Nikhil Bannerjee and Hariprasad Chaurasia.

In this performance Shahid Parvez has chosen to play the evening melody, Raga Jog, popular with musicians only in the last fifty years, relatively recent by Indian music standards.

The first CD features the traditional introductory 'alap', a slow meditative elaboration of the main notes and phrases of the particular raga. Through the alap, the devotional mood of the raga is established, played in a free style without rhythmic accompaniment. Gradually a pulse is introduced; between the short phrases you can hear the strumming of the drone (chikari) strings which also serve to keep the soloist rooted to a tonal base note. At the conclusion of the alap, a composition is introduced. It is set to a rarely performed rhythmic cycle of eleven beats named Rudratal, which offers a musical challenge to both soloist and accompanist. Conceptually, the musicians may divide the cycle (e.g. 4.4.3); in this composition the leading melodic phrase (mukra) begins on the ninth beat. Throughout the recital the two players skilfully exchange musical ideas.

Raga Jog continues on CD 2 with three further compositions, two in the sixteen beats cycle of teental (tracks 1&3) and one in the twelve beats ektaal (track 2). The improvisations become faster and more intense, seemingly exploring every aspect of the melodic and rhythmic framework.

Raga Pilu is regarded as a light classical music raga associated with the romantic song style of thumri. It uses all the twelve notes of the octave and offers its' own challenges to the soloist. After concluding the alap (track 4), two compositions (5,6) are presented in a style which gives us an opportunity to experience further glimpses of Shahid Parvez's musical genius.

Recording information: Saptak Festival.

Disc 1:
1. Raga Jog - Alap 1
2. Raga Jog - Jor, Jhalla
3. Raga Jog - Gat (composition in Rudratal)

Disc 2:
1. Raga Jog - Gat in teental
2. Raga Jog - Gat in ektaal
3. Raga Jog - Gat in fast teental
4. Raga Pilu - Alap
5. Raga Pilu - Thumri in deepchandi
6. Raga Pilu - Gat in teental

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Soul of the Sufi

Fareed Ayaz, Abu Muhammad & Bros.
Soul of the Sufi. Live in Warsaw, 2009

Ghulam Fareed-ud-din Ayaz & Abu Muhammad Qawwal belong to the best known gharana of Qawwali, namely: 'Qawwal Bachon ka Gharana' of Delhi which is approximately 705 years old. Presently both Ghulam Fareed-ud-din Ayaz & Abu Muhammad Qawwal and party are acclaimed nationally and internationally as one of the best exponents of Qawwali in the sub-continent. The brothers started training in classical music at a tender age under the rigorous and critical tutelage of their late father Ustad Munshi Razi-ud-din, who himself was an outstanding classical musician and a recipient of the President of Pakistan’s Pride of Performance medal and many other National honors.
Both brothers are accomplished musicians in the genre of classical music and also in the traditional classical raags such as dhrupad, khayal, tarana, thumri and dadra which they blend beautifully into their Qawwali performances.
They have been performing professionally for the last 30 years, not only in Pakistan but as cultural representatives of Pakistan at international events in Austria, Bangladesh, Belgium Bulgaria, Croatia, Egypt, France, Germany, Greece, Holland, Iran, India, Italy, Jordan, Kenya, Morocco, Nepal, Poland, Portugal, Saudi Arabia, Tunisia, Turkey, United Kingdom, U.S.A., U.A.E., Zimbabwe and in many other countries.
Both brothers are well-versed in several languages and can ably perform in Urdu, Sindhi, Punjabi, Pushto, Hindi, Poorbi, Bangle Marathi, Persian, Arabic and Turkish, in addition to Japanese.

1. Introduction
2. Man Kunto Maula
3. Allah Hoo
4. Mere Baney Ki Baat Na Pucho
5. Har Lehza
6. Khawaja Piya
7. Tarana
8. Dam-a-Dam Mast Qalandar
9. Rang

320 kbps including full scans

HERE

The Best Traditional Music in China (6): Music of the Qin

The Best Traditional Music in China (1):Music of the Erhu and the Bowed Stringed Instruments
The Best Traditional Music in China (2):Music of the Guanzi
The Best Traditional Music in China (3): Music of the Guzheng
The Best Traditional Music in China (4): Music of the Minority Peoples
The Best Traditional Music in China (5): Music of the Piba

The Best Traditional Music in China
Music of the Qin
Liu Shui

1. Yang Guan San Die
2. Liu Shui
3. Guang Ling San
4. Qiao Ge
5. Yu Ge
6. Jie Shi Diao-You Lan

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Yarkin - Hayy: Featuring Sufi Vocal Masters

Daha evvel “Ten”, “Ten’Tende” ve “Kervansaray” albümleri Kalan Müzik tarafından yayınlanan Yarkın Ritm Grubu’ndan Fahrettin ve Ferruh Yarkın kardeşlerin yeni albümleri “HAYY”, Sufi ses ustalarının da katılımıyla kaydedilmiş bir ilahi çalışması. Albümde, Segah, Uşşak ve Hicaz makamlarında birbiri ardına sıralanmış ilahiler, Bilal Demiryürek, Ahmet Şahin, Mehmet Kemiksiz, İlhan Yazıcı, Hamdi Demirci, Osman Ziyagil, Osman Erkahveci tarafından seslendiriliyor. Fahrettin ve Ferruh Yarkın kardeşler tarafından düzenlenen ilahiler, Yavuz Akalın (ney), Derya Türkan (kemençe), Gökhan Filizman (tanbur), Uğur Işık (viyolonsel), Ferruh Yarkın (kanun, perküsyon) ve Fahrettin Yarkın’ın (perküsyon) eşliğinde icra ediliyor. “HAYY”, klasik Türk müziği meraklılarının yanı sıra, dinamik bir ilahi albümü dinlemek isteyen müzik tutkunları için de vazgeçilmeyecek bir albüm.

01. Salat-ı Ümmiye
02. Dervişlik Baştadır Tacda Değil
03. Ey Allahım Beni Senden Ayırma
04. Bülbül Kasidesi
05. Serveri Ser Bülendimiz
06. Tanbur Taksimi: Gökhan Filizman
07. Buyruğun Tut
08. Nice Bir Uyursun Uyanmazsın
09. Mail Oldum Bahçesinde Hurmaya
10. Dağlarile Taşlar ile
11. Mest ü Hayranım
12. Nuri Cemalin
13. Ey Aşikan
14. Ney Taksimi: Yavuz Akalın
15. Dün Gece Seyrim İçinde
16. Neyleyeyim Dünyayı
17. Durmaz Lisanım
18. Dü Cihanı Mefharı
19. Bağrımdaki Biten Başlar
20. Hakkın Habibinin Sevgili Dostu
21. Seyrimde Bir Şehre Vardım
22. Severim Ben Seni
23. Allah Allah hu ve Rabbuna

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