Armand Amar - Bab' Aziz

Bab' Aziz-Le Prince Qui Contemplait Son Ame

Lost in a sand ocean, two silhouettes walk on: Ishtar, a small girl full with spirit, and his/her grandfather Bab' Aziz, a blind dervish. She guides it towards the great meeting of the dervishes which takes place every thirty years, but to find this place secret, he is necessary “to listen to the infinite silence of the desert with her heart”. Their voyage through the extreme vastness brings them, a such set of tracks, with crossed other destinies…

| EAC-APE - 350 MB | Full H.Q Scans | MP3 320 Kbps - 230 MB |

TRACK LISTINGS

CD 01 MUSIQUE Armand Amar
(01) [Armand Amar] Maryam
(02) [Armand Amar] Bab Aziz
(03) [Armand Amar] Poem of the Butterflies
(04) [Armand Amar] Salvacci Denducci Pace
(05) [Armand Amar] Zikr
(06) [Armand Amar] Poem of the Atoms
(07) [Armand Amar] You Created the Night, I Made the Lamp
(08) [Armand Amar] Ishtar
(09) [Armand Amar] Song of the Red Dervish
(10) [Armand Amar] Poem of the Atoms
(11) [Armand Amar] Dream of the Palace
(12) [Armand Amar] The Wedding


EAC-APE [ 350 MB]

Part 1
Part 2
Part 3
Part 4

OR MP3 320 Kbps [230 MB]

Part One
Part Two
Part Two

PW : WeLove-music

Ulvi Erguner - Enderun

Credits to AmbroseBierce
Ensemble Ulvi Erguner Enderun.
Musique de la Cour Ottomane Al Sur ALCD 108, 1992

TRACK LISTINGS I: Makam Mahur 01. Pesrev (Gazi Giray Han) 02. Kar (Abdulkadir Meragi) 03. Agir Semai (Anon.) 04. Ney Taksim by Aka Gündüz Kutbay 05. Yuruk Semai (Ebubekir Aga) 06. Saz Semaisi (Gazi Giray) II: Makam Pencgah 07. Pesrev (Dede Salih Efendi) 08. Beste (M. Itrig Efendi) 09. Beste (M. Itrig Efendi) 10. Agir Semai (Abdulkadir Meragi) 11. Yuruk Semai (Anon.) 12. Saz Semaisi (Kantemiroglu) III: Makam Rast 13. Rast Pesrev (Anon.) 14. Kar-I Muhtesem (Abdulkadir Meragi) 15. Hem Kamer Hem Zuhre (Anon.) 16. Tanbur Taksim by Necded Yasar 17. Haydarname (Abdulkadir Meragi) 18. Amed Nesimi (Abdulkadir Meragi) 19. Dusems Son Pesrev (Al Farabi)

NEYZEN ULVI ERGUNER “Kutb-i Nayi” "He was born in Istanbul- Sultan Selim, in 3 August 1924. His mother is Muazzez Hanim, and his father is Suleyman Erguner (1902-1953), who is a composer and the ney master of the last century. His brother Asaf Erguner (brn. 1927) was an economist and a tanbour player. Also his sister Serap Erguner dealed with music and played zither. Ulvi Erguner had to visit various places in Anatolia with his father Suleyman Erguner because of his fathers duty in bureaucracy and for this reason he was graduated from various schools (with high degrees). He wanted to be registered in the Army Military Academy but he missed the beginning of the semester and because of this he was graduated from the Quartermaster Corps. in 1943. He had his first knowledge about ney and music from his father. In Konya Military Middle School, he profited from Ahmet Ezgimen and played in the military band. During his duty as an officer in Ankara and Istanbul, beside his father, he practiced music with Halil Can, Nuri Halil Poyraz, İlyas Tonguc, Fahri Kopuz, Hulusi Gokmenli and Sadeddin Heper. He also participated in the radio broadcasts of the TRT [Turkish Radio and Television] in Ankara and Istanbul. There, he made good use of his conversations with Mesud Cemil. Ulvi Erguner was in charge with various ranks in Gelibolu, Kars, Erzurum, Ankara and Istanbul. Between 7 June 1958 and 9 June 1959 he was in Korea, and after this, until his retirement as a lieutenant colonel, he was charged in Hayrabolu and Kesan. Soon after his retirement, he was appointed as the manager of the department of the Turkish Classical and Folk Music in TRT- Istanbul. There he also was also located as a neyzen and the chief of the chorus. In this duty, he founded the Ulvi Erguner Ensemble. Ulvi Erguner also separated the department of folk music and his assistant Nida Tüfekci became the head of this department. Ulvi Erguner established the performance of the Turkish Sufi Music at the radio and worked on the Turkish composers such as Meragalı Abdülkadir and Katip Celebi. Beside ney, Ulvi Erguner could play ud and violin too. He performed ney in his fathers style which is called as the “Erguner Style”. Ulvi Erguner was famous with his spiritual performing. His improvisations are recorded in the archives of TRT. Ulvi Erguner performed ney as the head neyzen in the Commemorative Ceremony for Mevlana in Konya". (http://www.erguner.com/english/neyzenerguners.htm) The ensemble consists of 37 singers, two kanun, three ney, one kadum, two bendir, four violins, three tanbur, two kemenche, two oud and one cello.

320 kbps mp3; including full booklet scans

Part One
Part Two

Unesco Collection [9]. Anthology Of Traditional Music - Sicily

Unesco Collection [1]. Anthology of World Music: Iran
Unesco Collection [2]. Afghanistan. Female Musicians in Herat
Unesco Collection [3]. Kudsi Erguner - Meditation
Unesco Collection [4]. Algerie, Sahara - Music of Gourara
Unesco Collection [5]. KOREA - Traditional Music
Unesco Collection [6]. Yemen - Traditional Music Of The North
Unesco Collection [7]. AKA PYGMY MUSIC - Central African Republic
Unesco Collection [8]. Afghanistan - The traditional music of Herat

Recorded in villages, these songs and manifestations of popular religious fervour reflect the events taking place in the streets and churches. The impressive percussions and fanfares, the spontaneous participation of the faithful, the intrusion of pagan agrarian traditions, comic song or opera arias are totally unexpected.

| MPC kbps | Booklet Scans | 90 MB | Recorded in 1982 - 1991 |

TRACK LISTINGS

[01]. Invocations of the " nudi " and the faithful
[02]. Miserere
[03]. Birbanti di guida chi Fascisti
[04]. Ecce lignum crucis
[05]. Arzu l’uocci e taliu supra nu munti
[06]. Gesuzzu ca nti’ l’uortu fu pigliatu
[07]. Stabat Mater
[08]. Una lacrima sulla tomba di mia madre
[09]. Populu me
[10]. Quanti martiri ha potuto passare
[11]. Gloria
[12]. La quarta spada
[13]. La quinta spada
[14]. La sesta spada
[15]. Gloria

HERE

Karsten Troyke - Leg den Kopf auf meine Knie

Credits to AmbroseBierce
Karsten Troyke Leg den Kopf auf meine Knie Raumer Records RR 12698, 1998
TRACK LISTINGS 01. BimBam 02. Rabbi Tam 03. Der Brief 04. Oifn Weg 05. Ich bin der Weg gen Untergang 06. Ich bin der Regen 07. Nimm hin mein Lied 08. Schlaflied für mich 09. Leg den Kopf auf meine Knie 10. Jidisch 11. Unter deinen wei?en Sternen 12. Der Ghetto-Geiger 13. Man sucht uns 14. Aleko 15. Die goldene Pawe 16. Flits Faigelech 17. Ich bin der Weg kain Maarev 18. Jidisches Kinderlied

320 kbps mp3; including full booklet scans

Part One
Part Two

Haji Baba Huseynov - Mugam d'Azerbaijan, Vol. 3

Credits to AmbroseBierce
Haji Baba Huseynov Mugam d'Azerbaijan, Vol. 3 Inedit W260026, 1991
TRACK LISTINGS 1. Mugam Humâyun 2. Improvisation au Târ, Mode Zâbol 3. Improvisation au Târ, Mode Khârej Segâh 4. Mugam Khârej Segâh
320 kbps mp3; including full booklet scans

Part One
Part Two

Unesco Collection [8]. Afghanistan - The traditional music of Herat

Unesco Collection [1]. Anthology of World Music: Iran
Unesco Collection [2]. Afghanistan. Female Musicians in Herat
Unesco Collection [3]. Kudsi Erguner - Meditation
Unesco Collection [4]. Algerie, Sahara - Music of Gourara
Unesco Collection [5]. KOREA - Traditional Music
Unesco Collection [6]. Yemen - Traditional Music Of The North
Unesco Collection [7]. AKA PYGMY MUSIC - Central African Republic

Once major cultural centre of the empire Timouride (XV century), the fascinating medieval city of Herat in western Afghanistan, is famous for centuries for its artistic refinement. Le présent CD illustre la diversité de la musique vocale et instrumentale de la région d'Hérat et permet d'entendre différents instruments traditionnels : dutâr, chahârtâr sornâ et dohol, dâira, nai chapâni et robâ. This CD shows the diversity of vocal and instrumental music in the region of Herat and allows you to hear different traditional instruments: dutâr, chahârtâr sornâ and dohol, dâira, nai chapâni and robâ. Ces enregistrements exceptionnels ont été réalisés peu de temps avant l'éclatement de la guerre civile qui a bouleversé la vie des habitants de ce centre séculaire de la culture islamique. These exceptional recordings were made shortly before the outbreak of civil war that has disrupted the lives of the inhabitants of this old centre of Islamic culture.

| MP3 256 kbps | Front Cover | 70 MB | Recording,1977 |

TRACK LISTINGS

[01]. Chhârbati Koshki
[02]. Na’t
[03]. Shaikh Ahmad-e Jâm
[04]. Bâdâ Bâdâ
[05]. Medley of wedding song "Olang olang", "Mobârak Bâdâ","Bilbi Gol Arus", "Haina ba-Kârha"
[06]. Shirin chaî na khordom
[07]. Dokhtar Amu Jân
[08]. Ai Zamân
[09]. Chahârbaiti
[10]. Sufi song
[11]. Allâh Hu
[12]. Asheq manam Laili
[13]. Jam-e Nârenji
[14]. Ghazal

HERE

Unesco Collection [7]. AKA PYGMY MUSIC - Central African Republic

Unesco Collection [1]. Anthology of World Music: Iran
Unesco Collection [2]. Afghanistan. Female Musicians in Herat
Unesco Collection [3]. Kudsi Erguner - Meditation
Unesco Collection [4]. Algerie, Sahara - Music of Gourara
Unesco Collection [5]. KOREA - Traditional Music
Unesco Collection [6]. Yemen - Traditional Music Of The North

The ancient Egyptians were the first to recognize the musical gifts of the Pygmies. Since our rediscovery of their music, the modernism of their art of counterpoint, polyphony and polyrhythmic sound never ceased to astonish us. They remain models of inventiveness for composers all over the world.

| MP3 256 kbps | Incl.Covers | 70 MB | Recording,1971 |

TRACK LISTINGS
01. Mongombi
02. Anduwa
03. Dikoboda Sombe
04. Dikoboda Sombe [Duet]
05. Bosobe
06. Bobangi
07. Koko Ya Ndongo
08. Nzenzenze
09. Balibo Sasasa
10. Mbola
11. Nzombi (Central African Republic)
12. Nzombi Duet
13. Epanda
14. Mombimbi
15. Monzoli

Download HERE

GRUPO QURTUBA Y MARÍA VALVERDE - MÚSICA ANDALUSÍ

Música Andalusí Grupo Qurtuba & María Valverde

(...) It is true that artists are nurtured andalusíes of poetry and music also evolved and developed their own compositions. One innovation was the poetic muwassaha (Muwashshah) estrófica this literary form is composed of verses in classical Arabic except for the last verse, called Kharja which closes the poem composed in Arabic dialect Andalusi. This creation is attributed to Qabri, blind poet of the tenth century from Cabra, Cordova. The zayal or zéjel is a popular genre in the form of verses sung verse in the language dialect of al-Andalus, are attributed to Ibn Guzman of Cordova, a poet of the twelfth century. Ibn Bayyadah (Avempace), Saragossa twelfth century imam, philosopher, poet and musician theoretical and practical, with its great capacity to gather and work contributed innovations and musical and poetic forms, have emerged previously in al-Andalus. The Andalusian music is unique in the Arab world that has preserved the musical roots of old schools. While the arts of al-Andalus flourished under the influence of the East, eastern own inventions began to imitate art as the Andalusian Muwashshah and zejél ... Qurtuba The Panel is composed of teachers and music professionals Andalusian School of Tetouan and Maria Valverde Andalusian home. The tools we use are related to the Andalusian music, remain essential, lute, Rabab, derbouka. With other instruments recover the importance they had in the formation of the traditional Andalusian orchestra ... Maria Valverde Fact Sheet: Maria Valverde (musical direction and vocal), Hicham Zubeiri (Arabic lute and musical collaboration), Abdelmaleck Bakhat (singing), El-Haj (Rabab), Abderrahman El Alaoui (tar), Mohammed El Khilfi (derbouka), Abdelaziz Ahiji (lute second), Mustafa Al-Hakam (nay), Youssef El Mezgeuldi (Kanun). Titles: Clouds: Hejaz AL - MASRIQI - GT (mode) in D minor. MIZÁN (rhythm) BASIT (slow), three rhythmic movements: Moassa-Qantarah-Insiraf / clouds: SADR AL - Dayle - GT (mode) in C major. MIZÁN (rhythm) wa-Qa'im nísf (andante) three rhythmic movements / clouds: Hejaz AL - Kabir - GT (mode) in D minor. MIZÁN (rhythm) Quddam (presto) three rhythmic movements.

| EAC WAV 1411 kbps - 390 MB | Booklet Scans | MP3 320 Kbps -135 MB

TRACK LISTINGS

Trad., al-Andalus
1. Nuba: Hiyaz al-Masriqi
2. Nuba: Rasd al-Dayl
3. Nuba: Hiyaz al-Kabir

Performers:
Grupo Qurtuba [María Valverde (voice), Hicham Zubeiri (ud), Abdelmaleck Bakhat (voice), El-Haj (rebab), Abderahman El Alaoui (tar), Mohammed El Khilfi (darbuga), Abdelaziz Ahiji (ud), Al-Hakam Mustafa (nay), Youssef El Mezgueldi (kanun)] - María Valverde, dir.


EAC WAV 1411 kbps [390 MB]

Part 1
Part 2
Part 3
Part 4

OR MP3 320 Kbps [135 MB]

Part One
Part Two

PW : WeLove-music

Cornelia Catanga - As pleca cu tine-m lume

Credits to AmbroseBierce
Cornelia Catanga As pleca cu tine-m lume Electrecord EDC 384, 2000
TRACK LISTINGS 01. Unii spun dac-ai bani 02. Blestemat sa fii de stele 03. Foaie verde, mar domnesc 04. Leaga-ti, lele, coada stanga 05. As da zile de la mine 06. Picaturi de untdelemn 07. Ia mai ada o damigeana! 08. Saraiman 09. Doamne, da-mi putere 10. Mosule, te-as intreba 11. As pleca cu tine-n lume 12. Sint fericit ca sint tata 13. Pentru cine am muncit 14. Cantec de ascultare si sarba de la Buzau

320 kbps mp3; including full booklet scans

Part One
Part Two

Gabi Lunca - Grea mi-e, Doamne, inima

Credits to AmbroseBierce
Gabi Lunca Grea mi-e, Doamne, inima Electrecord EDC 250, 1999
TRACK LISTINGS 01. Intr-o zi la poarta mea 02. M-a ajuns un dor de-acas 03. Am crescut baieti si fete 04. suparata sunt pe lume 05. Batui cu murgu cu palam 06. Omul bun n-are noroc 07. Am avut o maicusoara 08. Ma gandesc neica la tine 09. Pasare necunoscuta 10. Cantec la imbracatu' miresii 11. I Da, mama, cu biciu-n mine 12. Grea mi-e, Doamne, inima

320 kbps mp3; including full booklet scans

Part One
Part Two

Festival Nacional del Cante de las Minas - Antología

(International Mine Singing Festival. Anthology) (5 CD Box)

"The Festival Internacional del Cante de las Minas (International Mine Singing Festival) and the RTVE Música record label have maintained a regular and close cooperation, editing an anthological resumé which now, after a period spent recovering material and freeing documents which are of special interest from oblivion, have finally and joyfully resulted in the set that you are receiving from us. As you will have noticed, it is a series in which there is space for a valuable catalogue of flamenco styles sung by the voices of prestigious artists who belong to different eras, and who have taken part in this festival over its successive editions." José María Velázquez-Gaztelu.

| MP3 192-256 kbps | Covers | 520 MB | 5 CD box |

Festival Nacional de Cante de las Minas. Antología Vol. 1

The Festival Internacional del Cante de las Minas (International Mine Singing Festival) celebrates its 40th birthday. RTVE-Música, in cooperation with the La Unión town council and the Caja de Ahorros de Murcia, will commemorate the anniversary with this Anthology that is imprescindible in the record collection of any true enthusiast. It is a CD that features mine and Andalusian cantes (styles), in a word, flamenco. The purest forms of cante jondo ( an expression used to refer to the deepest and purest forms of flamenco) performed in the Festival, from Eleuterio Andreu to Curro Piñana, including Antonio Piñana, Pencho Cros, Luis de Córdoba and Encarnación Fernández, among others.

Part One
Part Two

Festival Nacional de Cante de las Minas. Antología Vol. 2

In this, the second record in the collection, we can find some juicy examples of the copla minera (mining copla, a form of traditional popular singing) sung by the voices of the master Juan Valderrama, Curro Piñana and Miguel Poveda, but also, as it is an anthology, we are given the opportunity to undertake a thorough journey through the most varied selection of flamenco formulas that have been performed over the years in the Festival Internacional del Cante de las Minas. These are samples which, in many instances, are veritable historical documents that are irrepeatable, like the serrana by Manuel Ávila, the soleá and alegrías by Fosforito and the jabera by Curro de Utrera.

Part One
Part Two

Festival Nacional de Cante de las Minas. Antología Vol. 3

A splendid selection from the festival, that spans the period from 1967 to 1993. It collects some wonderful displays of cantes mineros (mine styles) like the cartageneras by Carmen Linares and Manolo Romero, the taranta by Joselete de Linares and the minera by Encarnación Fernández, as well as different styles like the malagueña of Bernardo el de los Lobitos with Antonio Piñana's guitar playing, and the brilliant performances by Ginesa Ortega, Rogelio Beltrán El Puebla and Miguel Poveda, without forgetting about the brilliant tarantas and alegrías by Niño de Pura, in recordings from 1984 - when he was 18 years old - with which he won the First Prize for Guitar Playing in the Festival del Cante de las Minas.

HERE

Festival Nacional de Cante de las Minas. Antología Vol.4

This fourth volume includes a wide range of flamenco palos (forms). It features the voices of Miguel Poveda, Luis de Córdoba, Manuel Ávila, Manuel Infante 'Manolo Fregenal', Alfonso Paredes 'Niño Alfonso', Carmen Linares, Enrique Orozco, Diego el Cigala, Antonio Ayala 'El Rampa', Rocío Segura, Manuel Cuevas, Ginesa Ortega and Manuel Celestino Cobos 'Cobitos'. It also features some splendid guitarists who took their guitar playing to the competition in La Unión, such as Daniel Navarro 'Niño de Pura' and José Antonio Rodríguez. It is a CD that has the necessary elements and quality features to satisfy true flamenco enthusiasts.

Part One
Part Two

Festival Nacional de Cante de las Minas. Antología Vol.5

The fifth volume of this anthology which retrieves the best singers and guitarists who have passed through the stage of the Festival Internacional del Cante de las Minas. Radio Television Espanola (RTVE, Spain’s public broadcasting company) and the Festival embarked upon this joint venture some years ago to promote the survival, strengthening and divulging of the cantes mineros (mine singing) and of a flamenco contest that has already acquired worldwide recognition and prestige.

Part One
Part Two

Lalith Rao - Darbari Kanada, Desh

Credits to AmbroseBierce
Lalith Rao Raga Darbari Kanhada, Raga Desh Ocora C 560201, 2006
TRACK LISTINGS 1. Raga Darbari Kanhada: Alap 2. Raga Darbari Kanhada: Nom Tom 3. Raga Darbari Kanhada: "Jaise Mora Jee" (Vilambit Tintal) 4. Raga Darbari Kanhada: "Maalaniya Bandhanavara" (Drut Tintal) 5. Raga Desh: Tarana (Drut Tintal) Lalith Rao - vocals Bharathi Prathap - vocals Vyasmurti Katti - harmonium Gourang Kodical - tabla

Born on 6th November, 1942 Lalith Rao, showed an uncanny fondness for classical music right from her childhood. Perhaps her tryst with the Agra Gharana began at the age of 3, she sat through an entire four-hour recital of Ustad Faiyaz Khan, completely fascinated and spellbound. She began training under Pandit Rama Rao Naik, a disciple of this gharana. Lalith gave her first public performance at the Bangalore Sangeet Sabha in 1955 at the age of 12. In 1957, while still in school, she participated in Sur Singar Sansad`s All India Classical Music competition in Mumbai for budding musicians under the age of 30, and won the first prizes even though she was only just over 14. The same year she participated in the Swami Haridas Sangeet Sammelan and became the youngest participant of this prestigious event. She received rave reviews. A brilliant and versatile student, after she finished her B.Sc. she undertook a degree course Electrical Communication engineering and went on to do her post graduation abroad. However, during the arduous engineering course, music had to be relegated somewhat to the background. Her marriage to Jayavanth Rao in 1967 brought her to Delhi. Lalith was keen on pursuing a career in her very specialized field of engineering, but her husband`s coaxing finally took her back to classical music. It began with a short stint with Pandit Dinkar Kaikini, who initiated Lalith`s return to her musical roots. Soon after, Ustad Khadim Hussain Khan, the doyen of the Agra-Atrauli Gharana, came into her life. He thoroughly polished her singing style and taught her the finer aspects of the Gharana, as well as numerous ragas and bandishes. However, having virtually given up music for a number of years, she had to start all over again from the bottom rung of the musical ladder. So she decided to perform at the same Sangeet Sammelan in whose music competition she had won the first prize more than two decades ago. Her rendering was acclaimed as the best recital of the Sammelan and the newspapers announced that a new star had arrived in the musical firmament. That was probably the turning point in her career, as engineering slowly but surely started to recede into the background and music became her full-time pursuit. Thereafter she went on to perform in the Swami Haridas Sangeet Sammelan and later in almost all the music circles and major musical events all over the country. She regaled her audiences with her rich repertoire comprising Khayal, Dhrupad, Dhamar, Thumri, Tarana, Hori, etc. She was particularly acclaimed for her delineation of a wide variety of ragas bringing out their aesthetics and purity. She also developed her own unique style of singing taranas under the guidance of her Ustad. In 1981 she undertook her first concert tour abroad, performing in France, the UK and all over USA and Canada. Since then she has performed abroad several times. A Top Grade artiste of the AIR, she performs regularly on the Radio and Television. She has many commercial albums to her credit. In the mid `70s Lalith, along with other disciples and admirers of Ustad Khadim Hussain Khan, started a music organisation in Mumbai called Sajan Milap, named after Sajan Piya the nom de plume of the Ustad. She also spent a few years (1989-91) with ITC Sangeet Research Academy as their first Chief Co-ordinator for an archival project funded by the Ford Foundation. Later, in 1993, at the invitation of the Ethno-Musicology Department of the University of Washington in Seattle, she herself rendered nearly 500 traditional Agra-Atrauli Gharana compositions in a wide variety of ragas for their archival project. Sometime in 1993-94, Lalith faced one of the most traumatic periods of her career when she lost her voice on the eve of a tour of Europe. Under the guidance of Peter Harrison, she slowly regained her voice. She has now resumed her musical pursuits, having relocated to Bangalore and is also actively grooming talented disciples. (Nord-)Indien ist das Land der Wahl und die hier zu h?rende Musik der Dhrupad-Dhamar-Schule repr?sentiert die ?lteste überlieferte vokale wie instrumentale klassische Musik der Region. Auf der CD zu h?ren sind lediglich zwei Ragas, wobei sich die "Raga Darbari Kandada" freilich in vier Teilen über eine Stunde lang entwickelt. Diese Raga ist eines der berühmtesten Stücke der Musik des Hinduismus. Es verdichtet sich zunehmend, sowohl durch das allm?hliche Einfallen aller Instrumente (zwei Tampuras, ein Harmonium, Tablas und Raos Gesang, der teils durch eine zweite Stimme erg?nzt wird). Besonders bemerkenswert ist dabei das "nom tom", das hei?t das freie (Ein-)Singen ohne Worte, das die Musik sehr jazzig klingen l?sst. Die zweite Rage, Raga Desh, besticht durch ihre Rhythmik und die ebenfalls sehr ausgelassene vokale Improvisation. Lalith Rao, geboren 1945, ist eine der prominentesten Vertreterinnen dieser nordindischen Musikrichtung. - Thomas Divis

flac - full booklet scans in separate file

Download 1
Download 2
Download 3
Download 4
Download 5
Booklet Scans

Debu Chaudhuri - Desh

Credits to AmbroseBierce
Debu Chaudhuri Raga Desh India Archives Music IAM 1002, 1989
TRACK LISTINGS 1. Desh - Alap & Jor 2. Desh - Vilambit & Drut Gat, Tintal Devabrata "Debu" Chaudhuri - sitar Shafaat Ahmed Khan - tabla

Pandit Devabrata (Debu) Chaudhuri today is the foremost exponent of the Senia gharana. Initially trained under the late Panchu Gopal Datta, he trained for a fruitful 38 years under Sangeet Acharya Ustad Mushtaq Ali Khan, Sitar Sudhakar of the Senia gharana. His romance with the sitar started when he was all of 4 years old, he made his public debut at the age of 12 and his first broadcast for All India Radio was in the year 1948. Debu Chaudhuri is a man of many talents. He is India`s foremost sitar maestro, respected teacher and guru, composer of numerous mellifluous symphonies, creator of eight new ragas, author of three books and several monographs, eminent musicologist (successfully guiding 33 Ph. D. Scholars) and winner of numerous awards and honours. He has been conferred the prestigious Padma Bhushan, one of India`s highest civilian honours bestowed by the President of India and the most coveted Sangeet Natak Award for his invaluable contribution in the field of Indian classical music. He has also recorded many albums and cassettes with companies all over the world. In 1960, Debu Chaudhuri left Kolkata to join the newly established Department of Music at the University of Delhi in search of his mission to promote the purest traditional form of sitar playing being played by his revered Guruji, propagating its special techniques and quality not only in India, but all over the world. Here he taught for 40 years. His zeal for the propagation of Indian classical music has been boundless and he has delivered lectures at more than 130 Universities around the world, chaired various international seminars on music and has represented India at numerous cultural festivals. He has recently started a unique project to document rare instrumental compositions, which are being forgotten or overlooked by the present generation - a project so dear to his heart that his only ambition is to complete it during his lifetime. As the founder Chairperson of the Delhi University Culture council and as the former Dean and Head of the Faculty of Music and Fine Arts, Debu Chaudhuri`s contribution to the field of education places him on an exalted pedestal of respect in the domain of music all over the world. He enjoys wide popularity both as a Maestro of Sitar and as a learned teacher of music, a unique combination and achievement indeed. (ITC Sangeet Research Academy) Raga Desh is one Raga that I could recognize even before I knew anything about classical music, and I believe every Indian irrespective of familiarity with classical music will know it by it's sound. It is the Raga to which the National Song of India, "Vande Mataram" is set. It is an amazingly beautiful Raga, full of inspiring, uplifting sentiment and Shri Debu Chowdhuri does not disappoint with an exquisite Alaap. The Sitar that Debu Chowdhuri uses has a nice shimmering sound to it that sounds very nice as well. I very much like Panditji's performance of raag Desh. As one of the few well known sitar playing representatives of the Senia gharana, Pt. Debu Chaudhuri is an important musician. But he is also one of the best sitarists of the 20th. Century, in my opinion (along with Ravi Shankar, Vilayat Khan, Nikhil Banerjee, Budhaditya Mukherjee, Manilal Nag, Rais Khan, and perhaps Shahid Parvez). For more info on the artist see his website: http://www.debuchaudhuri.com/

flac - no scans

Download 1
Download 2
Download 3
Download 4

Kala Ramnath - Kala

Credits to AmbroseBierce
Kala Ramnath Kala Sense World Music SWMCD 038, 2005
TRACK LISTINGS 1. Raga Jogkauns - Gat, Vilambit Ektal 28:29 2. Raga Jogkauns - Gat, Madhyalay Ada Chautal 10:33 3. Raga Jogkauns - Tarana, Drut Ektal 6:13 4. Raga Bhatiyar - Gat, Madhyalay Tintal 15:14 5. Raga Bhatiyar - Gat, Drut Ektal 5:07

Young Maestro KALA RAMNATH, the contemporary torch bearer of the Mewati Gharana, stands today amongst the most outstanding instrumental musicians in the North Indian classical genre. Born into a family of musical talent, Kala began playing the violin at the tender age of three under the tutelage of her grandfather Vidwan Narayan Iyer. Simultaneously she received training from her aunt Dr. N. Rajam. For the past eleven years she has put herself under the training of Mewati vocal maestro, Pandit Jasraj. This has brought a rare vocal emotionalism to her art. Kala's violin playing is characterized by an immaculate bowing and fingering technique, command over all aspects of laya, richness and clarity in sur. All this innate artistry and technical brilliance combined with a rare and exquisite emotional quality are the hallmarks of the style. She has completely revolutionized the technique of playing the violin by taking this instrument so close to vocal music that today her violin is called "the singing violin". Kala has performed at all major music festivals in India, such as the Dover Lane Music Conference and others. In 1984, she won the first prize in the prestigious AIR music competition. In 1988, she became the first ever-Hindustani musician and violinist to record for CBS India Ltd. Besides being a brilliant and charismatic musician; Kala has also an outstanding academic record. A University first in her graduation and post graduation, she won the junior and senior government scholarships in the year 1979 and 1984 respectively. She is also an A-grade artist in Radio and Television. KALA has won the acclaim of discerning audiences and critics worldwide. She has extensively toured the US, Canada, UK, Europe, Russia, Australia, Africa, Middle East, Mauritius, Nepal, Bangladesh etc. Her lecture demonstrations and workshops in Music have been highly appreciated in these countries. She is the principal of the Pandit Jasraj School of Music Foundation in Tampa, Florida, Atlanta, Georgia and Los-Angeles, California. She is also a guest professor at the Sangit Academy, Brussels and Neufchâteau in Belgium. Exactly what happened when the violin fell into the hands of Indian musicians is a story that many of Jazzwise's readers will think they are familiar with, through violinists L. Subramaniam and his brother L.Shankar. As ever, a little knowledge is a dangerous thing, for they represent but part of the tale. What they represent is what happened when the violin fell into South Indian hands. Kala Ramnath represents what happened when one multi-minded man called A. Narayana Iyer decided to steer two branches of his family in different directions, in order that they would not compete with each other. His son T.N. Krishnan took the southern path; his daughter N. Rajam the Northern one. Rajam's niece, Kala, follows the Northern tradition. If you have never heard violin played in the Northern Indian style, do yourself a favour and try Kala out. Her repertoire here comprises 'Jogkauns' played as three original compositions in, respectively, a slow, medium and fast tempo. A 10-minute 'Bhatiyar' concludes the proceedings. If Mozart had been transported to the South Asian subcontinent this is what he and improvised Western classical music might have sounded like. The comparison is not thrown in to befuddle or impress. Kala Ramnath is a musician of giant-like qualities. - Ken Hunt

flac - no scans

Download 1
Download 2
Download 3
Download 4

Vishwa Mohan Bhatt - In Concert. Bihag, Desh

Credits to AmbroseBierce
Vishwa Mohan Bhatt In Concert - Bihag, Desh Raga Records, 1991
TRACK LISTINGS 1. Bihag – Alap 2. Bihag – Jor 3. Bihag – Jhalla 4. Bihag – Gat, Vilambit Tintal 5. Bihag – Gat, Drut Tintal 6. Desh – Gat, Sitarkhanital Vishwa Mohan Bhatt - mohan veena Sukhvinder Singh Namdhari - tabla

“Although guitar is a foreign instrument, he has a tremendous command over it. He has given a new dimension to it by merging the sound and style of guitar, sitar and sarod. The effect of his playing is unique.” —Padmavibhushan Ravi Shankar Pandit Vishwa Mohan Bhatt was born in 1952, of a musician family of Jaipur in Rajasthan. He received his initial training from his older brother Shashi Mohan, and is now a disciple of Ravi Shankar. He has modified his guitar by adding several chikari (drone strings tuned to the tonic), and eight sympathetic strings tuned to the scale of the raga being played, which ring out in the background when their note is struck on the main strings. This hybrid instrument, which Vishwa calls the Mohan Veena, is played like a Hawaiian slide guitar, and is ideally suited for the sustained, sliding notes of vocal style Indian classical music. Sukhvindar Singh, from Ludhiana in the Punjab, is one of today's leading young tabla players. Learning first to play the pakhawaj (the large double headed drum used to accompany Dhrupad vocal music) under Nihal Singh, he received a thorough training in the Banares tradition from his guru Kishan Maharaj. Rag Bihag is an important evening raga. The rasa (mood) is romantic combined with pathos, as in longing for one's lover. Basically following a major scale, it omits the second, third and sixth while ascending, and goes through both a natural and augmented fourth: S m G M P N S, S N D P M G m G R S (C F E F# G B C, C B A G F# E F E D C). There is an andolan (slow vibrato between microtones) on the sharp fourth, and the second, used only in descent to the tonic, is soft. The heart of the rag is the phrase P M G m G (G F# E F E). Vadi and samvadi (most important) notes are the third and seventh. Rag Desh is a rainy season rag, and played in the evening at other times. Mood is pathos and joy. Its ascending/descending stucture goes: N S R m P N S, R S n D P D m G R G N S. (B C D F G B C, D C Bb A G A F E D E B C). Vadi and samvadi are the second and fifth.

Chances are they won't be offering this on the Nashville Network, but this is a release of steel guitar music with a difference: the music being played on it is Indian classical music. Guitarist Bhatt takes an archtop guitar, adds drone and sympathetic strings, and plays it lap-style with a steel bar. The result sounds no more like Sol Hoopii than it does Buddy Emmons, though the basic technique is one common to bar pushers worldwide. Anyone familiar with the technique will be properly floored by Bhatt's playing on the "fast tintal" section of "Rag Bihag," a work that clocks in at a full hour. Recorded live in Pittsburgh, the two performances here represent serious Indian classical music (Ravi Shankar even endorses Bhatt's music and hybrid instrument) which will be of interest to lovers of guitar (and steel guitar) music in their many-splendored forms.~ Mark Humphrey

Creator of the Mohan Veena, Vishwa Mohan Bhatt has mesmerized the world with his pristine, delicate yet fiery music. Born on 27th July 1952, Vishwa Mohan Bhatt hails from a family of musicians and had his initial training from his elder brother, Shri Shashi Mohan Bhatt. Vishwa Mohan Bhatt has attracted international attention by his successful Indianisation of the western Hawaiian guitar with his perfect assimilation of sitar, sarod & veena techniques. By changing the strings that were originally used and adding ‘Chikari’ and 8 ‘Tarabs’ (sympathetic strings), he has given his guitar an evolutionary design and shape, and has developed his own style of playing Indian Classical music - a fine combination of ‘Gayaki Ang’ (Vocal style) and ‘Tantrakari Ang’ (Instrumental style). With blinding speed and faultless legato, Bhatt is undoubtedly one of the most expressive, versatile and greatest slide player s in the world. Being a powerhouse performer, Bhatt's electrifying performance always captivates the audience whether in the United States of America, Europe, Gulf countries or his motherland, India. An ‘A-grade’ artist of All India Radio and Television, he has participated in the National programmes of All India Radio and has given exclusive recitals of one hour in the ‘Sangeet Sabhas’ of Radio Sangeet Sammelan. He has given numerous lectures and demonstrations around the world and has numerous CDs and cassettes to his credit. A disciple of Pt. Ravi Shankar since 1983, Vishwa Mohan Bhatt has had accolades and honours heaped upon him. These include the Padmashree (2002), the Sangeet Natak Akademi Award (1998) and the Grammy (1994). (ITC Sangeet Research Academy)

flac - no scans.

Part 1
Part 2
Part 3

Unesco Collection [6]. Yemen - Traditional Music Of The North

Unesco Collection [1]. Anthology of World Music: Iran
Unesco Collection [2]. Afghanistan. Female Musicians in Herat
Unesco Collection [3]. Kudsi Erguner - Meditation
Unesco Collection [4].Algerie, Sahara - Music of Gourara
Unesco Collection [5]. KOREA - Traditional Music

The marriage songs, the percussion instruments of the Chargui dances, the repetitive and hypnotic melodies of the Qasaba flutes all stir our imagination. This is a rare opportunity to hear the mythical lute of Sanaa or the lyre, which has disappeared even from Greece.

| MP3 192 kbps | Covers | 70 MB |

TRACK LISTINGS

[01]. Chargui & Hakif dances
[02]. Gharzal
[03]. Zar
[04]. Rahil
[05]. Aghani Atifi
[06]. Mutawal
[07]. Yemenite Zafat
[08]. Mutawal
[09]. Ghina
[10]. Hakfat

HERE

Unesco Collection [5]. KOREA - Traditional Music

Unesco Collection [1]. Anthology of World Music: Iran
Unesco Collection [2]. Afghanistan. Female Musicians in Herat
Unesco Collection [3]. Kudsi Erguner - Meditation
Unesco Collection [4].Algerie, Sahara - Music of Gourara

Korean music differs from its Chinese or Japanese counterparts through its vigorous rhythms. Examples include the music of the Imperial Court performed with rare majesty, instrumental compositions raised to a high level of classical art, lyrical or popular songs; they all reflect a highly original ancient tradition.

| MP3 128 kbps | Booklet Scans | 55 MB |

TRACK LISTINGS

1. SU JE CHON
2. MANPA JUNGSHI JI KOK
3. DAE CHUI-TA
4. SAMHYON YONGSAN
5. CHONG SONG JAJIN HANIP
6. MAN-NYUN JANG-HWAN JI KOK
7. "THE WATERFALLS OF BAK-YON"
8. CHONGSUN ARIRANG
9. KAYAGEUM SANJO

HERE

Unesco Collection [4].Algerie, Sahara - Music of Gourara

Unesco Collection [1]. Anthology of World Music: Iran
Unesco Collection [2]. Afghanistan. Female Musicians in Herat
Unesco Collection [3]. Kudsi Erguner - Meditation

The Gourara region with its many cases is peopled by Zenetic, Bedouin and Sudanese tribes. Their different kinds of music show mutual influences, but the repertoires remain specific. The diversity is illustrated here by the ritual songs of Islam and maraboutism, a dance or a song praying for the fertility of the palm flowers. Recorded in 1974

| MP3 160 kbps | Booklet Scans | 60 MB |

TRACK LISTINGS

1. Ahellil Song
2. Tagerrabt Song
3. Hadra Song
4. Tebel Song Of The Meherza
5. Song For The Insemination Of The Date Palm
6. Song With Amzad Accompaniment
7. Dance With Qarqabou

HERE

The Essential Guide To Latin Jazz

The Essential Guide to Latin Jazz presents the finest names and most popular songs from this fashionable genre – a perfect introduction, via the players, the singers and the bands. This collection brings together luminaries from both jazz and latin music – many of whose artistic output was at its height when expressed as a fusion of the two. Jazz greats such as Stan Getz, Dizzy Gillespie, Joe Henderson and Duke Ellington sit comfortably alongside giants of the latin music scene, including Jose Feliciano, Celia Cruz, Tito Puente, Eddie Palmieri, Tania Maria and Irakere.

| MP3 VBR kbps | Front Cover | 230 MB | Apr, 2008 |

TRACK LISTINGS

CD1 - THE PLAYERS
[01]. Stan Getz – Samba De Uma Nota So (One Note Samba)
[02]. Charlie Palmieri – El Continental
[03]. Herbie Mann – Todos Locos
[04]. Cal Tjader – Afro-Blue
[05]. Dizzy Gillespie – Manteca
[06]. Joe Henderson – No More Blues (Chega De Saudade)
[07]. Paul Desmond – Theme from ‘Black Orpheus’
[08]. Paquito D’Rivera – Who’s Smoking?!
[09]. Ray Barretto – Johnny Come Lately
[10]. Luis Bonilla – !Escucha!
[11]. Jim Tomlinson – She’s A Carioca
[12]. Alex Wilson – Havana Thoroughfare
[13]. Hilton Ruiz – Mr. KenyattaHector Martignon – Colombaiao
[14]. Hector Martignon--Colombaiao
[15]. Rubén Gonz?lez – Nueva Guajera

CD2 - THE SINGERS
[01]. Antonio Carlos Jobim & Elis Regina – ?guas De Março (Waters Of March)
[02]. Jose ‘Cheo’ Feliciano – Oye Como Va (Aprieta)
[03]. Paula Santoro – The Girl From Ipanema
[04]. Ibrahim Ferrer con Los Bocucos – Mi Tonada Montuna
[05]. Tania Maria – Yatra-T?
[06]. Stacey Kent & Jim Tomlinson - The Gentle Rain
[07]. Eliane Elias – Doralice
[08]. Antonio Carlos Jobim – Lamento
[09]. Celia Cruz – Aguinaldo Antillano
[10]. Clare Teal – Madrugada
[11]. Flora Purim – Open Your Eyes You Can Fly
[12]. Ingrid Laubrock – Beatrice
[13]. Mark Murphy – Cantaloupe Island
[14]. Saskia - The Look Of Love
[15]. Jacqui Dankworth – Nuestro Tema

CD3 - THE BANDS
[01]. Mongo Santamaria – Brazilian Sunset
[02]. Poncho Sanchez – Se?or Blues
[03]. Machito Y Sus Afro-Cubanos & Graciela – Mambo Infierno
[04]. Tito Puente – Friquilandia
[05]. Mario Bauza & Graciela – Guateque De Chomba
[06]. Irakere – Homenaje a Beny
[07]. Duke Ellington – Caravan
[08]. The Bronx Horns – Catch The Feeling
[09]. The Brecon Brothers – Grazin’ In The Grass
[10]. Grupo Cabana – Desafinado
[11]. Danza Latina – Ran Kan Kan
[12]. Trio Da Paz – Keep The Spirits Singing
[13]. Coco All Stars – Macho
[14]. Perez Prado – Mambo No.5
[15]. Eddie Palmieri – Mi Cumbia

Part 1
Part 2
Part 3

Swinging Gentlemen

Swinging Gentlemen (Verve Jazzclub)
BREAKFAST AT TIFFANY´S, PINK PANTHER, CHARADE & OTHERS
| MP3 VBR kbps | Covers | 70 MB | 2007 |

TRACK LISTINGS

[01]. Yes Sir, That's My Baby
[02]. It's Only A Paper Moon
[03]. I Hear Music
[04]. 'S Wonderful
[05]. On The Street Where You Live
[06]. Makin Whoopee
[07]. Elmer's Tune
[08]. Blue Room
[09]. Tain't So Honey, Tain't So
[10]. Trav'lin' Light
[11]. Moon Song
[12]. You'd Better Love Me
[13]. Cherry
[14]. Shiny Silk Stockings
[15]. Kiss & Run
[16]. Taking A Chance On Love

HERE

Jazz Diva Easy Listening

| MP3 VBR kbps | Covers | 70 MB | Mar, 2008 |

TRACK LISTINGS

[01]. Light My Fire - Tahta
[02]. Her Jude - Monique Kessous
[03]. It's Too Late - Marcela
[04]. You'Ve Got A Friend - Tahta
[05]. Just The Way You Are - Marcela
[06]. Don't know Why - Lizet
[07]. Let's Stay together - Lizet
[08]. I Say A little Prayer For You - Taryn Szpilman
[09]. Isn't She Lovely - Cris Delanno
[10]. Love Dance - Marcela
[11]. My Cherrie Amour - Taryn Szpilman
[12]. She Loves You - Monique Kessous
[13]. Ribbon In The Sky - Tahta
[14]. Roxanne - Roberto Menescal Cris Delanno
[15]. Cry Me a River - Roberto Menescal Cris Delanno

HERE

Golden Legends - Blues Legends

| MP3 VBR kbps | Full Scans | 60 MB | Apr, 2006 |

TRACK LISTINGS

[01]. Mississippi Fred Mcdowell - good morning little school girl
[02]. Big Maybelle - i cried for you
[03]. Memphis Slim - cow cow blues
[04]. Leadbelly - big fat woman
[05]. B.B. King - the other night blues
[06]. Lightnin' Hopkins - lonesome dog
[07]. Buddy Guy - first time i met the blues
[08]. Ray Charles - blues is my middle name
[09]. Charles Brown - big legged woman
[10]. Roy Brown - boogie woogie blues
[11]. James Cotton Band - fanny mae
[12]. Johnny Otis - barrelhouse blues
[13]. Jimmy Mcgriff - jumping the blues
[14]. B.B. King - you've done lost your good thing now

HERE

The New Classical Generation 2008

The New Classical Generation 2008 is a CD compilation, showcasing the latest and freshest classical music talent.

This release features five tracks from the voices of five young classical crossover artists: Blake, Hayley Westenra, David Garrett, Jonathan Ansell and the highly anticipated Will Martin. Young and talented, each of these artists have helped to open up the classical genre to a wider and younger audience with their fresh repetoire of music.

| MP3 VBR kbps | Covers | 20 MB | Apr, 2008 |

TRACK LISTINGS

1. Will Martin - Cinema Paradiso
2. Hayley Westenra - Laschia Ch'io Pianga
3. David Garrett - Flight Of The Bumble Bee
4. Blake - 1492 Conquest Of Paradise
5. Jonathan Ansell - Here's To The Heroes

HERE

Legends Of Calypso

Features the legendary Calypso artists: Andre Toussaint, Blind Blake, Calypso Mama, Mighty Panther, Colin Kelly, Calyps Eddie and more

A collection of 25 witty and humorous Calypso songs – historical recordings and greatest hits by some of the greatest Calypso stars of the 1940s and 1950s.

The 25 songs cover an extremely broad range of styles from classic testifying to folk styles to crooned ballads. Probably one of the most (in)famous double-entendre calypso songs The Big Bamboo is included here given wittily brilliant treatment by its composer Mighty Panther who contributes several other pithy pieces to the collection. Calypso Eddie gives an extroverted version of the staple Matilda, Calypso Mama warns the men Don’t Touch Me Tomato while balladeer Andre Toussaint croons Yellow Bird over a Cuban beat.

| MP3 VBR kbps | Front Cover | 80 MB |

TRACK LISTINGS

[01]. Calypso Island ~ Andre Toussaint
[02]. Court House Scandal ~ Calypso Mama
[03]. Lizzie Carry Basket ~ Peanuts Taylor
[04]. De Pig An' Goat ~ Blind Blake
[05]. Brown Skin Gal / Mary Ann ~ Blind Blake
[06]. Crazy Like Mad ~ Leslie Scott & Irene Williams
[07]. Matilda ~ Calypso Eddie
[08]. Back To Back ~ Harold Digby McNair
[09]. Barbados Carnival ~ Mighty Panther
[10]. Bedbug Song, The ~ Mighty Panther
[13]. De Peas 'N' De Rice ~ Calypso Mama
[12]. Gin & Coconut Water ~ Blind Blake
[13]. Yellow Bird ~ Andre Toussaint
[14]. Mama Hold De Light ~ Mighty Panther
[15]. Bahama Lullaby Rock ~ Blind Blake
[16]. Don't Touch Me Tomato ~ Calypso Mama
[17]. Hold 'Em Joe ~ Andre Toussaint
[18]. Scratch My Back ~ Leslie Scott & Irene Williams
[19]. Bellamena ~ Blind Blake
[20]. Nora Nora ~ Mighty Panther
[21]. O' Look Misery ~ Blind Blake
[22]. Watermelon Spoilin' / Here I Go Walkin' ~ Andre Touissant
[23]. Monkey Song, The ~ Blind Blake
[24]. Big Bamboo, The ~ Mighty Panther
[25]. Snorkel Song, The ~ Colin Kelly

HERE

Al Di Meola - Colecao Folha Classicos do Jazz

Al Di Meola - Colecao Folha Classicos do Jazz Vol. 18

The guitarist won fame of the night for the day to join the Return to Forever with only 19 years. The trio with John McLaughlin and Paco de Lucia also has become legendary. He was one of the fastest guitarists in jazz fusion, but then started to focus also on world music, alternating the guitar with the guitar, which comes with the same dexterity. Son of Italians, Meola was born in Jersey City, New Jersey, on July 22, 1954. Since child, now frequented clubs, parsley, to discover the jazz with Chick Corea and Larry Coryell. In 74, the very Corea invited to come for the Return to Forever. The soils of fast and energetic rock Meola attracted the public, giving the group its best vendagens on discs such as "Where Have I Known You Before" and "Romantic Warrior." Two years later, he started solo career with "Land of the Midnight Sun." This and the subsequent "Elegant Gypsy," "Casino" and "Hotel Splendido" already brought elements of world music. In 80, Meola recorded with John McLaughlin and Paco de Lucia "Friday Night in San Francisco," which sold over two million copies. From the 90 he recorded more often acoustic music world, as "World Symphony" and "Di Meola Plays Piazzolla." In 96, formed the trio The Rite of Strings, with the violinist Jean-Luc Ponty and bassist Stanley Clarke (another former Return to Forever). His new CD, "Diabolic Inventions and Seduction for Solo Guitar, Volume I", has launch scheduled for the end of October, 2007.

| MP3 VBR kbps | Full Scans | 80 MB | Mar, 2008 |

TRACK LISTINGS

[01]. July
[02]. Traces of a Tear
[03]. Maraba
[04]. Song to the Pharoah Kings
[05]. Etude
[06]. Rhapsody of Fire
[07]. Coral
[08]. Beijing Demons
[09]. Ballad

HERE

Balkanbeats Vol.3

Volume 3 of the popular and original Balkan music compilation
| MP3 VBR kbps | Front Cover | 80 MB | May, 2008 |

TRACK LISTINGS

[01]. Opa Cupa (Slavic Soul Party!)
[02]. Ubicu te (Magnifico)
[03]. Jungle Shadow (Kiril feat MC Wasp & Rucl)
[04]. Balkan Qoulou (Watcha Clan)
[05]. Disko (friends of Boban Mix) (Shantel feat. Boban Markovic Orkestar)
[06]. Virágok a réten (Little Cow) 00:03:59
[07]. Turkish Honga (Streamer & mps PILOT remix) (Ot Azoj Klezmer Band)
[08]. Manea-k (Max Pashm)
[09]. Drunk of Sorrow (Parno Graszt)
[10]. Moscow Fever (Slonovski Bal)
[11]. Hopai Diri Da (edit) (Damian & Brothers)
[12]. Heymischer Bulgar (Garage-Mix 2004) (Al Jawala)
[13]. Nema Problema Tourist (Figli di Madre Ignota)
[14]. Dobrila (The No Smoking Orchestra)
[15]. Naj ma shela (Romengo)

Download HERE

Carmen Linares - Desde El Alma - Cante Flamenco En Vivo

World Network Vol.[01-35]
World Network Vol.[36-49]

World Network Vol. 25: Spain
Carmen Linares - Desde el alma - Cante Flamenco en vivo

Carmen Linares is widely acknowledged as the greatest living Flamenco singer. In Spain, where she has won many major competitions, including the Arte Flamenco, she is known as the Queen of Song. Her breathtakingly expressive voice vibrates with passion as she plumbs the dark depths and brilliant heights of the cante flamenco. Carmen Linares is accompanied by a percussionist and two guitarists who follow every nuance of her voice in the true Flamenco tradition, with an almost uncanny ability to anticipate each change of mood, however sudden or subtle. While Straight No Chaser, bible of the British acid jazz scene, claimed that "Linares has been the foremost exponent of Spain’s most intoxicating vocal style since 1968. There is an urgency and naked passion surrounding Carmen Linares’ work which defies all clichés"; this is how the London listings magazine Time Out put it: "She torques around the gaps of conventional diatonic tuning as a muezzin does. Her flamenco is so concentrated that you hear only music."

| EAC-APE - 260 MB | Full Scans | MP3 320 Kbps - 120 MB |

TRACK LISTINGS

[01]. Fandangos De Huelva (Ya No VA Mi Nina)
[02]. Malaguenas Y Rondena (Ni A Trios)
[03]. Tangos (Por La Calle Vienen)
[04]. Seguiriyas (Sin Apelacion)
[05]. Romeras (De Que Te Sirve El Saber)
[06]. Martinetes (Por Que La Lunita Crece)
[07]. Tientos (Acordandome De Ti)
[08]. Cartagenera Y Taranta (Adonde Vamos Dios Mio)
[09]. Bulerias (A Mi Lucia)

EAC-APE [ 260 MB]

Part 1
Part 2
Part 3

OR MP3 320 Kbps [120 MB]

Part One
Part Two

Loyko, Road of Gypsies

World Network Vol.[01-35]
World Network Vol.[36-49]
World Network Vol. 26: Russia: Road Of The Gypsies

This is Russian gypsy music performed with consummate mastery. Their sell-out Frankfurt concert, recorded on this album, prompted the leading German daily Frankfurter Allgemeine Zeitung to write: "Nobody wanted to let them leave the stage. Musicians through and through, they really gave everything in this concert. Virtuoso dances, gentle romances, melancholy minor keys and a capella song – Loyko know exactly how to draw out the very quintessence of musicianship. With sharp-witted irony, they interpret the musical treasures of Eastern Europe which have developed into an independent genre in Russia and have influenced Russian music. Loyko add their own special touch with some unique arrangements and skilful tempi." Another leading German daily, the Süddeutsche Zeitung, was no less enthusiastic: "With exquisite a capella singing the trio goes straight to the very soul of the audience."

| MP3 320 kbps | Covers | 120 MB |

[01]. All the Cards
[02]. Heyka
[03]. Vagabond
[04]. Telema
[05]. Korobochka
[06]. Turn and Spin
[07]. Smelka
[08]. Kumushka
[09]. Road of the Gypsies
[10]. Who Goes There
[11]. Brahms
[12]. Brothers in Law
[13]. Lautary
[14]. Gulya

Part One
Part Two

World Music Library "Best Select Library"

World Music Library "AFRICA"
World Music Library "CENTRAL AND WESTERN ASIA"
World Music Library "SOUTH ASIA (India and Pakistan)"
World Music Library "SOUTH EAST ASIA (Burma, Thailand, Vietnam, Laos)"
World Music Library "MONGOLIA, TIBET AND NEPAL"
World Music Library "CHINA"
World Music Library "JAPAN AND KOREA"
World Music Library "INDONESIA (Bali,Java and Sumatra)"
World Music Library "EUROPE"
World Music Library "MIDDLE EAST"

[01]. Celebrations of Japanese music
(Japanese Festival Music)

| MP3 320 kbps | Full Scans | 135 MB |

Part One
Part Two

[02]. Hayashi, Music of Vaudeville
KICW-8635, KING RECORDS,
Traditional Instrumental music of kabuki, Bunraku, Japan


| MP3 320 kbps | Full Scans | 85 MB |

HERE

[03]. Music from Ryukyu
KICW-1093, KING RECORDS,
The Soul of Island Songs
(Traditional, Folk, Okinawa, South Japan)


| MP3 320 kbps | Full Scans | 125 MB |

Part One
Part Two

[04]. Theme Songs from Old time Japanese TV and Radio
KICW 8604, KING RECORDS.


| MP3 320 kbps | Full Cover Scans | 85 MB |

HERE

[05].The Song of Esashi Oiwake
Rhymes to prominent people of Hokkaido.


| MP3 320 kbps | Full Scans | 125 MB |

Part One
Part Two

Loutfi Bouchnak & l'Ensemble Al Kindi

Credits to AmbroseBierce
Loutfi Bouchnak & l'Ensemble Al Kindi
Chants Classiques de Tunisie et du Moyen-Orient Al Sur ALCD 113, 1993
TRACK LISTINGS 1. Premiere suite en mode Asbu 'Ayn 2. Seconde suite Wasla en mode Asbu 'Ayn 3. Troisieme suite Wasla en mode Bayati Loutfi Bouchnak - vocals, ûd Seifallah Abderazak - violin Sofiane Nagra - ûd Nabil Abdel Mouleh - nay Adel Shamseddin - riqq Julien Jalâl al-Dîn Weiss - qânûn

320 kbps mp3; including full booklet scans

Part One
Part Two

Manolo Caracol - Grabaciones Discos Pizarra Año 1930-40-50

Credits to AmbroseBierce
Manolo Caracol Grabaciones Discos Pizarra Año 1930-40-50
Discmedi DM 642 02, 2002
TRACK LISTINGS 01. Fandangos 02. Fandangos 03. Solerares 04. Es rico y es caballero (media granaina) 05. Gitana Blanco (Zambra) 06. Mi caballo (bulerias) 07. Bulerias 08. Fandangos 09. Fiesta Jerezana (bulerias) 10. Serrana 12. Zambra 14. Carceleras 15. Fiesta gitana 16. Fandangos 17. Tientos 18. Fiesta por bulerيas 19. Fandangos de la Alhambra (fandangos) 20. Sin que nadie me sintiera, creyendo que estaba dormida (fandangos) 21. No me la dejaron ver (solea por bulerias) 22. En un humilde barquillo sintiَ la muerte llegar (fandanguillos) 23. Que no se debe matar, tener compasiَn de mi (fandangos) Manolo Caracol - vocals Manolo de Badajoz - guitar (19-22) Manuel Morao - guitar (8, 10, 12-14, 18) Melchor de Marchena - guitar (3, 15) Niٌo Ricardo - guitar (11-16)

Manuel Ortega Juárez. Sevilla, 1909 - Madrid, 1973. Singer. The last genius of a fabulous Gypsy dynasty that gave flamenco and bullfighting legendary names. To quote but a few, Enrique Ortega (father and son) los Gordos, Curro Dulce, los Gallos; and before, probably El Planeta and El Fillo. "You are born singing - he used to say, - but you then need to perfect the cante to have a spirit of your own. One must live the atmosphere of cante and learn the good things other people have". He had always lived it, and very intensely: "The rich revelers and morning performers, after touring the ventas in the outskirts at night, used to go to the Alameda de Hércules to end the revelry with churros and aquavit. As my father was a performer, I used to go with them. Due to that, when I went to school in the morning, I was among the performers and rich young men who were winding up the fiesta. Sometimes my father called me, and other times I went along, and y stayed in the doorway to listen to them singing". He triumphed as a child at the Cante Jondo Competition in Granada in 1922. Manolito Ortega, who began to be known as Niño de Caracol, from then on, went to Granada and won a first prize, of a thousand pesetas, ex aequo with an old man, Tenazas de Morón. He was immediately hired for same shows, but he lived out that first stage almost exclusively at private fiestas, which may have lasted more than a day. During the Spanish Civil War, the fiestas practically disappeared, and Caracol mainly worked in the theater to survive. That is how the staged scene arose, due to his heterodox genius and his taking his highest expression along with Lola Flores as of 1943, when the two exceptional performers met and began to work together. Such titles as La niña de fuego or La salvaora toured the world. He also acted in several films. Caracol and Lola separated due to a millionaire contract they were offered by Cesáreo González to make some films in America, which he did not wish to accept and she did. The singer set up other shows and attempted to form a new great couple, starting then with his then very young daughter Luisa Ortega, although in none of the cases was it the same. He was an outstanding singer, but irregular, as inspired singers generally are. He put his personal, unique touch to almost all the genres he approached, provoking overwhelming passions among followers and detractors. He emphasized his own personal style of cante. "I have not copied anyone. I have made theater, I have created a school, and what I sing is my own and I do not seem like anyone. Bad, good, regular, worse, it is by Manolo Caracol... My school is a very ... very strange school. I have created very difficult things, like, for example ... , who would have told Enrique el Mellizo, or Silverio, or Chacón, or Tomás el Nitri, that I would sing to the piano and that I would sing La salvaora at the end of cante por malagueñas..." He had a reputation as a heterodox performer, because he did things the purists would not forgive him - singing with the piano, for example, or with an orchestra, which is done so often nowadays -, but he passionately defended his own criteria and never backed down. "You can sing with an orchestra and you can sing with bagpipes! You can sing with everything, with a violin, with a flute ...!" Some of his thoughts about the jondo art could almost give rise to a theory of cante: "When I sing, I do not remember Jerez, or Cadiz, or Triana; nor do I remember anyone. I try to sing half voice, which is how it hurts. That is the profundity; because cante is not about shouting and is not for the deaf. Cante must be performed with a deep caress, the small pinch. Whoever starts to shout, he will not survive ...".

320 kbps mp3; including full booklet scans

Part One
Part Two

Rajeswari Padmanabhan - Sambho Mahadeva

Credits to AmbroseBierce
Rajeswari Padmanabhan Sambho Mahadeva
Wergo SM 1709 2, 2004
TRACK LISTINGS CD 1 01. Varnam: Moha-lahiri 02. Krti: Sri-Jalamdharam 03. Krti: Samkari niv’ani 04. Krti: Sambho Mahadeva 05. Krti: Cittam eppadiyo 06. Alapanam – Tanam – Krti: Kaddanuvariki with kalpana-svarams 07. Tillana: Di mi ta ja nu 08. Mangalam: Pavamanasutudu 09. Krti: Ramacandram 10. Krti: Mari vere CD 2 01. Alapanam – Tanam 02. Krti: Eduta nilicite with niraval and kalpana-svarams 03. Krti: Sobhillu 04. Krti: Krpa jucutaku 05. Krti: Sankari ninne 06. Krti: Sarasa sama dana 07. Krti: Nenar uncinanu Rajeswari Padmanabhan - vina Karaikudi Sambasivayer Subramanian - vina Tanjore Upendran - mridangam

The "vina" is one of the most important musical instruments used in Carnatic music, which today is still a living musical art and an essential cultural aspect of South India. Rajeswari Padmanabhan and Karaikudi Sambasivayer Subramanian are playing the "vina" in the 9th generation and the remarkable percussionist Tanjore Upendran accompanies them on the "mridangam". The recordings for "Sambho Mahadeva" (Great god Sambhu) were made in June 1975 in the studios of Sender Freies Berlin and the Ethnological Museum in Berlin and include 7 first recordings of a total of 17 pieces. The extensive booklet contains - besides descriptions of the compositions and their respective musical styles - numerous examples of notations and many photographs.

"0, Great God Sambhu is the latest release in Wergo's Museum Collection Berlin series. The album features the South Indian vina (lute), one of the most important instruments in Carnatic music, as played by Rajeswari Padmanabhan and Karaikudi Sambasivayer Subramaniam, with percussion accompaniment by Tanjore Upendram on the mrdangam. These studio and concert recordings were made in Berlin in 1975. As is the norm in this series, the booklet (128 pages German/English) is incredibly detailed and informative."

320 kbps mp3; including full 128 page German/English booklet scans

Part 1
Part 2
Part 3
Part 4

World Music Library "MIDDLE EAST"

World Music Library "AFRICA"
World Music Library "CENTRAL AND WESTERN ASIA"
World Music Library "SOUTH ASIA (India and Pakistan)"
World Music Library "SOUTH EAST ASIA (Burma, Thailand, Vietnam, Laos)"
World Music Library "MONGOLIA, TIBET AND NEPAL"
World Music Library "CHINA"
World Music Library "JAPAN AND KOREA"
World Music Library "INDONESIA (Bali,Java and Sumatra)"
World Music Library "EUROPE"

[01]. World Music Library, KICC 5103 - Iraqi Music.
Ud Taqsim and Pasta

Ud is a stringed instrument, and taqsim, an improvisational style. Pasta is a beautiful solo vocal performance based on fixed rhythmical patterns called maqam and ika.

| MP3 192 kbps | Full Scans | 65 MB |

HERE

[02]. World Music Library, KICC 5104 - Iraq - Music Of Iraq

Featuring various music, from popular urban songs, folk music and religious music.

| MP3 320 kbps | Front Cover | 135 MB |

Part One
Part Two

[03]. World Music Library, KICC 5105 - Iran - Music of Iran, I

This is the first recording to introduce the post revolutionary music of Iran, a style adding the western taste onto practices of Iranian traditional music. An exquisite ensemble performance of traditional instruments and Avaz, a style of vocals.

| MP3 320 kbps | Full Scans | 120 MB |

Part 1
Part 2

[04]. World Music Library, KICC 5147 - KICC 5106 - Iran - Music of Iran, II


| MP3 320 kbps | Front Cover | 115 MB |

Part One
Part Two

[05]. World Music Library, KICC 5170 - Egypt - Classical Music of Egypt


| MP3 320 kbps | Covers | 145 MB |

Part One
Part Two

[06]. World Music Library - Egypt - Vocal Music of Egypt

This album introduces western influenced modern songs of Egypt performed by three distinguished musicians playing representative instruments of Arabic classical music, the ud, qanun, and the nay, in the improvisational style, taqsim.

| MP3 320 kbps | Booklet Scans | 115 MB |

Part One
Part Two