Kudsi Erguner & Athens Byzantine Choir & Istanbul Muezzins

Kudsi Erguner & Athens Byzantine Choir & Istanbul Muezzins

This is the bootleg of the concert named "Ilahi - Nagme". Liturgic Byzantine Music in Istanbul "Psalms, Kyries, Marienhyms and Kratemata" *Choir "Muezzins of Istanbul" *Ensemble Kudsi Erguner *Byzantine Choir Athen Director: Lycourgos Angelopoulos St. Irene Church, Istanbul, 13.5.2004

Chinese Music Ensemble Of New York - Beloved Chinese Songs

| EAC-APE - 330 MB | Booklet Scans "PDF" | MP3 320 Kbps - 160 MB |

TRACK LISTINGS

(01) [Chinese Music Ensemble of New York] Tea Picking and Butterfly Chasing
(02) [Chinese Music Ensemble of New York] The Shepherd Girl
(03) [Chinese Music Ensemble of New York] Studious Schoolboy
(04) [Chinese Music Ensemble of New York] Purple Bamboo
(05) [Chinese Music Ensemble of New York] Red Bean Song
(06) [Chinese Music Ensemble of New York] Love Song of Kang Ding
(07) [Chinese Music Ensemble of New York] It is Cold, Cold, Cold
(08) [Chinese Music Ensemble of New York] Flower Drum Song I
(09) [Chinese Music Ensemble of New York] Fishermen's Song
(10) [Chinese Music Ensemble of New York] The Wandering Songstress
(11) [Chinese Music Ensemble of New York] Farewell Song
(12) [Chinese Music Ensemble of New York] Wading in Snow Looking for Plum Blossoms (13) [Chinese Music Ensemble of New York] In That Distant Place
(14) [Chinese Music Ensemble of New York] Flower Drum Song II
(15) [Chinese Music Ensemble of New York] Lament of Wang Zhao-jun
(16) [Chinese Music Ensemble of New York] The Mountain is Forever Green

Gino D'Auri - Flamenco Passion

Guitarist Gino D'Auri was born in Rome, the grandson of a gypsy. He began studying classical guitar, but while in his teens, D'Auri was "traumatized by flamenco" when he saw the movie Sombrero with Jose Greco, the legendary flamenco dancer, and Geronimo Villarino, one of the all-time great flamenco guitarists. D'Auri began playing flamenco music and investigating the rich cultures that fed the tradition. In 1967, D'Auri moved to the Los Angeles area, where he played in the flamenco clubs. In 1976, he recorded with Caldera, a groundbreaking world fusion band, on their self-titled album. In 1980, Hearts of Space's Stephen Hill met D'Auri while Hill was producing a film soundtrack, and Hill was asked to produce D'Auri's first album, Nuevos Caminos (translated "New Paths"), on harpist Georgia Kelly's label (Heru Records). In 1984, the album was remastered by Sonic Atmosphere and re-released as Passion Play. According to Hill, D'Auri created a unique sound by amplifying his Japanese Takemine guitar and shaping the sound through a reverb unit. In the late 1980s, D'Auri played on two albums by Keiko Matsui, a Japanese new age/world fusion artist. D'Auri's next solo recording, Flamenco Mystico, was with Hearts of Space/World Class, in 1992, followed by Flamenco: Passion & Soul in 1997. D'Auri has toured with famed dancer Jose Greco and often plays at flamenco restaurants in Southern California, such as Los Angeles' El Cid and Lare's in Santa Monica.

Launching the new Hearts of Space World Class label is the world class flamenco guitarist Gino D'Auri. Gino takes off from the traditional flamenco forms, saturates them with authentic emotion and a thoroughly modern digital sound. This album includes his version of a much-loved piece by Francisco Tarrega, songs that evoke the time of the Moorish culture in Spain, dance-style flamenco songs and a tribute to the late gypsy guitarist Sabicas.

This music is unbelievably uplifting. For nearly decades Ive tried to find the "perfect" blend of world musical styles, largely in vain, despite the vast array of "fusion" and new age masters. After a really long time (way back in 1980 when I heard to the Moscow symphony render an Indian raga based symphony), this is the only CD that made my hairs stand on edge by its incredible blend of Flamenco with Middle Eastern and Indian musical textures woven in a unique, mature matrix.

1. Moros, Los
2. Guajira Antigua
3. Barrio Santiago
4. Minas, Las
5. Quelo De Triana
6. Flamenco Mystico
7. Rondena Para Sabicas
8. Recuerdos de la Alhambra

Ape (EAC Rip): 310 MB | MP3 - 320 kbs: 140 MB | Front Cover

Archives have 5% of the information for restoration

Ape
Part 1 | Part 2

OR MP3 320 kbps
HERE

Kudsi Erguner & Kokoo Ensemble - Ney/Zen

The album is a live concert recording. The theme is to show the similarities between the Islamic music tradition and Japanese traditional music. The instrument ney is a parallel of the Japanese bamboo "shakuhachi", and kanun (qanun) is the parallel of the Japanese "koto". The album includes compositions by Kudsi Erguner, traditional Zen buddhist and Sufi pieces.

Kokoo was formed by Akikazu Nakamura in 1995. Kokoo’s music is exclusively played on the traditional Japanese instruments shakuhachi (bamboo flute) and koto (transverse harp), but the group’s unique, highly virtuosic sound incorporates a multitude of extended techniques as well as elements of rock, jazz improvisation, Western classical music and the experimental avant garde. The Tokyo-based group has performed at festivals and venues around the world, including the Kuhmo Chamber Music Festival (Finland), the Festival of Japan in New Zealand, the Kita-Kyushu International Music Festival, the Japan Society of New York, the Eastman School of Music, the Museum of Fine Arts, Boston, the Philadelphia Museum of Art, and the Freer Gallery in Washington, D.C. The Kokoo albums Zoom (1999) and Super-Nova (2000) were released by King Records; the EP Moon (2001) was a Nippon Columbia release. Kokoo is currently recording its third full-length album. Kudsi Erguner (ney), Hakan Güngör (kanun), Tsuchitori Toshiyuki (percussion), Akikazu Nakamura (shakuhachi), Michiyo Yagi, (koto), Miki Maruta (koto)

Download (RS-wma-128)

Balkan Beats 2

The journey continues ... what DJ Soko started in the Berlin-Kreuzberg underground about a dozen years ago, has now become an established trademark and a party burner for fans and admirers. After the first compilation “BalkanBeats” the interest and the excitement was great. It managed to not only cherish the grand Balkan brass orchestras but to also combine this congenially with varieties of Balkan music, not heard of so much before, i.e. ska mixed with folk, klezmer, brass, Roma music and jazz. The sounds flowing in from the Balkans is getting more and more exciting. “BalkanBeats volume 2” widens the range again. Here you find artists from ten different countries; Indian-oriental influences next to electronic music and classic gypsy tunes. DJ Soko has again dug deep into his magic box. Next to treasures, which he discovers on his journeys to his old homelands, he is now also being sent music from many artists who like the open concept of BalkanBeats. Little Balkan scenes also exist in other cities now. The DJs invite each other for guest appearances and exchange music. Everywhere you find people dancing wildly, whether it's at the Mehanata Bar New York, at Divan du Monde Paris or at the Schauspielhaus, Frankfurt. Despite his international commitments, DJ Soko is still doing his monthly BalkanBeats nights at the Mudd Club in Berlin every second and fourth Saturday. This is the home base of Balkanbeats plus a fixed address for Balkan fans. It is great to watch how more and more people get excited about this music and how other DJ's pick up this passionate music. This feedback then again inspires and encourages musicians in the Balkans. At home, masters of their art, like Fanfare Ciocărlia, are by now not only regarded as just another Roma brass ensemble but are respected as internationally acclaimed musicians. Young DJ's and producers in Croatia and Serbia are now more self aware of their roots and mix this with crazy new sounds. On “BalkanBeats volume 2” DJ Soko seeks to project these new style-crossing trends as well as to acknowledge purist sounds – just as it is being celebrated at their parties. Balkanbeats does not cut the edges though. No smoothness or clean shaveness here! The Balkans is torn apart: wild/romantic, whilst at the same time it is able to be a modern European region. Many talented people have emigrated. That is why you also find on “BalkanBeats volume 2”, artists from the States or from Belgium bringing their own new influences. Some artists have probably not even heard of each other before. Some come from remote villages whilst others are fully linked up and socialised in the capitals. As the borders in Europe disappear and the cultural exchange spans world-wide networks, the music also there has less and less clearly defined genres. Crossover! Passion is the keyword. You can find this in abundance in the Balkans. BalkanBeats does not preserve this culture like a museum piece as it swirls it onto the dancefloor to keep it alive. Whoever has danced through a night in the Berlin Mudd Club has an idea of how integration can work without words. DJ Soko (Bosnia) and his partner in crime Marko (Croatia) do not give a damn where the people on the dancefloor come from. Balkanbeats means tolerance, which is fun. What counts is, no dress code and to only dance together around the Balkan fire, which blazes in one or another form in all of the songs here. Balkanbeats try to capture this spirit between passion, delicate melancholy and it's very own unique craziness.

| EAC-APE - 370 MB | Covers "L.Q" | MP3 320 Kbps - 140 MB |

TRACK LISTINGS

[01]. Sevdahbaby - Do U Like It?
[02]. Mitsoura - Lei Toi
[03]. Azis - Anti Geroi
[04]. Karaván & Boban Markovic - Szép Ez A Villag
[05]. Kal - Mozzarella
[06]. !deladap - Goldregen (n.o.h.a. Mix)
[07]. Biber - Gypsy Part One
[08]. Besh O Drom - Ha megfogom Az Ördögöt
[09]. Fanfare Ciocarlia - Hora Evreiasca
[10]. Postolar Tripper - Vuci, Ville I Balave Sopile
[11]. Kiril feat. Vlada Divljan - Baba Zumbula
[12]. Romashka - Loli Phabay (The Red Apple)
[13]. Boban Markovic Orkestar - Optisani
[14]. Va Fan Fahre - 31
[15]. Emir Kusturica & No Smoking Orchestra - Moldavian Song

Balkan Beats

When the first grenades were fired in the disintegrating Yugoslavia of the early 90s, a young Bosnian named Robert Šoko came to Berlin to start a new life.He didn't care if his neighbour was Bosnian, Serbian, or Croatian. Robert began to throw parties with like-minded emigrants and played the old yugo hits - a symbol of long gone, peaceful Yugoslavia.Vital survival training of emigrantstrying to regain a lost past, their own history, and identity. After over 10 years, the BalkanBeats parties are "legenda". Twice a month, BalkanBeats are blasting in Berlin's Mudd Club: Gypsy grooves, tribal beats and Balkan ska. BalkanBeats became an international cult affair. Now, Šoko plays New York and L.A. on a regular basis. BalkanBeats are highly addictive - it's in their savage energy, the colourful, fresh timbre, and passion. The inexhaustible diversity stems from Slavonic, Oriental, Jewish traditions, and from the culture of the Roma people. The music's natural openness enables an easy and exciting transfer to modern times. Fresh Balkan bands pick up those traditions and process them into an individual cultural amalgam. Artists such as Let 3 and Magnifico spoof their own Balkan roots, fuse them with rock, ska, or metal, and nevertheless pay respect. Fanfare Ciocarlia, Karandila, and the Boban Marković Orkestar radicalize classical Balkan brass music with maximum virtuoso skill, thus renewing an old tradition to something sounding fresh and exciting. Many of the bands are inspired by completely different traditions. Mahala Ra Banda throw you out of the Bucharest slums into the heat of New Orleans. BalkanBeats presents the greatest hits from the Mudd Club on a CD. Traditional and urban sounds - diverse, explosive, and just over the top.

| EAC-APE - 350 MB | Covers "L.Q" | MP3 320 Kbps - 120 MB |

TRACK LISTINGS

[01] Magnifico & Turbolentza: Hir Ai Kam, Hir Ai Go
[02].. Besh O Drom: Meggyújtom a Pipám
[03]. Mahala Ra Banda: Colindat
[04]. Yugoton & Kazik: Malcziki
[05]. Legen: Zumba
[06]. Kultur Shock: Blagunjo Dejce
[07]. Let 3: Tazi-tazi
[08]. Kayah & BregoviĆ: Prawy Do Lewego
[09]. Frank London's Klezmer Brass All Stars: Tsu Der Kretshme
[10]. Karandila Feat. Maya: Djelem, Djelem
[11]. Ssassa: Romanela
[12]. Sanja & Balkanika: Kermes
[13]. Boban MarkoviĆ Orkestar: Od Srca
[14]. Fanfare CiocĂrlia: Dusty Road
[15]. George Dalaras & Goran BregoviĆ: Night (nihta)

Hilary Hahn / Zhu - Mozart: Violin Sonatas

Hilary Hahn - Mendelssohn & Shostakovich Violin Concertos

Hilary Hahn kicks off Deutsche Grammophon's celebration of Mozart Year 2006 with her first-ever Mozart studio recording, a selection of her favorite violin sonatas by the Austrian master.

The 250th anniversary in 2006 of Mozart's birth is sure to be marked by countless reissues of classic albums, but if it also produces a handful of new recordings as rewarding as Hilary Hahn's, we'll really have grounds for celebration. This is Hahn's first Mozart disc, and more surprisingly it's also her first exploration of the duo sonata repertoire, following upon her many critically acclaimed concerto recordings (and her debut, a selection of Bach's solo sonatas and partitas). Hearing her in the more intimate company of pianist Natalie Zhu, a regular recital partner, is like making her acquaintance for the very first time, and Hahn's remarkable gifts shine through in this format, exposing the sensitivity of her musicianship and the flawless warmth of her tone, even under the closest scrutiny. Also apparent are her collaborative skills, for just like another duo who released a fine Mozart sonata disc in 2005 -- Mark Steinberg and Mitsuko Uchida -- Hahn and Zhu have been playing together (and playing Mozart together) for more than a decade, and it shows in every phrase. Although Steinberg and Uchida are more likely to surprise with an unexpected but carefully considered twist of perspective, Hahn and Zhu cultivate a bold and forthright personality, and anyone who knows and loves these sonatas wouldn't want to give up either disc, even if they overlap on two out of four works. Hahn is no stranger to the darker emotions of the E Minor Sonata, K. 304, but it's the three major-mode sonatas (especially the abundantly joyful A Major Sonata, K. 526) that give free rein to her youthful zest and elicit her most memorable performances. With those Mozart-year festivities just around the corner, it's hard to imagine a more auspicious herald than this immensely talented duo. Scott Paulin, Barnes & Noble

| EAC-APE - 290 MB | Booklet Scans "PDF" | MP3 320 Kbps - 170 MB |

TRACK LISTINGS

Wolfgang Amadeus Mozart (1756 - 1791)

Sonata for Piano and Violin in F, K.376

1 1. Allegro
2 2. Andante
3 3. Rondo (Allegretto grazioso)

Sonata for Piano and Violin in G, K.301

4 1. Allegro con spirito
5 2. Allegro

Sonata for Piano and Violin in E minor, K.304

6 1. Allegro
7 2. Tempo di minuetto

Sonata for Piano and Violin in A, K.526

8 1. Allegro molto
9 2. Andante
10 3. Presto Hilary Hahn, violin Natalie Zhu, piano

Fairuz - Le Liban à l'Olympia

Credits to "Calaf" =)

Quotes
Numerous musicians, poets, scholars, critics and singers around the world were deeply impressed by the voice and performance of Fairuz. The admiration of several of them is expressed in the following quotes:

* "To the Arab world Fairouz came suddenly, as a miracle. At a time when Arabic singing was weighed down with convention and predictability, and spirits were nationally at their lowest, her voice rang, as though from the beyond, the notes of salvation and joy. Arabic music has never been the same since. Nostalgic but vibrant, sad but defiant, folkloric and yet so new, hers has been for nearly 30 years perhaps the only voice that seems so capable of jubilation in an almost cosmic sense. By turns mystic and amorous, elegiac and fiery, her singing has expressed the whole emotional scale of Arab life with haunting intensity. Often singers give listeners pleasure, as they expect. She often gives them, beyond their expectation, ecstasy" Jabra Ibrahim Jabra

* "The voice of Fairouz knows no boundaries and is enormously capable of rendering all singing styles. Her voice is soon going to be distinguished as the voice that is more capable of rendering modern music than any other around the world." (Fairuz's early mentor Halim El Roumi)

* "In the songs of Fairuz we sense an art that is dedicated to the human being, to the pains of the human being, and to the hopes of people for an honorable and pleasant life." (Fouad Badawi)

* "After Years of thirst, a voice like fresh water has arrived. A cloud, a love letter from another planet: Fairuz has overwhelmed us with ecstasy. Names and figures of speech remain too small to define her. She alone is our agency of goodwill to which those of us looking for love and poetry belong. When Fairouz sings, mountains and rivers follow her voice, the mosque and the church, the oil jars and loaves of bread. Through her, every one of us is made to blossom, and once we were no more than sand; men drop their weapons and apologize. Upon hearing her voice, our childhood is molded anew." (Prominent Syrian poet Nizar Qabbani)

* "The glory does not only lie in the fact that I live in the age of Fairuz, but also that I belong to her people. I have no country but her voice, no family but her people and no sun but the moon of her chanting in my heart." (Prominent Lebanese journalist Ounsi el- Hajj)

* "Quite simply, Fairuz is one of the world's nonpareil musicians and outstanding Artists, an international treasure of the order of Rostropovich, Sills, Ravi Shankar, Miles Davis, Sutherland, Pavarotti and Dylan." (Harvard University scholar Barry Hoberman)

* "The voice of Fairouz is the single most beautiful voice I have ever heard. In her voice the Orient and the West meet and mix." (Hungarian Opera Singer Anna Korsek)

There are a few number of live albums released by Fairouz (apart from the musical plays), considering the great number of concerts she has made in the entire world and 'At the Olympia' must be one of the greatest among these albums. The number of the songs is very big, more than 25 and there is also a number of instrumentals. The concert(s) was held in the Olympia, Paris, France on the 3rd and 4th of May 1979.
Inside the booklet there are some documents and articles on Fairouz and the Rahbina, their beginnings, tours, etc... , but all in French (which I only know of 'Je n'parle pas le Francias mais Je parle l'englaih', I am not even sure about the spelling). There are also some pictures taken from the concert, the airport? and the Olympia hall.
The quality of the album is unbelievable. If you have a good sound system setup, close your eyes and play this album and you'll feel as if you're IN the concert.

| EAC-FLAC - 820 MB | Booklet Scans | MP3 320 Kbps - 310 MB |

TRACK LISTINGS

Disc: 1

(01) [Fairuz] Prélude Musical
(02) [Fairuz] Hymne à Paris
(03) [Fairuz] Pandore et les amoureux
(04) [Fairuz] Dabke de l'amour
(05) [Fairuz] Amours de été (Habbeytak Bessayf)
(06) [Fairuz] Ya tayr al warwar
(07) [Fairuz] Rues interdites
(08) [Fairuz] La lune sous l'abricot
(09) [Fairuz] Pandore et les durs
(10) [Fairuz] Bayni oua baynak
(11) [Fairuz] La danse des jarres
(12) [Fairuz] Rudani ela biladi
(13) [Fairuz] Les amis sont absents
(14) [Fairuz] Heylah ya wasseh
(15) [Fairuz] Mawal ya markab al rih
(16) [Fairuz] Ya ghaym essayf 'Dabke'

Disc: 2

(01) [Fairuz] Sheherazade
(02) [Fairuz] Hymne à Paris
(03) [Fairuz] Raksat al manadil
(04) [Fairuz] Akher asSahriye
(05) [Fairuz] Ma hada
(06) [Fairuz] Al Mashhad al badawi
(07) [Fairuz] Raksat ashabab
(08) [Fairuz] Khedni
(09) [Fairuz] Al Bosta
(10) [Fairuz] [3B]- Talel ala 'dabke'
(11) [Fairuz] Attahiah
(12) [Fairuz] Bhebbak ya Loubnan
(13) [Fairuz] Zourouni
(14) [Fairuz] Rues interdites
(15) [Fairuz] Hkili hkili

La Música de Al-Andalús - Ensemble Al-Ruzafa

La Puertos de Oreinte La Musica de Al-Andalus (Almaviva) Las Puertas de Oriente (Aleppo, encrucijada musical de Oriente-Occidente) Omar Sarmini, canto.Ensemble Al-Ruzafa. Hames Bitar, dirección

Omar Sarmini is a Syrian singer. He is regarded as an icon of the Arab town vocal art and author of a vast musical spiritual repertory. Born in Aleppo in 1962, he grew up in religious circles and attended the rituals of the dhikr from a very early age, presided over by his father, the Shaykh Muhammad Sarmini. Thus the father was able to guide the son by inculcating in him the most essential elements of the sacred repertory. Omar Sarmini then continued his musical education with the city's Arab Youth Club. So, like every self-respecting singer, his education has included an obligatory passage via the sacred repertory of Islam. He is currently one of the rising stars on the musical scene in Syria.

| EAC-FLAC - 385 MB | Booklet Scans | MP3 320 Kbps - 155 MB | 2007 |

TRACK LISTINGS

(01) [Ensemble Al-Ruzafa] Samai Hijaz Kurdi- Saleh Al-mahdi
(02) [Ensemble Al-Ruzafa] Muaxaha Murra Altajanni- La Amarga Injusticia (Anَnimo) (03) [Ensemble Al-Ruzafa] Muaxaha Zarani Almahboub- Me visitَ el Amado (Anَnimo) (04) [Ensemble Al-Ruzafa] Muaxaha Afihi Zabian- Doy mi Vida Por Ti (Anَnimo)
(05) [Ensemble Al-Ruzafa] Samai Najlawand (Masoud Jamil)
(06) [Ensemble Al-Ruzafa] Muaxaha Ayuha Alsaqi- ،Ah copero! (Ibn Zuhor)
(07) [Ensemble Al-Ruzafa] Muaxaha Jadaka Algaith. Tiempo de Amores en Al-Andalus (Ibn Alkhatib)
(08) [Ensemble Al-Ruzafa] Lau Kunta Tadri- Si supieras (Mustafa Khalki)
(09) [Ensemble Al-Ruzafa] Samai Shad Araban (Jamil Bey)
(10) [Ensemble Al-Ruzafa] Mawwal (Tradicional de Aleppo)
(11) [Ensemble Al-Ruzafa] Qad Mili Ma Mal Alhawa- Pavonea con el Amor (Tradicional de Aleppo)
(12) [Ensemble Al-Ruzafa] Longa Nahawand (Jamil Bey)

CARLOS MONTOYA - FLAMENCO GUITAR - GOLD COLLECTION

[01]. Diva of Arab Music - The Gold Collection
[02]. Spanish Guitar Magic - The Gold Collection
[03]. FLAMENCO GUITAR - GOLD COLLECTION

A Spanish guitarist and composer, Carlos Montoya made a lasting contribution to music between the 20s and 50s. He introduced the flamenco style of music as a serious form of guitar music. Traditionally flamenco music was used to accompany gypsy folk dancers and singers but Carlos Montoya changed it into a main genre of music. Carlos Montoya was born into a gypsy family in Spain. His interest in music and the guitar began at an early age. He began studying the guitar with his mother and a neighboring barber, eventually learning from Pepe el Barbero, a guitarist and teacher. Not only was he interested in playing the guitar, Carlos Montoya wanted to learn the history of flamenco music. Flamenco music came out of the Boorish invasion of Spain. His uncle, Ramon Montoya, was a successful flamenco guitarist also. Carlos Montoya started playing professionally at the age of 14, playing for singers and dancers at the cafes in Madrid. Two of the dancers he most often played for were La Teresina and La Argentina. Wanting to broaden his musical career, Carlos Montoya began touring in the 20s and 30s. His tours included performances in Europe, Asia and North America. He accompanied several performers including La Argentina again. He had finally made a name for himself as a flamenco guitarist. When World War II broke out in the 1940s, Carlos Montoya was on tour in the United States with dancer La Argentinita. During the war he decided to settle in New York City and eventually became a United States citizen. In 1945 La Argentinita died but Carlos Montoya toured on his own, opening his repertoire to include not only flamenco but also blues, jazz and folk music. His career took a different turn in 1948 when he began touring with symphonies and orchestras and performing his own guitar recitals. Carlos Montoya became the first flamenco guitarist to tour the world with symphonies and orchestras. His appearances did not stop there, he performed on television and gave several solo recitals. During his touring he recorded more than 40 albums, some with symphonies and orchestras. His albums include Flamenco Guitar and The Art of Flamenco. One of the most notable is Suite flamenco, a concerto he performed with the St. Louis Symphony Orchestra in 1966. Carlos Montoya made a very important contribution to flamenco music, transforming it from a dance accompaniment to a style of its own. With his own style, he adapted it to other genres of music, all along making himself an international star. Carlos Montoya died at the age of 89 in Wainscott, NY. ~ Kim Summers, All Music Guide

Disc: 1
(01) [Carlos Montoya] Tango Flamenco
(02) [Carlos Montoya] Malaguena
(03) [Carlos Montoya] Tango Antiguo
(04) [Carlos Montoya] Granadinas
(05) [Carlos Montoya] Soleares
(06) [Carlos Montoya] Solea Cana
(07) [Carlos Montoya] Levante
(08) [Carlos Montoya] Chufla
(09) [Carlos Montoya] Rumbeao
(10) [Carlos Montoya] Aires De Genil
(11) [Carlos Montoya] Variaciones
(12) [Carlos Montoya] Seguiriya
(13) [Carlos Montoya] Tanguillo Zambrilla
(14) [Carlos Montoya] Bulerias
(15) [Carlos Montoya] Alhambra Granada
(16) [Carlos Montoya] Caribe E Flamenco

Disc: 2
(01) [Carlos Montoya] Fandango
(02) [Carlos Montoya] Macerna En Tango
(03) [Carlos Montoya] Allegrias
(04) [Carlos Montoya] Farruca
(05) [Carlos Montoya] Jerez
(06) [Carlos Montoya] Zambra
(07) [Carlos Montoya] Saeta In Sevilla
(08) [Carlos Montoya] Cante Jondo
(09) [Carlos Montoya] Malaga
(10) [Carlos Montoya] Provencal
(11) [Carlos Montoya] Zapsteap
(12) [Carlos Montoya] Taranto
(13) [Carlos Montoya] Variaciones Por Rosa
(14) [Carlos Montoya] Solea Bulerias Pro Solea
(15) [Carlos Montoya] Bolero Maorquie
(16) [Carlos Montoya] Fandango De Huelva Y Verdiales

| EAC-APE - 715 MB | Incl. Covers | MP3 320 Kbps - 330 MB |

EAC-APE [715 MB]
Disc: 1
Part1
Part2
Part3
Part4

Disc: 2
Part1
Part2
Part3
Part4

OR MP3 320 Kbps [330 MB]
Part1
Part2
Part3
Part4

MAROC 'MOROCCO' (Series) (Institut Du Monde Arabe)

Egypte (Series)
Syrie (Series)
Iraq Yemen (Series)
LIBAN

[01].Mohamed Bajeddoub & Abderrahim Souiri - L'Art du Mawwal
[02].Hommage a Abdelkrim Rais
[03].Archives de la Musique Arabe - Vol. 1

[04].El Hadj Houcine Toulali The Malhun of Meknes (Le Malhun de Meknes)

For nearly thirty years I've struggled to learn and speak Arabic, the language whose beauty captured me from my first exposure to it. My favorite orators were Egyptian President Nasser & His Majesty King Hussein of Jordan. Both were masters of rhetoric whose eloquence made the language soar in a way that could move masses politically and emotionally. El Hadj Toulali (d. 1998) was also a master of the language, one who practiced the Moroccan performing art form known as malhun, an urban style of sung poetry. The CD opens with the wonderful "Sir a naker lehsan" ("Go, you ungrateful"), a 5-verse, 120-line poetic text composed in the 19th century that introduces Toulali's voice, the responsive choir and spare strings and percussion that accompany each piece. Originally, these songs were restricted to the private domain of the brotherhoods. Later, as themes reached beyond religious mysticism to secular topics and societal commentary, malhun became popular on the radio airwaves and on records. While serving as apprentices of the working class craft guilds, men without women let their imaginations run free. One result, in part, is the flights of poetic imagination of elusive love, beauty and virtue. The setting is as illusory as it is romantic and characterizes the songs on The Malhun of Meknes. Ripe with social taboo, Toulali conveys the passion of sensuous desire competing with the frustration and isolation of celibate bachelorhood. It's unusual to let music such as this run to its natural length. "Fadhma" runs just over 17 minutes; "Lharras" ("The Cerberus"), at 392 lines grouped into 7 verses, runs just over 31 minutes. The Arab dialect is slow and deliberate, allowing each phrase and syllable to be heard and savored. Text translation to read along would be desirable; but even if you don't understand a word, I assure you, this poetry alone will evoke emotion. A beautiful and satisfying recording. -Richard Dorsett

| MP3 192 kbps | Full Booklet Scans | 105 MB |

TRACK LISTINGS

1. Sira A Naker Lehsan/Va, Ingrate
2. Fadhma (Prenom Feminin)
3. Lharraz/Le Cerbere Écouter
4. Ruf A Dabel Le' Yan/Aie Pitie, Aimee Au Regard Langoureux

Part One
Part Two

[05]. Amenzou Ensemble - The Malhun in Marrakesh

A collection of sung poetry that has developed in the urban areas of Morocco over hundreds of years. This album presents a concert by Mohammed Suita with the Amenzou brothers and their ensemble.

This an amazing live recording of Malhun music. The concert was organized in June 1999 under the aegis of the year of Morocco in France by the Institut du Monde Arabe and recorded in the abbey of Royaumont. Great performance, great voices, fantastic sound.

| MP3 128 kbps | Incl. Covers 'L.Q' | 70 MB | TRACK LISTINGS

1. Nezha
2. Meryem
3. L-Tbib - Le Médicin
4. Tamu
5. L-Saqi - L'Échanson
6. Fesl I-Rbi' Gebbel - Le Printemps Arrive

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[06]. Compagnies musicales du Tafilalet - L'appel des oasis

Music from the Tafilalet oasis in the Sahara desert. The disc features four musical groups from Tafilalet who draw their inspiration from both the tradition and the modern world.

Here's a brilliant collection of Moroccan roots music from the desert Atlas Mountains, sounds in which spirituality and history merge to cast a powerful musical spell. These four groups all come from the dry highlands (Tafilalet) between two rivers not far from the Algerian border, a place where Berber, Arab, Andalusian and African cultures have long merged at the desert oasis. The village of Erfoud--5000 people living 3000 feet above sea level--has become the center of a revival of the music loosely called al badi, and after a debut regional music festival in 2002, these four "music collectives" stayed behind to record this enchanting album, two tracks each. Jellouli & Gdih Music Collective start off with a signature al badi number, "Al jbal dargoug aaliya (These mountains are hiding you from me)," a love song to a Berber girl. It begins with a soothing passage of deep oud and more piquant mandolin called snitra ). When the rolling rhythm and call-and-response singing led by a clear, male voice kick, there's a religious feeling that belies the swaggering beat. The group follows up with a beautiful, dark instrumental improvisation that culminates--like many of these pieces--in a rolling 12/8 groove. The Meskaoui Music Collective features the spectacular oud playing of Mouloud Amrini, alias Meskaoui. Once again, there's a vocal piece featuring two alternating solo, male voices, one clear and beautiful, the other slightly softer and deeper, and then an instrumental. Both pieces are backed by tbilat (hand drum) and jarre (earthenware pot). The nine-minute instrumental is especially memorable with its expressive, free, oud playing against a simple, funky beat. Two pieces by El Hashemi Nhass Music Collective deliver a trance-mood full of religious fervor. The vocals are high and energized, and a strong, if creaky violin dominates the sound, especially in the instrumental piece, where it evolves into wild, overtone rich cycles of melody, speeding up in a trance spiral that speeds and spins towards a satisfying finish. Perhaps most beguiling of all are the concluding vocal pieces by El Hamri Music Collective. "Yarijal l'bled (The saints of the region)" unfolds over a lush musical bed of oud, snitra and three soft hand drums ( tar, darbouka, and taarija). Two voices, one clear one clouded, exchange lines and moods as these seductive songs evolve per form toward fast, fervent conclusions. Morocco is a jigsaw puzzle of intriguing ethnic niches, many featuring surprising and beautiful music. This rather unheralded musical niche provides as good an introduction to the country's rich roots music as any. Contributed by: Banning Eyre for www.afropop.org

| MP3 128 kbps | Incl. Covers 'L.Q' | 60 MB |

TRACK LISTINGS

1. Ces Montagnes Qui Te Cachent De Moi
2. Pièce Instrumentale
3. Ainsi Va Ma Vie
4. Improvisation Instrumentale
5. Brûlure D'Amour
6. Improvisation Instrumentale Pour Flûte & Violon
7. Les Saints De La Région
8. Sans Motif, Sans Rien

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[07]. Les Femmes deTétouan - Chants d'allégresse marocains

In the 12th Century, Sevilla was famous for its women musicians, known widely for their talent and virtuosity. Later Arab-Andalusian music became the privelege of men, and so it was to remember and celebrate the early role of women in this musical heritage that this Morroccan ensemble was founded in 1989. The singing is more melodic and sensuous than what one usually hears in this context, and the group's repertoire ranges from popular songs to the most refined examples of classic Andalusian music.

A repertoire of songs blending popular songs of lively rhythms and exhilarating melodies and the Moroccan Andalusian tradition.

| MP3 320 kbps | Incl. Covers 'L.Q' | 170 MB |

TRACK LISTINGS

1. Ya Bent Bledi (The Girl from My Country)
2. Kif Na'mal Ma Nebkich (How Can One Not Cry)
3. Laghram Mana' Wa S'Ib (The Difficulty of Love)
4. Laghram Ma'andou Dwa (There Is No Remedy for Love)
5. l'Ouchaq Fnît Ana (I Am Dying)
6. Laghram Bayen Fiyya (Madly Besotted)
7. Al Mout Ba-Ddra' (To Die of Love)
8. Lahbiba Aw Jarrahtini

Part One
Part Two

[08]. Ihsan Rmiki - Al-Samaa - audition spirituelle extatique

The recording notes say: The samaa, or spiritual concert, is part of the Sufi tradition, and involves listening to music and song in modes of Andalusian origin in order to reach spiritual awakening and contact with the divine, a trance-like state known as the wajd. The practice takes place in the refined atmosphere of the zawiyas. Panegyrics are sung either solo or in chorus with an instrumental accompaniment of varying importance; the performance is conducted by a shaykh whose role is twofold: to lead the ritual and the spiritual guide of the devotees. Ishan Rmiki, one of the rare female vocalists to perform samaa, transports her audience in a mood of spiritual fervor still cultivated in modern-day urban Morocco. The result is a musical account of this profound spiritual journey that all those who aspire to union with God will appreciate.

This is among the best recordings of spiritual/soufi arabo-andalusian music, mostly from the middle ages. The very unusual here is that it is sung by a female singer who has a beautiful haunting voice. All members of the ensemble are top musicians and singers. It is lively and spiritual at the same time.

THIS IS REAL SOULFUL SUFI TRANCE, SUNG BY THE LEADING AND ONLY FEMALE LEADER OF A SUFI ENSEMBLE. HER VOICE RINGS LIKE A BELL ABOVE THE DEEP GROOVES OF THE ARAB/BERBER ENSEMBLE, A KIND OF WOUND DOWN FLAMENCO, AS IF FLAMENCO WERE PERFORMED BY A DIAMOND GEM BAND OF SHARPENED STRING AND PERCUSSION PLAYERS WITH SONGS OF RUMIESQUE SPIRITUAL UNION.

| MP3 128 kbps | Incl. Covers 'L.Q' | 55 MB | TRACK LISTINGS

1. The abandonment of all worlds
2. The path of ecstasy

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[09]. El-Hadj Abdeslam, La daqqa de Marrakech

This is an amazing CD. Initially, I was disappointed because the drumming at the outset seemed tedious. But waiting paid off! The drumming increased in its rhythmic complexity and beauty as the CD went on to its conclusion. One should understand the context of the playing so I strongly suggest reading the liner notes. I would love to attend such a meeting of master musicians heightened by the spiritual context. This Cd would appeal more to those interested in the religion of Islam and its cultural manifestations. Brilliant music.

| MP3 128 kbps | Incl. Covers 'L.Q' | 60 MB | TRACK LISTINGS

1. Aït - Récitatif

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[10]. LES IMAZIGHEN - Chants du Moyen-Atlas

The Imazighen are Berber desert people who settled in Morocco, and whose music has a raw vitality. Four different genres are represented on Imazighen: Songs from the Middle-Atlas: izlan, tamawayt, tamedyazt, and adihus. While they use the same vocal technique, there are definite differences between them. Izlan is the music of feelings (illustrated very well by "Oh My Soul"). Tamawayt is more of an improvised solo vocal, as on "Rather Than Be Separated." Tamedyazt is a style of sung poetry, and often serves for "jousts" between singers, such as on "The Word." Finally, adihus is a more generic type of song and dance for celebrations. Some are easy to pick out, others require the guidance of the booklet, which offers good, concise explanations. The music certainly evokes the landscape of the Atlas Mountains -- both the cedars and the deserts -- and the spare instrumentation is often strangely beautiful, almost alien. This is a tradition that thankfully hasn't died, but is being preserved by professional performers -- such as those on this disc. As evocative as a rural rai, this is a little masterpiece. ~ Chris Nickson, All Music Guide

| MP3 128 kbps | Incl. Covers 'L.Q' | 95 MB |

TRACK LISTINGS
01. A-Yelli Ino (Oh My Small One) - Mohamed Maghnia, Mohamed Rouicha
02. Wala Nabdu (Rather Than Be Seperated) [Tamawayt/Izlan] -
03. Di Lwaqt U-Nebdu Nagh Ma Yekat U-Dfel (Whether It Is Sunny or It Snows)
04. Islan (Celebration) [Ahidus]
05. Akemus (The Bundle) [Ahidus]
06. Bab Nukham (Host)
07. Anini Bismillah (In the Name of God) [Ahidus]
08. Iberdane (The Paths) [Izlan] - Mohamed Maghnia, Mohamed Rouicha
09. Awal (The Word) [Tamedyazt]
10. Amrahba Saraw Imazighen (Welcome to the Imazighen Children) [Ahidus]
11. Hayat U-Medyaz (The Life of a Poet) [Tamedyazt]
12. Chawla Ganegh (I Sleep No More) [Izlan] - Moha Oulmoudden
13. Iqur l-Henna (The Henna Is Dried Out) [Ahidus]
14. A-Laâmriw (Oh My Soul) [Izlan]

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[11]. La Clef de Grenade - le Maitre de l'oud Marocain

Said Chraibi was born in Marrakech in Morocco. He began playing the oud at the age of 13, and later studied with Farid el-Atrache. He is renowned as an accompanyist of Arab singers, as well as a solo artist in his own right.

| MP3 128 kbps | Incl. Covers 'L.Q' | 60 MB |

TRACK LISTINGS

1. Andaloussiyyat - Kahyâlây Fî Qalbî - The Key
2. Al-'ashiq [The Lover]
3. Musical Embroidery
4. Fadèla
5. Tribute to My Master
6. Chaama
7. Longa Hajar

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[12]. Les Aissawa De Fes - Rituel De Transe

For anyone even remotely interested in Moroccan music this CD is beyond essential.Halfway through listening I knew I wanted to own practically everything this label puts out.I thought Gnawa was as good as it gets,but the Aissawa music is just as intense and fierce.Amazing.

| MP3 128 kbps | Incl. Covers 'L.Q' | 70 MB |

TRACK LISTINGS

1. Tahlîl - Glorification
2. Râkib Iburaq - Le Prophéte au Cheval Ailé
3. Allahumma Salli - Chant de Louange,
4. Suite de Chants Hurm - Imploration,
5. Suite de Chants Haddun - Invocation de I'un
6. Dkhûl I-Hadra - Prélude à la Danse Extatique
7. Mjerred - Danse des Initiés
8. Jilâliyya/Sommet de la Cérémonie

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[13]. Chekh Ahmed Zaitouni - Musique andalouse de Tanger

"Cheikh Ahmed Zaitouni is a remarkable master musician in the al-Andalus style. Here he and his ensemble from Tangier perform one of the most beautiful of the eleven vocal and instrumental suites of the Moroccan ala, the 'nuba Al-Hijaz al-kabir.' With a strict respect for tradition, vocalists and instrumentalists alike perform in close symbiosis, communicating with each other by a simple glance to produce music of subtle balance and strong emotion whose powerful effects transport listeners into the sumptuous medieval heritage of the legendary Ziryab."

Cheikh Ahmed Zaitouni is a master musician in the al-Andalus style. Here he and his ensemble from Tangier perform one of the eleven vocal and instrumental suites of the Moroccan âla, the nuba 'Al-Hijaz al-kabîr'.

| MP3 128 kbps | Incl. Covers 'L.Q' | 65 MB |

TRACK LISTINGS

1. Instrumental Introduction
2. Blessed be Thou, oh Night - by he Who Has Conceived You
3. She Came to See Me - the Almond Trees Are Redolent/oh my Companion, I See
4. Oh You Who Has Settled in my Captive Heart - your Beauty is Unique, You o
5. Violin Solo
6. Love for You Has Laid me Low - be Cautious in Your Love
7. I Thought That...
8. In the Beloved's Abode - my Body is so Frail - i Beseech You, Fairest of ma
9. May God Never Separate the Lovers

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[14]. Abdelkrim Rais - Musique Andalouse de Fes

Abdelkrim Rais : A master of the rebab (spiked fiddle), Abdelkrim Rais had a major influence on the evolution of contemporary Moroccan Andalusian music. His publications, including Collige I Al-Haik Poems in 1982, provide a rich source of material that continues to be performed. The director of the Academy of Music in the imperial city of Fez, Rais led the city's Orchestra of Andalusian Music until his death at the age of 84. The orchestra has continued under the direction of Mohamed Briouel. ~ Craig Harris, All Music Guide

| MP3 128 kbps | Incl. Covers 'L.Q' | 135 MB |

TRACK LISTINGS

Disc: 1
1. Les Sept Tawachi De La Nouba Hijaz Al-Machriqi
2. Basit Rami-Al-Maya
3. Mawwal De Abderrahim Souiri/Quddam Raml-Al Maya

Disc: 2
1. Btayhi Al-Rasd/Inchad Abderrahim Souiri Et Ebdelfettah Bennis/Quddam Btayhi Al-Rasd 2. Insiraf Basit Al-Istihlal
3. Insiraf Btayhi Al 'Uchchaq

Part One
Part Two

[15]. Rayssa Fatima Tabaamrant
Taghlaghalt ou l'Echo de l'Atlas
Institut du Monde Arabe HM 321.044, 2006


Rayssa Fatima Tabaamrant is a raissa, a traditional itinerant female singer from southern Morocco, who performs in town squares, bars or weddings, and whose lyrics deal with anything from local to international affairs or social issues of the day. She is also a quite astonishingly rousing performer, with a declamatory style and the ability to improvise that make her sound like a traditional answer to a great blues or rock performer.
This may look like an album for ethno-musicologists with its erudite sleeve-notes, but the lady deserves a wider audience. Backed by a stomping band using hand drums, cymbals made from car-wheel rims, lutes and fiddles, she tears into this live set with a 15-minute track that constantly changes direction and ends up as a furious workout against a driving, insistent riff from her musicians. Exhilarating.

1. Instrumental
2. Ssllam / Salutations
3. Tirra n yils / L'écriture orale / Oral writing
4. Ajddig llwrd / Hymne à la nature / Hymn to nature
5. A bu nniyt / O le crédule / O gullible
6. Ait l aql / Le bon sens / Common sense
7. Instrumental d'adieu / Farewell instrumental

320 kbps including full scans

Part 1
Part 2

Richard Clayderman - 25 Years of Golden Hits

Richard Clayderman - 25 Years of Golden Hits [BOX SET] [BEST OF]

Special 2xCD compilation set to celebrate 25 years of Richard Clayderman Hits. CD1 features a collection of Richard's most successful recordings from around the world, with the second CD comprising many of Richard's most successful Asian Hits.

| EAC-APE - 615 MB | Front Cover | MP3 320 Kbps - 285 MB |

TRACK LISTINGS

CD1 - Hits from Richard

[01]. Ballade pour Adeline (Paul de Senneville)
[02]. Mariage d'amour (Paul de Senneville)
[03]. Lettre a ma Mere (Paul de Senneville)
[04]. Souvenirs d'enfance (Paul de Senneville)
[05]. A Comme Amour (Paul de Senneville / Olivier Toussaint)
[06]. Eleana (Paul de Senneville)
[07]. Music Box Dancer (Frank Mills)
[08]. Pour Elise (Beethoven)
[09]. Nocturne Opus 9, N° 2 in E Flat Major (Chopin)
[10]. Czardas (Monti)
[11]. Rondo Pour Un Tout Petit Enfant (Paul de Senneville)
[12]. Les Premiers Sourires de Vanessa (Paul de Senneville / Olivier Toussaint)
[13]. Dont' Cry for me Argentina (1989 Version) (Webber / Rice)
[14]. Can You Feel The Love Tonight (John / Rice)
[15]. Time to Say Goodbye (Con te Partiro) (Satori / Quarantotto)
[16]. Titanic Symphony (Horner)
[17]. La Response de l'Ange - Piano Solo (Paul de Senneville)
[18]. Adeline a Grandi (Paul de Senneville)

CD2 - Hits from Asia

[01]. Friends (Paul de Senneville)
[02]. Flower Heart (Shokichi)
[03]. Love Follow Us
[04]. Place de Sun Airport / Listen to the Sea
[05]. Sea of Tears
[06]. A Tale of Two Cities (Hisung Lee)
[07]. Lemon Tree (Haler / Hinkel)
[08]. Dango Sankyodai (Uchino / Horie / Sato)
[09]. Always (Han Jon Woo / Anh Jeun Hun)
[10]. Loving You More And More (Tamashiro / Cheng Sing)
[11]. Kampai (Nagabuchi)
[12]. Promise
[13]. Chasing (The Search of My Life) (Lee)
[14]. The Butterfly Lovers
[15]. New Dream of Lovers
[16]. Love is Like a Tide

Michel Camilo & Tomatito - "Spain & Spain Again"

Michel Camilo & Tomatito - Spain

When talents as formidable as Michel Camilo and Tomatito get together to make music it is an event. These two distinct voices from different musical worlds converge on Spain, a scintillating musical conversation between two masters. Camilo, a brilliant jazz pianist and prolific composer, is renowned for combining rich harmonies with the Caribbean flavors and rhythms of his native Dominican Republic. Discovered at an early age by Paco de Lucía, Tomatito is the premier flamenco guitarist of his generation and has accompanied Spain's greatest flamenco singers including the legendary Carmarón de la Isla. Navigating the boundaries of jazz and flamenco, Camilo and Tomatito create a fusion of style that is both unique and unforgettable.

| EAC-APE - 205 MB | Booklet Scans | MP3 320 Kbps - 105 MB |

TRACK LISTINGS

[01]. Spain Intro
[02]. Spain Listen
[03]. Besame Mucho
[04]. A Mi Nino Jose
[05]. Two Much/Love Theme
[06]. Para Troilo Y Salgan
[07]. La Vacilona
[08]. Aire De Tango

Michel Camilo & Tomatito - Spain Again

‘Spain’ again. The magic returns of the album joining the strings of Tomatito’s guitar and those of Michel Camilo’s piano. The duo came to the heart of Spain to premiere the second installment of their musical project: ‘Spain Again’. The event, which was held at Sala Galileo Galilei on the night of May 17th, 2006 before a jam-packed crowd of guests, was presented by Fernando Trueba, one of the instigators of this now fruitful encounter. The Spanish filmmaker recalled what the early stages of the adventure were like, when “first one would play, then the other would play and at the end they’d do three songs together. And those three songs people liked so much ended up sealing complete mutual understanding between guitar and piano”. As proof of the project’s soundness, in an extremely brief ceremony – since the important thing was for the music to start – the double platinum record was awarded to the artists for the one hundred seventy thousand records sold all over the world of the first ‘Spain’. “A real exploit for a flamenco and jazz album”, as was pointed out by the man in charge of jazz at the record company. Down to the music! Tomatito and Michel Camilo plunge into the essence of this second album together: Astor Piazzola. To get down to work, they choose ‘El día que me quieres’. A landscape piece with which they test the perfect harmony of their instruments. The delicate, the musical, the cleanness. And with ‘Libertango’ (see live online video), another word starts to take over: momentum. The Almería-born guitarist and the Dominican pianist attacked the tremendous composition fiercely. They punished – in the good sense of the word – the sensitivity of the audience, who didn’t falter an inch in their devotion thereafter. Intensity, care, feeling. The applause was felt beyond... ‘Spain’. By the Argentinean composer, they afterwards chose ‘Adiós Nonino’, which as Camilo explained, “is the song which gives ‘Spain Again’ its raison d’être, since it has a bit of everything: nostalgia, melancholy, intensity...”. He himself described what happened between the musicians in the following minutes. To which should be added, as far as flamenco is concerned, Tomatito’s ease with this repertoire, which he tested for the first time live at the past edition of Seville’s Bienal de Flamenco. There’s an abyss between that concert and this one. And from Buenos Aires to New Orleans. Another fundamental part of this album is the jazz banners, among them, ‘Twilight glow’. That less is more was made obvious. The performers’ regards seemed to forge a common tie between the scarce notes, between the minimum chords. And the beauty was felt while the sounds faded away by themselves in the air. Finally, flamenco. Tomatito covers the strings... Bulerías. It’s party time. Nothing’s held back. Michel Camilo rolls over the keys, skipping, vibrating. He on the guitar doesn’t stay behind. Feeling which covers an ocean. The crowd bounces in their seats. There’s total complicity between musicians and musician, and between musicians and audience. The request for an encore isn’t long in coming. And they come back, dedicating to their mentor, Fernando Trueba, an immense ‘Spain’, a country of music which grows and grows, again and again.

| EAC-FLAC - 285 MB | Full Booklet Scans | MP3 320 Kbps - 180 MB |

TRACK LISTINGS

(01) [Michel Camilo & Tomatito] El Dia Que Me Quieras
(02) [Michel Camilo & Tomatito] Libertango
(03) [Michel Camilo & Tomatito] Fuga y Misterio
(04) [Michel Camilo & Tomatito] Adios Nonino
(05) [Michel Camilo & Tomatito] Stella By Starlight
(06) [Michel Camilo & Tomatito] Twilight Glow
(07) [Michel Camilo & Tomatito] A Los Nietos
(08) [Michel Camilo & Tomatito] La Tarde
(09) [Michel Camilo & Tomatito] La Fiesta
(10) [Michel Camilo & Tomatito] From Within
(11) [Michel Camilo & Tomatito] Amor De Conuco

Omar Metioui - Masterpieces of Andalusi Chant

Credits to AmbroseBierce (Ripper & Uploader) Omar Metioui Masterpieces of Andalusí Chant. Ibn Sahl of Sevilla 1212-1251 Sony Classical SK 60076, 1998
| APE - 315 MB | Booklet Scans | MP3 320 Kbps - 185 MB |

TRACK LISTINGS

(01) [Ibn Sahl de Sevilla] Inshád- Laqad Kuntu Aryú
(02) [Ibn Sahl de Sevilla] Tajlíl Basít- Dá'ú l-Hawá
(03) [Ibn Sahl de Sevilla] Inshád- Yamínan Bi-díní
(04) [Ibn Sahl de Sevilla] Tajlíl Basít- Yá Sáliba l-'Aqli
(05) [Ibn Sahl de Sevilla] Muwwál- Lammá Ra'á-ní
(06) [Ibn Sahl de Sevilla] Inshád- Adhúqu l-Háwá
(07) [Ibn Sahl de Sevilla] Tajlíl Basít- Sal Fí dh-Dhalám
(08) [Ibn Sahl de Sevilla] Muwwál- Qalbu l-Mu'anná
(09) [Ibn Sahl de Sevilla] Inshád- Y'a Burayqa l-Ghawri
(10) [Ibn Sahl de Sevilla] Tajlíl Basít- Hal Tashtafi
(11) [Ibn Sahl de Sevilla] Muwwál- Danifun Qada
(12) [Ibn Sahl de Sevilla] San'a- Al-Ardu Qad Labisat Saad Temsamani - vocals (1-5,12) Hasan Ajyar - vocals (1,2,6-8,12) Abdeslam Sefiam - vocals (1,2,9-12) Omar Metioui - 'ud Ahmed Al Gazi - darbuga (4,7,10), rabab (12) Eduardo Paniagua - darbuga (12)

Chants et Musiques du Badakhchan

Credits to AmbroseBierce (Ripper & Uploader) Chants et Musiques de Badakhchan. Concert 27.11.2003 Naive TC 461001, 2004 TRACK LISTINGS 01. Navoy-é Ghijak (Ghijak Melody) [Instrumental] 02. Gueryé Doram (I Feel Like Crying) 03. Maddâh (Poems by Hafez & Nemâtollâh Pamiri) 04. Daryâ (The River) 05. Doyéré-Yé Bazm (Celebration Circle) [Instrumental] 06. Navoy-é Tanbur (Tanbur Melody) [Instrumental] 07. Chab-é Mahtob (Moonlight Night) 08. Raqs-é Pamiri (Pamir Dance) [Instrumental] 09. Navoy-é Setâr (Setor Melody) [Instrumental] 10. Sitoyéche (Admiration) 11. Darguilik Sahiba Doviatshaeva - vocals Djonbaz Doshanbiev - ghijak, rubab Mokhtar Muborakkadamov - setor Ghulamsho Safarov - tanbur Shodikhon Mabatkulov - daf 320 kbps mp3; including full booklet scans Download Part One Download Part Two

Yörüklerde Müzik ve Bogaz Calma

Credits to AmbroseBierce (Ripper & Uploader) Yörüklerde Müzik ve Bogaz Calma / Music and Throat Playing of the Yörük in Anatolia Kalan Müzik CD 098, 1998 TRACK LISTINGS 01. Introduction and the throat air (the Kemane solo) - 3:22 02. Throat air (the kemane solo) - 1:04 03. Throat air (vocal) - 0:51 04. Throat air (vocal) - 0:29 05. Two throat airs (the üctelli solo) - 2:22 06. Throat air (vocal) - 1:02 07. Throat air (vocal) - 0:23 08. Introduction and Dance air (the kaval solo) - 1:17 09. The air to drive the flock to graze (the kaval solo) - 0:25 10. The air causing the vessel to get cool (the kaval solo) - 1:02 11. The air causing the pot to be broken (the kaval solo) - 0:36 12. The Karakoyun legend (the Kaval solo) - 1:41 13. The throat air (the kaval solo) - 0:49 14. Dirge (the kaval solo) - 0:42 15. Two throat airs (vocal) - 1:26 16. The air of homesickness and Dance air (the sipsi solo) - 2:05 17. Musical story of the move to the Yayla - 24:03 18. The Deyis / Poem - 1:51 19. Throat air (the kemane solo) - 0:38 20. Throat air (the kemane solo) - 0:51 21. Throat air (vocal) - 1:03 22. Throat air (vocal) - 0:56 23. Dance air (the kemane and the sipsi) - 0:59 24. Air for greeting the bride (the kemane and the sipsi) - 1:06 25. Throat air (the düdük solo) - 0:43 26. Karinom (the düdük solo) - 0:43 27. Throat air (vocal) - 1:24 28. Throat air (vocal) - 2:21 29. Throat air (the kaval solo) - 0:38 30. Dance air (the kaval solo) - 0:59 320 kbps mp3; including full booklet scans Download Part One Download Part Two

MUSIQUE DU KURDISTAN [Vol. I-III]

Credits to AmbroseBierce
Groupe Musical du Kurdistan
De Soran à Hawraman. Chants du Kurdistan Al Sur ALCD 125, 1994
TRACK LISTINGS 1. Are Laouà 2. Siatchamana (Poème de Goran) 3. Gül Aman 4. Kanian 5. Saltana 6. Dasht 7. Khalei Rebuar (Poème de Akhol) 8. Tadarak 9. Makami Bayat (Poème de Taiar Bagh) Najmadini Xolami - daf, vocals Barzan Yassin - saz Osman Sarkar - clarinet, balaban Hossein Anvari - ney F. Nikzad - kamâncha 320 kbps mp3; including full booklet scans Download Part One Download Part Two Ensemble Zalm Kurdistan. Vol. II Al Sur ALCD 215, 1997 TRACK LISTINGS 01. Shaui Tarik 02. Fatma du ciani masti 03. Kawa lassar kawaia 04. Nârine - Kyas zardé 05. Ah la haray larzâna 06. Maqam 07. Shau u roj 08. Giada ciol u sebar bù 09. Xam - Shléran 10. Ka dalén 11. Bauanaki bâbm Awwar Karadaghi - violin, 'ûd Zana Mahmoud Hajar - violin Hersh Omar Reza - 'ûd Sabahi Santour - santour Hoshiar Ahmed - percussion Ibrahim Najmadine - percussion 320 kbps mp3; including full booklet scans Download Part One Download Part Two Tânia Ârab Lawk u Hairan. Kurdistan - Volume III Al Sur ALCD 216, 1997 TRACK LISTINGS Hairan 1. Hairan 2. Agir barana 3. Nazlêy 4. Hay lélé Hay narma Ay Mina Docteur 5. Solo santur 6. Stayich Lawk 7. Dotman Mêwan Fahad Sabir - santour Uria Ahmad - 'ûd Tânia Ârab - vocals, percussion, zarb 320 kbps mp3; including full booklet scans Download Part One Download Part Two unfortunately track 7 is faulty in the above files, therefore a re-up for this track only: Download HERE

Cheikh Salah - Maroc. Musique Arabo-Andalouse

Credits to AmbroseBierce
Cheikh Salah Maroc: Musique Arabo-Andalouse Buda Musique 82509-2, 1991
TRACK LISTINGS 1. Raml Al Maya 2. Chams Al Achi 3. Had El Achq Aliya 320 kbps mp3; including full booklet scans Download Part One Download Part Two

Al-Andalus Collection [17]. Eduardo Paniagua - Cantos Misticos Devocionales

Credits to AmbroseBierce (Ripper & Uploader)
Eduardo Paniagua Cantos Místicos Devocionales Pneuma PN-970, 2007
TRACK LISTINGS

[01]. Devoción. Taqsim qanun
[02]. Muwal Al Burda
[03]. Fiyashiyya
[04]. Introspeción. Irak Ajam. Taqsim laúd
[05]. Fatiha, sura del Corán
[06]. Hamziyya
[07]. Extroversión. Mazmun. Taqsim laúd
[08]. Ebriedad 09. Las maravillas de la creación
[10]. Pregunta en la oscuridad
[11]. Plegaria Nasirí. La espada de ign Nasir
[12]. Oh aquel que se ha engrandecido

Azzedine al Badri - vocals (2,3,6) Mohammed El Arabi Serghini - vocals (5,11), pandero (11) Eduardo Paniagua - qanun (1,2,3), darbuga (8 ), daff (11) Mohammed Berraq - vocals (9,12) Omar Metioui - laúd (4,7,8,10,12) Abdeslam El Amrani Boukhobza - vocals (8 ) Said Belcadi - vocals (10)

320 kbps mp3; including full booklet scans

Al-Andalus Collection [16]. Salim Fergani - La noria de los modos

Credits to AmbroseBierce
Salim Fergani La noria de los modos. Musica Andalusi, Maluf de Constantine, Argelia Pneuma PN-890, 2007

TRACK LISTINGS

[01]. Bashraf Zidane-H'sine
[02]. Rahaoui: Buenas gentes de Andalucía
[03]. Deil: Enamoradas
[04]. Asbihan: Sobre ardientes brasas
[05]. Sika: El recuerdo de Andalucía
[06]. M'hair: Desde que te has ido
[07]. Mezmoum: Mi corazón ha sufrido
[08]. Rasd: Llegada la noche
[09]. Maya: La bella ha venido
[10]. Asbian: Me quejo de esta pasión
[11]. Irak: Apareciste como un relámpago
[12]. H'sine: Corazón mío
[13]. Nawa: Tú que buscas el amor
[14]. Sika H'sine: Lejos de Andalucía

Salim Fergani - vocals, 'ud Youcef Bounas - zurna, djuwáq o fhal Nabil Taleb - kemandja Bachir Ghouli - tar Khaled Smair - darbuka

Salím Ferganí is an Algerian singer and lute player who carries on with a secular tradition handed down by his ancestors. He performs with an instrumental quartet (violin, which takes the place of the old rabel, flute and two percussionists). The quality and conviction of his singing are vastly superior to those of “recycled” performers who offer as “early” something that is simply folklore. Ferganí’s voice is wonderfully expressive and natural, although it is impossible to understand what he is saying (a translation of the lyrics is provided and it helps, but in a case like this it is not enough). What he performs is an original poem by a mystic named al-Darif al tunisi, who died in the year 1385 of the Christian era. Composed of recollections of the death of a child, it is divided into stanzas that correspond to different modes that succeed each other as the music and lyrics change. Hence, its title alludes to something in movement: La noria de los modos. Noria is the Spanish word for water wheel. Without knowing these modes, it is hard if not impossible to appreciate them, even if one does discern differences among them. It would have been useful to include a brief explanation in the libretto. This would have helped the CD win over not just fans of this genre but also people who might be tempted to explore it. - Maricarmen Gómez

320 kbps mp3; including full booklet scans

Al-Andalus Collection [15]. Salim Fergani - Elegia a la muerte de Salah Bey

Credits to AmbroseBierce
Salim Fergani Elegía a la muerte de Salah Bey, Constantina 1792. Música Clásica de Constantina, Argelia Pneuma PN-870, 2006

TRACK LISTINGS

1. Istikhbar
2. Kamit sari gjahda
3. Anti tetghala
4. Salah Bey "Gálu la arab gálu'"
5. Khlas, Khaoua ya el khaoua
6. Suite H'sine

Salim Fergani - vocals, 'ud Youcef Bounas - zurna, djuwáq o fhal Nabil Taleb - kemandja Bachir Ghouli - tar Khaled Smair - darbuka

His true name Regani, Salim Fergani was born in 1953 in Constantine, in a family of musicians and artisans “Embroiderers” since the “Beys”(1) period. He is the eldest of hadj Mohamed Tahar Fergani’s sons, the leader of Music in Constantine and the grand-son of cheikh Hamou Fergani (1884-1912) The famous singer of the type hawzi and figure of Aissaoua group sufi. From this strong musical familiar surroundings, he had a gift for music, since he was young, it is so naturally that his father how has taken care of him as far as the Andalouse Music is concerned. Mohamed Seddik Fergani, named Zouaoui, his uncle (1913-1995) discovered him the techniques and the Art of Arabic “oud” this particular instrument in Constantine. Since 1968, he started his professional carrier with his father Hadj Mohamed Tahar Fergani in recordings. At the same time despite of his father’s presence become near to the other cheikhs of constantine who permit him to know more about ‘’Malouf, Mahdjouz, Hawzi, Aroubi, quadriates, Zadjel ‘’. He has a gift too for excellent memory assimilate capacities, he devoted exclusively the music to improve his knowledge like his father from cheikh Abdelkader Toumi (1906-2005) a remarquable encyclopædia. After long years, this relationship has played great salim fergani’s life in the music of constantine. Salim Fergani improved himself close his father as a member in the familiar orchestra being musician and a singer with his own formation that manages till now. He made concerts, recordings and transmissions in television letting the public discovering an artist with talent and knowledge of the music of constantine during 1970’s. Since the 1980’s, he had brilliant career international that leads him to europe, asia, africa and USA. His control on the musical repertory and the instrument of ‘’Oud’’, his understanding of communication, his rigour and human qualities made him an artist particularly demanded by the international cultural institutions that thumbed him in different festivals and meetings. As a complete musician and artist, Salim Fergani, today is follower of the instrument tradition in onstantine and the town music. He continued his messages of love, peace and dialogue’s cultures. - Benderbal Hichem

320 kbps mp3; including full booklet scans

Al-Andalus Collection [14]. POEMAS DE LA ALHAMBRA

Andalusi music for the inscriptions on the walls and fountains of the Alhambra, accompanied by the sound of the fountains. FUENTE DE LOS LEONES (Lyons' Fountain) "In Myself He can see Granada from His Throne" The verses reflect the Sultan of Granada's ideal of radiance. Sun, a permanently full Moon, and Light bow before him. The Emir of the faithful tirelessly chants the exclamations to Allah engraved on the walls of the palace, in recognition of God as the source of his power. The water is the symbol of the generosity of the Sultan spilling over the lion warriors. The Lion, symbol of the Sultan's ferocity as a warrior, together with the poetry-sculpture-architecture complete the palace model of spiritual and temporal government of the community, an extraordinary expression of the utopia of Islamic power.

Poemas de la Alhambra

Ibn Zamrak 1333-1393

EDUARDO PANIAGUA - EL ARABI SERGHINI MOHAMMED

LARBI AKRIM - JAMAL EDDINE BEN ALLAL - LUIS DELGADO

Contents:

Palacio de Comares

Anon., Torre de la Machuca
1. ¡Oh mi sostén, mi norte, tú!
Ibn Zamrak (t), en la Fachada de Comares
2. Soy corona en La frente de mi puerta
Anon., Muhammed V's era, Puerto del Mexuar
3. Oh la mansión del trono real

Palacio de los Leones

Improv.
4. Mshaliya Isbihan: Fuente de Leones, flujo de nube (instr.)
Improv.
5. Twíshya Isbihan: Leones de la guerra (instr.)
Ibn Zamrak, Tázon de la Fuente de los Leones
6. Bendito aquel que dio al imá Mohammed
Ibn Zamrak, Tázon de la Fuente de los Leones
7. ¿No aquí hay prodigios mil?
Improv.
8. Taqsim, modo Isbihan: Jardín del Paraiso (instr.)
Ibn Zamrak, Hornacina derecha del arco de entrada al Mirador de Lindaraja
9. Todo arte me ha brindado su hermosura
Improv.
10. Twíshya Mashriqi: Diáfano tazón, tallada perla
Ibn Zamrak, Tázon de la Fuente de los Leones
11. No ves cómo el tazón que inunda el agua
Ibn Zamrak, Hornacina izquierda del arco de entrada al Mirador de Lindaraja
12. No estoy sola
Ibn Zamrak, Sala de las Dos Hermanas
13. Las Pléyades de nocje aquí se asilan
Improv.
14. Saná Qáim wa-nisf Istihlal: Jardí tan verdeante (instr.)
Ibn Zamrak, Poema del mirador de Lindaraja
15. A tal extremo llego en mis encantos
Ibn Zamrak, Poema del mirador de Lindaraja
16. Mi agua es perlas fundidas
Ibn Zamrak, Poema del mirador de Lindaraja
17. En mi, a Granada ve desde su trono

Playing time: 65' 55"
Performers: El Arabí Serghini (voice, viola, darbuga), Larbi Akrim (lute), Jamal Eddine ben Allal (violin), Eduardo Paniagua (flautas, qanun), Luis Delgado (Laúd andalusí buzuk arbí, daff, darbuga)

Luis Delgado (Darbouka), Luis Delgado (Engineer), Luis Delgado (Daff), Luis Delgado, Luis Delgado (Laud), Luis Delgado (Pandereta Tercera), Luis Delgado (Buzug), Hugo Westerdahl (Mastering), Eduardo Paniagua (Flute), Eduardo Paniagua (Qanoun), Eduardo Paniagua (Main Performer), Eduardo Paniagua, Eduardo Paniagua (Liner Notes), Eduardo Paniagua (Campanillas), Louis Vincent (Graphic Design)

APE (EAC Rip): 370 MB | MP3 - 320 kbs: 160 MB | Scans

Archives have 5% of the information for restoration

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Part 1 | Part 2 | Part 3

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Part 1 | Part 2

Toumani Diabaté - The Mandé Variations

Toumani Diabaté - The Mandé Variations

Kora maestro Toumani Diabaté has a lot of legend to live up to. Although synonymous with the instrument ever since his sparkling international solo debut, Kaira (1988), The Mandé Variations is only his second solo disc. While Kaira introduced a new level of technical sophistication, it stuck to folkloric repertoire inherited from Mali's ancient Mandé empire, founded way back in 1235. This new album continues to develop kora technique and covers some of the same territory, but also ventures beyond the Mandé heartland for inspiration – with mixed results. World Circuit's renowned production/recording team of Nick Gold and Jerry Boys have captured the kora's sound as never before, with an almost cinematic clarity. You can just about see Diabaté drawing breath, and the folds of his boubou brushing against one another as he picks over the strings. He seems to take an almost playful delight in the reverberations of the bass notes on Ali Farka Touré, his tribute to the late great 'desert blues' guitarist. But in attempting to evoke Ali's genius, Diabaté gets carried away in a pointless display of virtuoso trills that bear no relation to the great man's understated playing. If this were transposed onto electric guitar, it would sound like poodle rock excess. To a lesser extent, the same problem mars the only other completely improvised – and rather directionless – composition, El Nabiyouna, and even the coda of the otherwise gorgeous ten-minute opener, Si Naani. Still, when Diabaté remains rooted in tradition (while both composing or reinterpreting ancient themes) the results are sublime. Elyne Road has a flowing, restful vibe, as does Ismael Drame. Kaouding Cissoko (dedicated to the late Senegalese kora player) is an engagingly dense, racing piece, and the closing Cantelowes has a wonderful, meditative groove, even if it does start with a quote from Morricone's The Good The Bad & The Ugly, as if to wind up purists. It's laudable that Diabaté never stands still as an artist, but The Mandé Variations won't pass the Buena Vista dinner party test. Maybe he should keep his experimental tendencies and rockisms for his Symmetric Orchestra. by Jon Lusk

Toumani Diabaté (born August 10, 1965) is a Malian kora player who has gained international acclaim for his music. He is a versatile performer, being equally at home with the traditional music of Mali as well as with cross-cultural collaborations with flamenco, blues, jazz, and other international styles. Diabaté comes from a long family tradition of kora players including his father, Sidiki Diabaté, who recorded the first ever kora album in 1970. His cousin Maya Jobarteh is a premiere female diaspora kora player. In 1987 Diabaté released his first album in the West, a solo album entitled Kaira, recorded in one afternoon in London and produced by Lucy Duran. The album, featuring just Diabaté and his kora, is still considered one of the finest examples of solo kora. In addition to performing Malian traditional music, Diabaté has also performed and recorded in cross-cultural settings. He has collaborated with flamenco group Ketama, forming a combined group known as Songhai and releasing two recordings: Songhai I and Songhai II. He also released a memorable album with Kulanjan, bridging the gap between African and African-American music in collaboration with the American blues musician Taj Mahal. His MALIcool is another, more unusual but nevertheless successful, collaboration with the American jazz trombonist Roswell Rudd. He also collaborated with the Icelandic popular musician Björk on her 2007 album Volta. In 1999 Diabaté released the album New Ancient Strings, a collaboration with Ballake Sissoko and in September 2005, he released In the Heart of the Moon, for which he collaborated with the late Ali Farka Touré, his mentor. The album went on to win the 2006 Grammy Award for Best Traditional World Music Album. On July 25, 2006 he released his latest album Boulevard de l'Independance, recorded with his Symmetric Orchestra. In the Heart of the Moon and Boulevard de l'Independance, are both part of the Hotel Mandé Sessions, recorded by Nick Gold and released on World Circuit. Both Boulevard and Hotel Mandé are references to landmarks in Mali's capital city, Bamako. The Symmetric Orchestra led by Toumani Diabaté is composed of musicians (mostly griots[1]) from the across the old Mande Empire of west Africa, who play a mix of traditional instruments including the kora, djembe, balafon and bolombatto, as well as modern ones like the guitar and electronic keyboard. Diabaté appeared in 2006 at the WOMAD Festival UK, Roskilde Festival in Denmark, and at the Sziget Festival in Budapest, Hungary. In 2007 he performed at the Glastonbury Festival and toured the U.S.A.. In 2008, he was at WOMADelaide (in Adelaide, South Australia). In early 2008, Diabaté released his new album of solo Kora music, The Mande Variations, to widespread critical acclaim. Many reviewers praised the album for its detailed recording of the Kora and careful mastering, in addition to the improvisational skills and wide range of apparent influences displayed on the album.

87,71 MB, VBR 320 kbps mp3; including album full booklet scan

Al-Andalus Collection [13]. LA BELLEZA CONTEMPLADA

Al-Andalus Collection [01]. Salim Fergani - Prado de Gacelas
Al-Andalus Collection [02]. Naseer Shamma - Maqamat Zíryáb
Al-Andalus Collection [03]. Eduardo Paniagua - JARDIN DE AL-ANDALUS
Al-Andalus Collection [04]. Salim Fergani - Dos Corazones
Al-Andalus Collection [05]. Naseer Shamma & Oyoun - Hilal
Al-Andalus Collection [06]. Eduardo Paniagua - Agua de la Alhambra
Al-Andalus Collection [07].
Omar Metioui - La Fuente del Amor Secreto
Al-Andalus Collection [08]. Latidos de Al-Andalus
Al-Andalus Collection [09]. La llamada de Al-Andalus
Al-Andalus Collection [10]. Ibn ‘Arabi - El intérprete de los deseos
Al-Andalus Collection [11]. Al Turath Ensemble - Hermana de la Luna
Al-Andalus Collection [12]. Al Turath Ensemble - Jardines de Jazmín
Larbi Akrim lute is the first of the Conservatory Orchestra Andalusí Tangiers. And Serghini Mohammed is national award Sufi music and main voice at the conservatory. Together they produced a delicate disc where the lute-making role and demonstrates why the king is the instrument of the Arab world.

"Look how the strings have adopted a human personality. The zir is the first, because its sob is the lover's complaint and the intoxication of the inebriated. The matná laughs and plays back when the fingers play with it. The matlát is the sad one, because it is accustomed to weeping, and vibrates with the movement of the indecisive. The bamm lowers its voice as if it were weary, crying to the lover over the pain of abandonment". An ancient anonymous poem, found in about 1800 by al-Haík of Tetuán.

La Bellezza Contemplada

Musica Andalusí de Laúd Larbí Akrim, El Arabí Serghini

Content:

Anon., Rasd d-dail
1. Mshalia
Anon., Rasd d-dail
2. Twishya de la núba
Anon., Rasd d-dail
3. Muwwal "Mis ojos solo contemplan tu belleza"
Anon., Nahawand
4. Taqsim
Anon., Nahawand
5. Sana' Qá'im wa-nisf
Anon., Zirga
6. Taqsim
Anon., Zirga
7. Muwwal "¡Camina altivo! ¡Lo mereces!"
Anon., Hidyaz
8. Taqsim
Anon., Hidyaz
9. Twishya Qá'im wa-nisf
Anon., Hidyaz
10. Sana' Qá'im wa-nisf
Anon., Istihlal
11. Taqsim
Anon., Istihlal
12. Twishya Quddám
Anon., Istihlal
13. Sana' Quddám "El tiempo me concidió con generosidad"

Playing time: 56' 09"
Performers: Larbí Akrim ('ud), El Arabí Serghini (voice, drum, darbuga)

APE (EAC Rip): 290 MB | MP3 - 320 kbs: 140 MB | Covers

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Part 1 | Part 2

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HERE