MANOLO CARACOL: SUS MEJORES ZAMBRAS 2

MANOLO CARACOL: SUS MEJORES ZAMBRAS 1

| Mp3,320 kbps |95 MB | 2008 | Flamenco|
01. La niña de fuego
02. Compañera soberana
03. Zambra del campanero
04. Ecos del penal
05. Cuando se acaba el parné
06. Lamento de Córdoba (Fandangos)
07. Luna Morena
08. De Caracol a Manolete
09. Morita mora 10. Azucena
11. Lamento gitano
12. Rosa venenosa
13. Cruces de tormento

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Omar Metioui - Laud Andalusi

Omar Metioui - Laud Andalusi

On this recording, Metioui recovers the music of the oud masters of early this century who were recorded, and whose music was more directly linked to AndaluciaÕs Arab past. The resulting sound is quite different from that of most of todayÕs oud players, soulful, and dazzling in its virtuosity. Includes a beautiful booklet with a history of the instrument.

Omar Metioui est né à Tanger en 1962. Parallèlement à des études pharmaceutiques à Bruxelles, il a étudé la musique arabo-andalouse au Conservatoire de Tanger à partir de 1974. Il a rejoint l'orchestre principal de musique andalouse de Tanger "El-'Arbi s-Siyyár" comme luthiste en 1976. Il fut premier luthiste de 1987 à 1994 de l'Orchestre du Conservatoire de Tanger sous la direction du Chiekh Ahmed Zaïtouni. Il a occupé également cette fonction de 1991 à 1994 au sein de l'Orchestre du Ministère des Affaires Culturelles.

En 1994, il a créé avec Eduardo Paniagua le groupe hispano-marocain de musique andalou-maghrébine "Ibn Báya". Il a créé plus tard, en 1997, un groupe de musique sacrée au sein de la confrérie "Al-Shushtari". La même année, il a créé l'ensemble "Al-Ala Al-Andalusiyya".

Omar Metioui a participé à plusieurs concerts en différents pays européens (Espagne, Portugal, France, Belgique, Pays-Bas, Italie), asiatiques (Japon, Iran) et arabes (Algérie, Tunisie, Egypte, Yémen, Jordanie, Syrie).

Aujourd'hui, Omar Metioui exerce sa profession de pharmacien à Tanger tout en développant sa vocation de musicien et de musicologue sur tous les continents.

Omar Metioui was born in Tangiers, Morocco in 1962. He initially studied pharmacology in Brussels, before returning to Tangiers to study solmization, Andalusi singing and oud at the Conservatory of Music and Dance. Between 1976 and 1980 he sang and played the oud with El Arbi s-Siyyar, the main Andalusi orchestra in Tangiers. He is currently first lute with the Conservatory orchestra, and continues to perform throughout Europe and the Arab world.

This CD is on the Sony Classical label. It features improvisations and vocal/oud pieces, each of which is in a particular Andalusian mode or tab'. Although marketed as a lute recording, the instrument used is definitely an oud!

Tab' s-Sika
1. Taqsim
Tab' al-Hiyaz al-Kabir
2. Bugya 2:26
3. Twisya de la Nuba
4. Taqsim 4:40
5. Twisya de la San' a
Tab' al-Istihlal
6. Taqsim
7. San' as Dary
Tab' 'Iraq al-'Ayam
8. Kursi Basit
9. Taqsim
10. Twishya de la Nuba
Tab' s-Sahli
11. Taqsim
12. Muwwal (Show them, haughty and alluring), Ibn al-Farid (1181-1235)


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Shankar, Menuhin, Rampal - Improvisations-east meets west 3

Improvisations: 4 Indian Ragas: Menuhin, Shankar, Rampal


The above front cover is the German version

Ravi Shankar and Yehudi Menuhin are almost exact contemporaries. During the late 1960’s and early 1970’s, Shankar assumed a position of paramount importance, mainly because of his collaboration with the Beatles and his involvement in the Concert for Bangladesh. However, for some obscure reason, his traditional Indian music was not able to command the same interest later on. Menuhin is especially remembered because of his interpretative genius, although he was a musical prodigy: the pupil of Enescu, an exquisite conductor, and a refined composer. The latter quality was only utilized for special occasions and the scant information does not leave us in a position to ascertain the reason behind Menuhin’s compositions we have on disc. Although the compositional spirit of both artists seems to be similar, there are some important differences worth pointing out. Shankar’s music on this album is a patchwork of sitar-based pieces linked by a common thread of chant (the Asian musician has also recorded an album of traditional Hindu mantras set to classical Indian music). His ecstatic ragas (which are normally improvisational jazz-like pieces) also employ the use of low ranges, and a manipulation of scoring to increase the dramatic contrast. The model for all these traits is to be found in such masterpieces as RAGA ANANDA BHAIRAVA, RAGA PILOO, and SWARA KAKALI, all based on ancient Indian ragas for which Shankar seems to have a great admiration. Menuhin’s compositions betray a certain affinity with Debussy and the French Impressionist tradition. His more functional style aspires to not much more than the simple harmonization of the violin and the sitar tunes, and through the languid and relaxed charm of this music, he is able to create some wonderful reflective melodies out of the simplest of ideas, as in TENDERNESS and TWILIGHT MOOD. These two exemplary musicians of the WEST-MEETS-EAST tradition, as they were initially known, are truly fine examples of transcultural polyphonic art when it was starting to flourish, in the late 1960’s, and which was to culminate in the absolute masterworks of the fusion era, with its peak in the 1990’s. This is an amazing recording despite its lean playing time. DANIEL DELEANU

Tracklisting:
A1 Tenderness
A2 Twilight Mood
B1 The Enchanted Dawn
B2 Morning Love

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ADEL SALAMEH & NAZIHA AZZOUZ - KANZA

ADEL SALAMEH & NAZIHA AZZOUZ - KANZA

01 Le Secret
02 Kanza
03 Le Rendez Vous Imaginaire
04 Bronwen
05 Layloun Ajeeb
06 Les Ailes Du Desert
07 Ya Ghazalan
08 Forgivness
09 Je Pleure Ton Amour

Adel Salameh and Naziha Azzouz may offstage be man and wife, but onstage their relationship is no less close: Kanza reflects a lovely congruence of artistic intentions. Naziha comes from a family of musicians in Oran, but since the age of 12 has lived in France; Adel was born in Palestine, studied music in Jordan, and has spent the last 12 years working in Europe. All the tracks on this compelling album are his own compositions or arrangements, but the magic they exude derives from an instrumental symbiosis: Adel's oud, with Barbaros Erkose's clarinet, Abdel Ghani Krija's percussion--and Naziha's voice. This latter has a dark timbre and exceptionally pure intonation, and it's deployed with a very conscious artistry in songs that meld Palestine with medieval Andalusia. When Naziha takes the lead, Adel faithfully follows, echoing her melismatic turns of phrase. When Adel holds the floor, you hold your breath; when Barbaros's clarinet soars up into the silent air, you can feel the silence all around. Everything here is acoustic, with no whiff of the studio; head, heart, hands and lips do the biz unaided. --Michael Church

Né en Palestine, à Nablus exactement, Adel Salameh à prêté ses talents de soliste aux plus grandes formations arabes. A Londres, où il s’est installé , il s’est taillé une excellente réputation. Virtuose du ‘ud, il tire son inspiration musicale des musiques orientales. Naziha Azzouz est algérienne. Elle travaille avec Adel depuis longtemps. Ces deux musiciens ont appris à se connaître et à mêler leurs sons respectifs. « Kanza », leur dernier album, est plein d’émotion et de profondeur. Lumineuse, pure, profonde leur musique respire comme le souffle du vent sur les dunes du désert . Il se dégage de ce disque beaucoup de poésie et de sensualité, de couleurs et de saveurs. Le piment harmonique est doux, les rythmes sont onctueux, et la voix de Naziha donne de la sensualité à ces mélodies. Barbaros Erkose à la clarinette et Abdel Gani Krija au darbouka, au Riq et au Bendir, impose eux aussi leur style. Les teintes de leurs instruments soulignent la clarté et la beauté de ces paysages musicaux si secrets, si mystérieux, si attirants. A découvrir.

De l’oud, Adel Salameh n’a gardé que les tensions acoustiques et les silences pour que puissent se glisser la voix de Naziha Azzouz et, surtout, la clarinette chantante de Barbaros Erkose, les percussions se faisant plutôt discrètes pour un assemblage très doux et d’un bel équilibre.

Unis par les liens du mariage mais aussi par ceux de la scène, le joueur de ‘ud palestinien Adel Salameh et la chanteuse algérienne Naziha Azzouz nous invitent à passer en leur compagnie une lune de miel imaginaire entre Andalousie et Anatolie. Empruntant à une gamme d’expressions variées, allant d’une possible complainte kabyle à une farandole moyen-orientale, cet album traite avec pudeur et ferveur de thèmes ancrés dans la mythologie arabe ( au premier rang desquels la passion amoureuse ). Sur un toile instrumentale intimiste, la voix de Naziha se distingue par ces subtils chevrotements mélancoliques. Oscillant entre sanglots contenus et grâce céleste, l’Algérienne suspend magistralement le temps et noue au passage la gorge de l’auditeur ébahi. D’une solennité parfois troublante, son organe est illuminé par une orfèvrerie acoustique aux lignes fluides et aux timbres purs évoquant certaines productions ECM. Tandis que le oud se déploie en arabesque dentelées, la clarinette imprime sa douceur nasillarde. Mais au milieu de ce ruissellement de mélodies orientales climatiques, une rupture , un silence peuvent à tout moment intensifier la charge émotionnelle. D’exaltation primesautière en meurtrissure sentimentale, Kanza constitue un recueil d’états émotionnels, un carnet de poèmes musicaux dont la richesse n’a en définitive d’égale que la virtuosité bienveillante de ses créateurs.

Born in Palestine in Nablus exactly, Adel Salameh has lent his talents as a soloist with the largest Arab formations. In London, where he installed, it has earned an excellent reputation. Virtuoso 'ud, it draws its musical inspiration Eastern music. Naziha Azzouz is Algerian. She works with Adel long. Both musicians have learned to know and mingle their respective sons. "Kanza", their latest album, is full of emotion and depth. Light, pure, deep as their music breathes the breath of wind on the dunes of the desert. It emerges from this disc a lot of poetry and sensuality, colors and flavors. The harmonic pepper is soft, smooth rhythms are, and the voice of Naziha gives sensuality to these melodies. Barbaros Erkose the clarinet and Abdel Gani Krija to darbouka at riq and Bendit, also imposes their style. The hues of their instruments emphasize clarity and beauty of these musical landscapes if secret, so mysterious, so attractive. To discover.

The oud, Adel Salameh has kept tensions that acoustic and silences that can drag the voice of Naziha Azzouz and especially the clarinet for Barbaros Erkose singing, percussion being rather quiet for a very mild assembly and a nice balance.

United by marriage but also by those of the scene, the player 'ud Palestinian Adel Salameh and Algerian singer Naziha Azzouz invite us to spend with them a honeymoon imaginary between Andalusia and Anatolia. Using a range of expressions varied, ranging from a possible complaint Kabyle a Middle Eastern dance, this album deals with modesty and fervor of themes rooted in mythology Arabic (foremost among them the love). On a canvas instrumental intimate, the voice of Naziha is distinguished by subtle jitter melancholy. Oscillating between sobs and through celestial content, the Algerian masterfully suspends time and ties in passing the throat of the listener astounded. In a solemn sometimes disturbing, his body is illuminated by a lines goldsmith acoustic fluids and stamps evoking pure ECM market. While the oud arabesque unfolds in jagged, clarinet nasillarde prints its sweetness. But in the middle of this runoff Eastern melodies climate break silence at any time can intensify the emotional charge. On primesautière exaltation in emotional wounds, Kanza is a collection of emotional states, a book of poems whose music has the wealth ultimately matched only benevolent virtuosity of its creators.

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Paco Pena - A Flamenco Guitar Recital

Spanish guitarist Paco Peña (born 1942) is known for his continued contributions to and explorations of flamenco music. He has recorded frequently, but appears to be in his element when performing in front of an audience, which could be anywhere throughout the world.

Acoustic Guitar noted in a 2002 interview that Peña "is known all over the world for the depth and intelligence of his music and for the breadth of his work as a collaborator, composer, and producer. His primary vehicle has always been the flamenco cuadro, a small ensemble including guitar, singers and dancers and his primary focus has always been on flamenco puro, pure flamenco… . However, he has never treated flamenco as something to be kept sacrosanct and separate from other forms of music and has shared the bill with everyone from Jimi Hendrix to Joe Pass to Leo Kottke."Childhood Devoted to Learning Guitar

Peña was born in Cordóba, Spain, in 1942 and grew up in Andalucía. He was one of nine children, one brother and seven sisters included. Peña recalled in that same Acoustic Guitar interview that his "mother had a vegetable stall in the market. We lived in a Casa de Vecinos, a house shared by about ten families. We had one very small room upstairs, and one room downstairs. The families lived in various bits of the house and we all shared one toilet and one kitchen," he said. "In that situation, people made their own entertainment, and the kind of entertainment they made was a kind of flamenco or whatever was going on in the popular music of the time. The inclination of any young child was to join in."

Peña explained this music to the UCLA Daily Bruin, "Flamenco is similar to the blues… . It has a tinge of sadness, an element of fight and rebellion. It is pain and suffering with explosions of great happiness. It is a symbol of Spain."

Peña's brother had begun playing guitar, which prompted him to start playing as well. Peña was not formally tutored in the art of guitar; he learned from his brother or friends and neighbors. He joined in with whomever was playing or singing in the neighborhood for fun. Peña was inspired by other musicians he heard on the radio, namely Elvis Presley and Paul Anka. His desire was to emulate them and other successful musicians.

His only musical education came at age nine, when he joined a rondalla, or folk ensemble. He contends his future successes were directly correlated to his desire and talent, which made others in the community invite him to play or participate in concerts. Peña was playing guitar whenever he could with whomever would ask him to play or accompany them.

Peña told Acoustic Guitar, "the thing was to just join in and make mistakes. That's the way you learn flamenco. I don't want to sound sad or dramatic, but I didn't have any money for lessons. I had a friend, about my age, who played guitar in the market square. He had a teacher. He was learning bits from his teacher and I was learning bits from him. You try to absorb what you can."

By some accounts, Peña began his professional career at the age of 12. He was involved in a government program designed to keep the traditions of various folk music and dances in Spain alive. It was during tours throughout Spain, as a part of this program, that he was hired to tour with a flamenco company. Peña was still attending school, but two years later, he was forced to leave school to help the family. He worked for a notary and in a hardware store while continuing to play.

Knowing that he wanted to pursue a career as a flamenco guitarist, he left for Madrid, then played clubs in the Costa Brava. Performers playing in the Costa Brava had a relatively easy life which consisted of playing guitar each night for about an hour-and-a-half. Days were spent meeting women at the beach and eating good food, but that was not enough.

Embarked on Career as Soloist

During a tour, he had been asked to perform a solo, which was atypical within the Spanish flamenco tradition. Peña began to wonder about the possibility of becoming a successful solo performer. In retrospect, he told the UCLA Daily Bruin in 1996 that his experience as part of a company left him "disillusioned." He says he "expected people to be perfect, which was stupid, and when I saw that some people were not seeking artistic endeavors, I felt I was wasting my time and decided to play on my own." As for the transition to performing solo, he says it was "all quite by accident."

Peña ultimately moved to London with a flamenco company at the age of 24. Recalling his only solo appearance, the guitarist was tentative about performing alone, but says everything fell into place quickly. "I had a job waiting for me when I arrived. I was the main attraction at Restaurante Antonio in Covent Garden in London. Of course, my intention was to push on. Eventually, a manager saw me and one thing led to another," he told Acoustic Guitar. "I was fascinated with the idea of being a professional, of being able to convince [an audience] with what I was doing."

One of his first big performances was at a "guitar in" at London's Royal Festival Hall. Jimi Hendrix was the headlining performer. Peña made his solo debut at Wigmore Hall, also in London. Of that performance, Peña told Mixdown Monthly that he was "quite unprepared for the experience of that event. It was very dramatic, because I was quite young, and in a way quite innocent about showbiz and all that."

About this same time, he began learning technique from other guitarists, both classical and flamenco. He ultimately decided he needed to change his playing technique dramatically in order to improve his playing. Among the other players whom he credits as inspiration include Niño Ricardo, Ramón Montoya - who had been long dead, but whose recordings were an important learning tool - , and Sabicas. "I didn't learn directly from them, but everything I played was in a way touched by their music. But it was always trying to be my music," he told Acoustic Guitar. "I studied their music, listening to their recordings. I discovered a lot about their personalities through their music, what motivated them, and I fell in love, even more strongly, with their contribution."

Attained Notoriety Abroad and at Home

In 1970, he organized his first flamenco touring company named Flamenco Puro. Since, he has been continually active in creating learning and performing opportunities for those interested in flamenco. He is the founder of a course leading to a degree in flamenco guitar at the Conservatory of Rotterdam, in which he is still actively involved. Peña founded the International Guitar Festival in Cordóba in 1980. His newest troupe, Paco Peña Flamenco Dance Company has toured throughout the world in various productions, each of which seems to generate critical acclaim for their dance and music fusion.

The Connecticut Classical Guitar Society in announcing a performance called Peña not simply a guitarist and composer, but also "dramatist, producer and artistic mentor" who "embodies both authenticity and innovation in flamenco." For five consecutive years, readers of American Guitar magazine voted Peña as "Best Flamenco Guitarist of the Year."

In a 1994 review in American Record Guide, William Ellis called Peña "simply the finest flamenco guitarist of his generation: breath-taking technique, passion to spare, and an ear for compositional improvisation few peers can match." Ellis also wrote that although "Paco De Lucia may have the name from his cross-over forays into jazz and pop …Peña is the real deal, committed to the purity of cante flamenco." Ironically, it was Peña who was named one of Billboard magazine's Top 10 Crossover Artists of 1988.

Peña composes almost all the music he plays. Perhaps his best known work to date is Misa Flamenco, a flamenco-styled mass commissioned for a festival of religious music held in Poland. The piece was performed in collaboration with other flamenco artists as well as the renown Choir of the Academy of St. Martin in the Fields, a renowned British choral group, in 1991. It was later seen at the 1992 EXPO in Seville, Spain, then in worldwide performances. In 1997 Peña was given the Oficial de la Cruz de la Orden del Merito Civil by Spain's King Juan Carlos.

Remained True to Flamenco

In a 2002 review of his Paco Peña Dance Company's Voces y Ecos or Voices and Echoes, UK reviewer Nadine Meisner wrote in the Independent that the production is "a perfect fusion of flamenco connoisseurship and stage knowhow." Of this same show, Sanjoy Roy wrote in The Guardian that it "is no picture-postcard tour of gypsy exotica… . Instead, it realises Peža's open vision of flamenco's diversity while remaining true to its soul."

Reviewers have also noted with performances such as these by Paco Peña, "the dark soul of flamenco … is not just safe but vibrantly alive," Jenny Gilbert commented in the Independent. "Despite appearances - the man is small, quiet, and cuts an almost absurdly modest figure hunched over his instrument on stage - the Cordóba-born musician knows just where to locate the [essence] of his native art form."

Peña told Mixdown Magazine in 1999 he owns about 20 guitars "because through the years I have gone buying guitars, hoping to find something really good." The one he plays most is a Spanish guitar built by Gerundino that he plays "endlessly, and still enjoy[s] it the most." Many of his instruments are custom-made. Peña prefers an instrument that combines the best of the flamenco style guitar and classical guitar. These have very different sounds and construction. "It's sort of intimate and difficult to explain, but fundamentally what is important is the sound." He goes on to say, "some guitars sing to you, and some may sound very loud but don't have the sweet quality that you want to express."

Life-Long Loves: Musical Collaboration, Travel

Peña has been very frank about his life-long love for playing - or, as he calls it, "linking" - with other performers. He says this linking is a creative recharging and learning process. He has played with a variety of other individuals and groups from a wide variety of backgrounds and musical traditions, including Inti-Illimani, a Chilean group; John Williams; and Peter Gabriel.

Peña makes his home in London, but still has family in Córdoba, where he keeps a second home. He told the UCLA Daily Bruin he enjoys touring. "Traveling exposes you to different people from whom you can learn. My travel experiences come back to my music. In fact, everything inspires my musical compositions. Flamenco deals with serious emotions of mankind, and I feel I am in tune with my music in that sense."

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The Lilting Banshee -Traditional Airs & Dances for Celtic Harp

Eileen Monger has put together an appealing collection of traditional airs and dances for Celtic harp. Monger, who skillfully plays a harp her father crafted, is accompanied by several talented artists: Mike Billinge on the bodhran (goatskin drum), George Monger on the hammer dulcimer, and Jenny McLeod on the uilleann pipes and whistles.
(Uilleann, by the way, is Irish for elbow, referring to the fact that these pipes -- much softer sounding than Highland bagpipes -- are pumped by a bellows under the elbow). The album is well balanced with tracks that range from laments to very lively reels and double jigs, with a good range of polkas, hornpipes, and other dance sets in between. The album's appeal is strengthened by the fact that some of the tracks have interesting histories. "The Wild Geese," for example, is an air that laments the departure of many in the Irish army to the continent following the surrender of Limerick in 1691. It is said that the women sang it on the shore as the men were leaving. "Give Me Your Hand" ("Tabhair Dom Do Lamh" in Irish) was composed by the aristocratic Rory Dall O'Cathain (c. 1570-1650). He dedicated it to Lady Eglinton, who insulted him when he visited her house by demanding in a peremptory manner that he play a tune. When he walked out, she learned of his rank and apologized. O'Cathain then composed the tune in her honor. The tune is sometimes mistakenly attributed to a contemporary, Turlough O'Carolan, who apparently once tried to throttle O'Cathain for slandering him at a festival.
While not all of the tunes have such rich history, they do not suffer for it. Howard Jones originally composed "Hide and Seek" for the synthesizer. The instrumental version on this album makes it sound somewhat more traditional without losing the haunting quality of the original. Another altered tune is "Fingal's Cave," originally a Highland pipe lament that is here successfully performed as a march. Variety with consistency hallmarks this album and recommends it to all Celtic music fans. ~ Peter Ditzel, All Music Guide

01. King of the Fairies/The Lilting Banshee
02. Poll Ha'penny/Plains of Boyle/Cnoc na gClarach Slides
03. O South Wind/Great High Wind
04. Wild Geese
05. Bonny Portmore
06. Morning Dew/The Ivy Leaf
07. Limerick's Lamentation/Give Me Your Hand
08. Drunken Sailor
09. Niel Gow's Lament for the Death of His Second Wife/Farewell to Craigie
10. Kerry Polkas
11. Fingal's Cave
12. Morris Tunes: Orange in Bloom (Sherborne)/Step Back (Field ...)
13. Hide and Seek

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Putumayo Presents: Acoustic Arabia

Steeped in ancient tradition, the acoustic music of the Arabic world is featured on this mesmerizing collection


01. Gamar Badawi - RRS
02. Alger, Alger - Les Orientales
03. Azara Alhai - Rasha
04. Mada - Charbel Rouhana and Hani Siblini
05. Tiris Mibreeha - Tiris
06. Ghir Enta - Souad Massi
07. Batalti Eli - Zaman
08. Les Larmes de Boabdil - Mousta Largo
09. Tu n'aurais jamais du - Maurice El Medioni
10. Wijjak Ma'ii - Zein Al-Jundi

On previous collections, Putumayo has explored upbeat Arabic pop and dance music (Arabic Groove and North African Groove) and laid-back Arabic electronica (Sahara Lounge). With Acoustic Arabia, we turn our attention to the subtler, more organic music of the Arabic world which has been inspired by the region’s traditional music.

With their stripped-down arrangements and softer, more introspective quality, the songs on Acoustic Arabia highlight the fundamental beauty of the music of the Arabic world. This collection features an intriguing roster of artists, including several international stars and exciting new discoveries. Each musician has a fascinating life story that brings added depth to their music.

One of the best-known featured artists is Algerian singer-songwriter Souad Massi, whose contemplative songs address social and political issues and were banned by the conservative government. Maurice El Medioni, a world-renowned Jewish piano legend from Oran, Algeria first began performing alongside Arab musicians during the golden age of the Algerian music halls of the 1940s and 50s, and is still tickling the ivories as an octogenarian. The band Tiris hails from Western Sahara and is made up of refugees who have been part of the struggle to reclaim their homeland from Morocco which now controls the region.

Les Orientales, fronted by three divas - Mouna Boutchebak, Saléha and Sylvie Aniorte-Paz, revisits Algerian music hall songs of the post-World War II era. For more than 20 years, musicians from all over the world have met in the RAS, a magical oasis in the Sinai desert by the Red Sea. Sudanese singer Jamal Porto’s “Gamar Badawi” was written and recorded at the RAS oasis. Zein Al-Jundi was born and raised in Damascus, Syria and moved to Austin, Texas where she performs, teaches belly-dance and owns a store selling Middle Eastern arts and crafts. She not only provided a song, “Wijjak Ma’ii,” but also wrote the album’s liner notes.

The gentle emotion and entrancing melodies of the songs featured on Acoustic Arabia will help listeners deepen their appreciation for the rich music of this part of the world.

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Best of Ravi Shankar

Best of Ravi Shankar


[01]. Raag Mishra Ghara Dhun
[02]. Raag Asa Bhairav
[03]. Raag Mishra Kafi

Three light classical raags, performed by world famous sitar player Ravi Shankar. Raag Mishra Ghara Dhun, vivacious and romantic. Raag Asa Bhairav¸ an early morning raag, combined with raag Asa (“raag of hope”). Raag Mishra Kafi, light and effervescent, in “mixed” mode, combined with elements from other raags.


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Lang Lang - The Best And Rarities

Lang Lang - The Best And Rarities


Disc 1
01.Liszt Liebestraum No.3
02.Sun Yiqiang Spring Dance
03.Yellow River Concerto. II. Ode To The Yellow River
04.Rachmaninov Rhapsody On A Theme Of Paganini,Variation 18
05.Chopin Nocturne In D Flat Major, Op. 27, No.2
06.Haydn Piano Sonata In C Major, III. Allegro Molto
07.Schubert Wanderer Fantasia, IV. Allegro
08.Rachmaninov Piano Concerto No.2, II. Adaio Sostenuto
09.Lu Wencheng Autumn Moon On A Calm Lake
10.Tan Dun Staccato Beans From Eight Memories In Watercolor
11.Tchaikovsky Piano Concerto No.1, III. Allegro Con Fuoco

Disc 2
01.Ren Guang Colourful Clouds Chasing The Moon
02.Beethoven Sonata In D Major For Piano Four Hands Op.6 (I)
(Duet With Christoph Eschenbach)
03.Beethoven Sonata In D Major For Piano Four Hands Op.6 (II)
(Duet With Christoph Eschenbach)
04.Rachmaninov Prelude In G Minor, Op.23, No.5
05.Liszt Sonetto 104 Del Petrarca
06.Satie Gnossienne No.1
07.Alexandre Desplat River Waltz
08.Mike Oldfield Harbinger

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Feng Shui

Music for Harmony & Balance


Disc 1
01.Enter the Kingdom
02.Perfect Harmony
03.Mother Earth
04.Perfect Love
05.Energy of Love
06.Flow of Energy
07.Silent Morning
08.Angels Touch
09.Moving into Stillness
10.Harmony & Balance
11.vite

Disc 2
01.Cherry Blossom
02.Bamboo Bush
03.Birds Song
04.Pebbles
05.Sonnenberg
06.Ancient Pond
07.Shells & Sand
08.Ruboldwad

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Tao Meditation

Music for Harmony & Balance


Disc 1
01. Treasure of Life
02. Inspiration
03. Tranquillity
04. Beauty of Nature
05. Mystical Roots
06. Ebbing & Flowing
07. Unity of Mind
08. Oneness
09. Rhythmic Adventure
10. Chinese Fantasy
11. Earky Subrise
12. Whispering Wind

Disc 2
01. Introduction
02. Spirtual Renewal
03. Asanas
04. Pranayama
05. Savasana
06. Vedanta
07. Dyana
08. Wisdom
09. Satyam
10. Ishwara Praniahana
11. Samadhi

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Ustad Bismillah Khan - The Magnificence of Stereo

Last month one of my posts contained an album with examples of the double reeded instrument, the 'Shehnai'. This month we have an album by the Master of the Shehnai, Ustad Bismillah Khan (1916-2006). This is an old recording ripped from vinyl by Count Reeshard , whom I thank dearly for this collection of soul stirring music.
I do recall seeing a copy of this LP back in the early 70's (because of the unusual name of the album) but had never heard the music until recently.
The Shehnai has a very unusual high pitched sound (somewhat akin to the high notes of the clarinet or soprano Saxophone), and to the uninitiated could be difficult to listen to for an extended period of time - I think you either love it or are unmoved.

Ustad Bismillah Khan was prolific over many decades and traveled widely with his 'party' of musicians, usually 3 or 4 other Shehnai players (students), and tabla was the usual accompanying instrument.

In 2001 he was awarded India's highest civic award the 'Bharat Ratna', for his contribution to music.

'Khan had the rare honor of performing at Delhi's Red Fort on the eve of India's Independence in 1947. He also performed Raga Kafi from the Red Fort on the eve of India’s first Republic Day ceremony, on January 26, 1950. His recital had become a cultural part of India's Independence Day Celebrations, telecast on Doordarshan every year on August 15th. After the Prime Minister's speech from Lal Qila (the Red Fort,) in Old Delhi, Doordarshan would broadcast a live performance by the shehnai maestro. This tradition dated from the days of Pandit Nehru.' ~ Wikipedia

On the 21nd August 2008 Ustad Khan was shown further respect by Indian Prime Minister Manmohan Singh, who announced the release of a commemorative postage stamp, terming it "a token of our nation’s and our government’s respect for him".
Without doubt Ustad Bismillah Khan is one of the great souls of the universe.

Tracklist
01 Raga Lalit Tritaal
02 Dhun Taal Kharawa
03 Raga Multani Tritaal
04 Dhun Ghazal

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Banda Municipal de Celanova

Banda Municipal de Celanova
Tracklist
Viva Celanova - Balada galega - Todo son nubes - O perfeuto - Galicia miña - Os tres galeguiños - De corredoira - O choupo - Chantada - Brabant - Churrusqueira

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Sufi

Music for Harmony & Balance


Disc 1
01. Wisdoms child
02. The Awakening
03. Master of The Nimathullahi
04. Inner Experience
05. Lesson of the Shadow
06. Earth
07. Sufi Soul
08. Science of the Soul
09. As Salaam Alaykum
10. The promise
11. Shape of the Light
12. Thumri
13. Magic of the Sufi
14. Earth (The Final Healing)

Disc 2
01. Northern Light
02. Equilibrium
03. Gift of Nagau
04. Autumn
05. Sounds of Silence
06. Orissa
07. Vale of Sand
08. Petra
09. Glenanloughs Hymn
10. Peace of the Plains
11. Moonrise over the Camoe
12. Scattered
13. Isabela
14. Blossom

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Nu Jazz 2

Nu Jazz vol.2 (A Selection of Rare Electro Tunes With a Jazz Flavour


Disc 1
01. Re - Jazz Feat. Lissa Bassenge - All I Need
02. Stacey Kent & Jan Lundgren Trio - Street Of Dreams
03. Quantic Feat. Alice Russell - The Sound Of Everything
04. Jefferson - Nobody But Him
05. Povo - Uam Uam
06. Llorca - Indigo Blues
07. Nutropic Feat. Stephane Belmondo - We've Got It!
08. Diesler - Sandcastles
09. Earl Zinger - Who Killed Saturday Night
10. Marco Di Marco & Nathan Haines - Walking In St. James' Park
11. Benjamin Devigne - Ocre
12. Slow Train - Inna City Woman(Varano Remix)
13. Micatone - That's The Way It Goes
14. Metropolitan Jazz Affair - Drifting Swing(Rnb Mix)
15. St Germain - Deep In It

Disc 2
01. Fertile Ground - Yellow Daisies
02. Kinny & Horne - Sacred Life
03. Tosca - Pyjama
04. Matthew Herbert Feat. Dani Siciliano - Suddenly
05. Deyampert - Held Him First
06. Jazzanova Feat. Clara Hill - No Use
07. Platnum - Greatest
08. Verna Francis - Rimes
09. Jumbonics - (You Little) Jezebel (Diesler Mix)
10. Beatfanatic - Ripped Of Like Jazz
11. Bing Bang Feat. Jessica Lauren - Clouds
12. Benny Sings - Get There
13. Beat Assaillant - Hard Twelve (The Payout)
14. Tm Juke - High Rise
15. Nathan Haines - Impossible Beauty

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Nu Jazz 1

Nu Jazz vol.1 (A Selection Of Rare Electro Tunes With A Jazz Flavour)


Disc 1
01. Paolo Fedreghini - Please Don't Leave (The Essential Mix)
02. Bobby Hugues Combination Ft Karin Krough - Karins Kerma
03. Slow Train - Naturally
04. Metropolitan Jazz Affair - Yunowhathislifeez (Motor City Mix)
05. Koop Ft Yukimi Nagano - Summer Sun (Original Version)
06. Duran Y Garcia - Round Midnight
07. Jazzanova - Coffee Talk (Yukihiro Fukutomi Remix)
08. Nicola Conte - Fuoco Fatuo (Performed By Koop)
09. Infracom Presents [re-Jazz] - Quiet Night(Nicola Conte 'out Of The Cool' Version)
10. Zimpala - Doo You Bop
11. Mo'horizons - Hit The Road Jack (Pe Na Estrada)
12. Zuco 103 - Q Baiano

Disc 2
01. Kruder & Dorfmeister - Black Baby
02. Nuspirit Helsinki - Trying (Butti 49 Nu-Niveau Mix)
03. Vert - Original Oddstep (Revised By Grand Unified)
04. Jet Set Productions Feat. Jo Laundy - Style
05. Briskey - Conchita's Cabine
06. Bugge Wesseltoft - Change
07. Shaun Escoffery - Breaking Away (Koop Remix)
08. The Underwolves - Bird Song (Earthbound Remix)
09. Dominique Dalcan - The Look Of Love
10. Dysh & Oscar Presents Duologic - To Fall By The Way Side
11. Ashley Slater - Private Sunshine
12. Gotan Project Meets Chet Baker - Round About Midnight

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Bond - Classified

Bond - Classified

Consisting of four classically trained musicians, bond perform on electric violins, viola and cello. Their mix of classical melodies and youthful exuberance make for a heady combination sure to captivate a diverse audience. Using original music and arrangements, they also incorporate tinges of everything from trance and house music to salsa and traditional East European folk songs. The result is dramatic, compelling and dazzlingly refreshing. The first single from Born is Victory - a rollicking instrumental destined to be a hit on radio as well as dance floors. A visually exhilarating video for the track was filmed in Cuba, pairing the girls with locals dancing to the infectious tune.

Bond is a string quartet made up of four good-looking women, two from Australia, two from Great Britain. Their training is in purely classical music, which this CD certainly is not. Their previous CD was banned from the UK classical charts, presumably because of the overly insistent use of beats and other intrusions, and this CD too contains African, electro, Latin and hip-hop beats. Bond will be the first to acknowledge that they're heavily influenced by the club scene and pop culture from London to Bangkok. Here they are joined by the Royal Philharmonic Orchestra, and the sound is enormous: there's level upon level of overdubbing. Some of the tracks have, as their basis, classical works: Pachelbel's Canon, snippets of Swan Lake, the Nutcracker, Carmen's Habanera, Brahms' Hungarian Dance no. 5, Barber's Adagio for Stings. But the sound we get is lush, beat-heavy, club-ish, full of excitement and basic rhythms, and the "classical" connection--aside from the melodies from the above-mentioned pieces--must be taken on faith. The women's solo playing, if there is any, is not audible. The over-riding feel is disco; this is for dancing and for creating a mood of excitement. --Robert Levine

My introduction to this type of music started with violinist extraordinaire, Vanessa Mae in 1990's. The fusion of techno, pop and serious classical was a breath of fresh air, and Bond soon found its way into the long list of my favorites. The classically trained flutist in me loves the serious backbone in this music but the poppy/dance movie like melodies mesh so well that it morphs into a wonderful crossover. The violins, viola and cello here are throbbing with passion, excitement and fresh, new vibrancy. If I am sitting down when listening to this, my feet are always tapping whether I know it or not, but this is really appropriate for just about any activity. Those familiar with the classical pieces that were used and embellished on will enjoy the new take on old favorites.

Fans of Pachelbel's Canon will adore "Lullaby" it's sweet and romantic. I always feel as if I was at a spring wedding on some exotic locale whenever I hear it.

"Dream Star" in my mind it sounds like sunset and then sunrise somewhere warm where the air is thick and views stunning.

"I'll Fly Away" is simply amazing, when this stars playing I get goosebumps, it just sounds like a journey under a starry sky in Morocco, riding a camel wile the cool wind blows through the hair.

"Hungarian" makes me thing of goulash and jumping over fires! Fun, crazy piece with some trance mixed in.

"Adagio for Strings" done with drums and synthesizer - lovely and moving, also really well done as a trance piece by DJ Tiesto - fyi for the fans of the melody.

"Explosive" just like the name suggests it's not a shy piece; it was used during the 2004 Athens Olympic Games.

Those familiar with the classical pieces that were used and embellished on will enjoy the new take on old favorites. Every time I hear this CD it makes me happy, I can't wait for their new album coming out this year.

- Kasia S.

What I am about to part is Classified information, info on Bond's third studio album that is. The foursome have not departed from their tried and true formula of strings and pop syrup of oontsa-oontsa techno beats and drum machines. Granted, there are some triple digit BPM numbers, but when it comes down it, this has been ground already covered in full on Born and Shine, their first two albums, and much better.

The allegro, rhythmic and symphonic cadence of the action movie-theme of "Explosive" opens the album, showing a strong opening track that later closes the album.

However, the upbeat and Latin-flavoured "Samba," replete with whistles and vocals from the ladies, a first for them, veers more to conventional pop-techno, the strings being more or less classical window-dressing. They also cover the Silver Convention's classic disco standard "Fly Robin Fly," and violinist Eos Chater and cellist Gay-Yee Westerhoff do some singing there, but why bother doing a retread scarcely distinguishable from the original?

If the slow, dreamy rhythm of "Midnight Garden" is familiar, it's because Bond is using the melody from Tchaikovsky's Swan Lake, the Danse de Cygnes segment. However, in looking at the writing credits, I see to my horror that Piotr Ilyich is NOT credited whatsoever, which is also the case for his "Waltz Of The Flowers" from the Nutcracker in "Dream Star." Oh, but there's more. Their upbeat and skirt-swishingly danceable "Hungarian" is taken from Johannes Brahms' gypsy-like Hungarian Dance No. 5 given the drum machine backbeat, and "Senorita," which incorporates the slow, measured ballet-like "Habanera" melody from Bizet's Carmen. A selection from Tchaikovsky's Nutcracker Suite serves as the inspiring melody for "Dream Star." And the dreamy and pleasant "Lullaby" is a reworking of Pachelbel's Canon in D, uncredited again! Now that rap artists are required to give credit to music and lyric samples, one would think Bond would know better, given that classical crossover acts such as Sarah Brightman, Charlotte Church, Hayley Westenra, and Myleene Klass have done so. And Bond did too on their first two albums. What happened here?

Their foray into Middle Eastern sounds first explored in Shine continues in "Scorchio" which has some vivacious symphonic strings of a Liszt or Brahms sound, and the soaring "I'll Fly Away" written by cellist Westerhoff.

At least they gave credit where credit was required in "Adagio For Strings," which sprinkles random techno noises on Samuel Barber's funereal piece that in its pure form might lead one to start turning on the gas oven if one isn't of hale heart and mind. "Highly Strung" incorporates Aram Khachaturian's "Saber Dance," itself a dizzying whirling dervish of adrenaline, with some Duane Eddy-sounding surf guitar.

I don't mind the reworking of classical tunes with techno and electronic drum fills. My main issues with this involves proper credit, which if not given, becomes plagiarism-simply signifying "Copyright Control" in the credits, just does not do-and a sound, which is vivacious, soaring, and infectious, that nevertheless doesn't show much evolution from their first two albums. The only thing that shows evolution is their transition to FHM or Maxim models with a sickly magazine gloss on the album cover and inner sleeve, as if someone sprayed something on the ladies, which sadly detracts from the fact that they are talented string players. Summer dresses and bikinis, fair enough, but lose that model gloss!

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All India Radio - The Inevitable and 002

Hello to the regular followers of my posts, and to any new comers. It would be fair to say that the majority of my posts are Sub-Continental in flavour…with all the diversity that that entails. Whether it is classical, chill, new age- whatever it will grab my attention. This newest post of mine is by a number of musicians who go by the name of ‘All India Radio’- the genre that they have been slotted in to by many people in the music industry is ‘trip hop’ or ‘trance’.

This is a double cd pack- the first one ‘ The Inevitable’ (the original front cover)
- was released on debut in 1999.
The second one simply titled‘All India Radio 002’ (released in 2001). When I purchased ‘002’ it became apparent that the 1st cd in the pack was a bonus cd. It was made this way with the early copies of the release. Therefore, I will post the 2 cd’s as a package to maintain the integrity of the artists intentions.

It has to be stated, that if you are looking for classical music or Indian instruments often used in any of the afore mentioned genres...or even if you were to think it might be some recordings from the 'All India Radio station', you could be disappointed.
Some of the track titles could lead you astray eg. ‘Hotel Madras’, ‘Bollywood Nights’, or ‘Bombay Mafia’- there is very little that you would associate with Indian music, although there are, some sound bytes of Indian street noises overlaid on the music therein.
What you will get is some beautiful dreamy sound-scapes, very positively ambient, which will de-stress you...if lying down and relaxed, you will sleep blissfully!

As mentioned, these are the first two releases of All India Radio (AIR). There are 6 releases in total. Their latest release ‘Fall’ (2008) - whilst maintaining the un-mistakeable ‘sound’ of AIR, the musician’s; Mark Kennedy (guitars & electronics), Mark Wendt (bass), and Ben Sims (drums) have been joined by vocalist/songwriter Leona Pure.
I have not been able to find out too much about this lady’s previous lives, but she is Pure by name, her voice is Pure angelic- which comes with a full range of notes that she uses. I doubt if there is any vocal work she couldn’t do justice to.

Here is a video and sound track called ‘Persist’ it is the second track from the new release ‘Fall’… there is Leona’s voice, and an interesting story on what inspired the song.

It is my humble opinion, that AIR will achieve major acclaim in the next 12 months with this new release. The voice of Leona makes the sound more accessible to a wider audience. Please go out and purchase yourself a treat...you will not be disappointed.

What others have had to say about AIR

"All India Radio began life in 1999 after founding member Martin Kennedy heard a friends badly recorded tape of Indian street noises and decided it contained some of the most evocative sounds he had ever heard. Taking his inspiration from the KLFs classic 1988 album Chill Out, Martin fused the lo-fi cassette recordings together with KLF-inspired ambient soundscapes and All India Radio was born.

"A glorious treat for the ears, this debut from the ex-Pray TV partnership of Martin Kennedy and Aidan Halloran is constructed from samples, programs and wobbling guitar lines and based on a collection of street soundscapes recorded in India by Halloran.
It is when these street samplings are at their most interesting that the music is at it's mysterious, exotic best, for they infuse the tracks with a genuine air of adventure. In fact the rest of the components of the fourteen tracks of The Inevitable aren't particularly novel, but the fact that the airy keyboard chords and flowing beats evolve exactly as you expect them, to make them all the more irresistible.
And, there's plenty going on below the enchanting surface aesthetics for those after a bit more substance. It's the kind of music that comes to you in dreams and to hear it actualised is really quite spooky." - Martin Jones, Inpress Magazine 2000

"This is the type of atmospheric bliss that leaves you with impressions, nothing really definitive or concrete, but these faint memories, homesickness, reminiscent smells you can't place, some kind of whispering of a history like a ghost town revealed after the draining of a lake.
Like a pulsating blob, pricked by old west twangy guitar, shadowed by snippets of street sounds, peppered with attitude and pieced together in a seat-of-the-pants, almost random process where shards of sound are stuck together with glue, almost like a scrap metal sculpture on a foundation of billowing nostalgia.
You might describe it as Dj Shadow goes out west, haunted by the Twin Peaks soundtrack or country electronica or cowboy dreams, the old west on one helluva noir-ish chill pill- but whatever it inspires in you, All India Radio is a gem." - CDBaby.com Reviews

"Some albums come out of nowhere and escape all attempt at classification. The name and the cover suggest a new anglo-Pakistani bangra beat-style production, while in fact it is a rather arty project imported from Australia.
AIR is made of Aidan Halloran and Martin Kennedy, former members of indie band Pray TV and painter for the latter. The sound - definitely ambient- is lo-fi and low key: guitar, drum machine, sound sampled in India, plateaux and many space effects. Somewhere between languid opium moods and desolate landscapes, high art and Paris Texas." - - Open Mag, France 2000

“The acclaimed debut album from Australian down tempo instrumental band All India Radio. Spun by the late great John Peel who playlisted it on his show, the album also charted in the Belgium, Dutch and Polish Indie charts. The Inevitable was followed by 002 and their ARIA nominated self titled third album, the music from which featured in the US TV series One Tree Hill and many ABC TV & Foxtel TV programs. The band are currently working on their fourth studio album” . John Peel BBC playlist favourite 1999.

"While 'The Inevitable' was a terrific debut, '002' is a work of superior beauty. Ghostly voice and music samples, distorted, distant pianos and choirs are woven through palettes reminiscent of Brian Eno and the KLF ('Chill Out'). Turn out the lights, close your eyes and be transported to...somewhere not on this earth. Early copies come with the first album as a bonus disc". - The Age Newspaper.

"There is no doubt that the compositions of Martin Kennedy have a distinct flavour of their own. Though they travel and twist across many landscapes, the soul and root of the music maintains an alluring ambience. We are brought into the mood with an authentic trip hop mix which later returns in the latter part of the first two CDs. The attraction is brewed through very simple, long and deep basslines. These are coloured with wandering guitar strokes over the top. At times the melodies could be derived from the Ry Cooder school, set in a post 20th century context of electronic origin. This is a truly diverse piece of work with a lot to offer". - Ben Karsay, 3D World November 2001

Ok... to the music

‘The Inevitable’

The tracklist

01.Hotel Madras
02.Street Conversions
03. Losing Houston
04. Night Fevers
05. Bollywood Nights
06. Wake In Waco
07. Holy Cowboys
08. All India Radio
09. Radio Silence
10. The Final Frontier
11. Bombay Mafia
12. Departure Lounge Tea Break
13. All India Radio (Drivetime Remix)
14. Hotel Madras (Reprise)

‘002’

The tracklist

01.By The Time I Get To Narita
02.Permanent Revolutions
03.Pacific High
04.You'll Never Go To Bollywood
05.Conspiracy Theories
06.Havana Waits
07.Highland Lowlife
08.How Many, For How Long
09.All The Way Down The West Coast
10.Border Crossings
11.Gringo Perdito
12.Wetbacks And Greenbacks
13.Surf On The Malecon

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Perlita de Huelva - Amigo conductor

Perlita de Huelva - Amigo conductor


| MP3,320 kbps | 2005 | 75 MB | Flamenco |
Tracklist:
01. amigo conductor
02. que bonita es mi niña
03. la niña de fuego
04. el divorcio
05. ¡ay! corazon
06. la golondrina
07. obrero emigrante
08. la flor de la canela
09. quererte hasta la ceguera
10. verde,verde

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Pedro Soler - Sombras. Guitarra Flamenco

Credits to AmbroseBierce

Pedro Soler
Sombras. Guitarra Flamenca
Al Sur ALCD 106, 1995


PEDRO SOLER

There are many people who think that he is older than actually is (he was born in 1938). The reason being that very early he was adopted by the Masters of the "golden age" of flamenco. Having arrived in Madrid on the day Manuel Vallejo died, it was at the famous Villa Rosa, plaza de Santa Ana, that he got to know the still many renowned personalities of that period. He had the opportunity of accompanying Pericon de Cadiz, Rafael Romero, Bernardo de los Lobitos, of listening to and seeing perform Perico del Lunar the elder and the legendary Manolo de Huelva, among others.

In the spanish quarter of Toulouse, at that time the capital of Republican spaniards in exile, he had already taken his first steps with Jose Maria of Grenada, Jacinto Almaden, attracted by the sonority of Soler's style, decided to form him to become his guitarist.

He kept him as second guitarist, always by his side on his tours in Spain and throughout Europe. Pepe de Badajoz, one of the rare guitarists to have regularly accompanied Don Antonio Chacon, was first guitarist of the troupe, Performing at first only to accompany the dancers, Soler was learning from Babajoz without ever "taking a class". The master would simply give him advice. It was up to him to hear, to see and especially to understand because the only instructions were approximately : "that's it" or "that's not it". The only remuneration for Pepe's advice being a box of enormous Romeo and Juliette cigars from time to time. A great friendship united master and pupil but yet Pepe gave Soler the "Alternative" in a rather cruel fashion in 1967 during one of Almaden's recitals in Madrid at the "Teatro de la Comedia". Pepe was accompanying the first part, the more traditional songs of the "jondo" and Soler the second part, the freer songs of the Levant that were Almaden's real specialty. When the last song of the first part, the Seguiriya was announced, Pepe put away his guitar and left, in spite of Almaden's protests, obliging Soler to introduce himself to Madrid in front of a public where all the aficionados and artists were present and accompany a song he knew only relatively well. The beginning was difficult and intricate but the public soon adopted his guitar and he left "the arena" carrying off two ears (his own at least). The press (A.B.C.) echoed the public's response " "The masters Pepe de Badjoz and Pedro Soler fulfilled theirs accompanists' roles with great effectiveness". At the end of his life, Badajoz sent for Soler. He left him a sort of musical inheritance, even saying : "Play this and say its yours. I never had it recorded".

Soler accompanied Almaden until the latter's death. He performed for many years with Pepe de la Matrona whose teaching were a determining factor for him. He also accompanied Juan Varea for a long time, later, Enrique Morente and at the moment, Miguel Vargas is the singer that he most often accompanies.



Essentially flamenco music relies upon the use of three modes : Major, Minor and Phryglan.
It is chiefly baseb on a shema of which the cycle is twelve beats in a binary and ternary combination. Paul Claudel wrote : "Twelve is three multiplied by four, the square multiplied by the triangle, it is the root of sphere, it is the perfect number." Twelve, the number of signs in the Zodiac, the number of Apostles, the hours of the day and night, the months of the year...

01. Aire Serrano (Serrena)
02. Aljibe Arabesco (Granaina)
03. Cantina Del Pelele (Cantina)
04. Luna Callada (Por Tientos)
05. Flor Del Caribe (Guajira)
06. Noche Oscura (Seguiriya)
07. En Los Patios (Sevillanas)
08. Canas Del Genil (Garrotin)
09. Oracion Minera (Rondena)
10. Sombras Del Atardecer (Soleares)
11. Cuna De Mimbre (Nana Flamenca)


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Pedro Soler & Renaud Garcia-Fons - Suite Andalouse

Credits to AmbroseBierce

Pedro Soler & Renaud Garcia-Fons
Suite Andalouse pour contrebasse et guitare flamenca
Al Sur ALCD 137, 1994


01. Puente De Triana
02. Azahar Malagueno
03. Noche Gaditana
04. Madrugada - Renaud Garcia-Fons
05. Caminos - Pedro Soler
06. Cante Del Guajiro
07. Gitanet - Renaud Garcia-Fons
08. Sentir Farruco
09. Barrio De Santiago
10. La Union

Pedro Soler - flamenco guitar
Renaud Garcia-Fons - double bass

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Kocani Orkestar meets Paolo Fresu and Antonello Salis

Kocani Orkestar meets Paolo Fresu and Antonello Salis



Musicians:
Paolo Fresu - trumpet, bugle, effects
Antonello Salis - piano, accordion
and:
Kocani Orkestar
Durak Demirov - saxophone
Turan Gaberov - trumpet
Sukri Kadriev - trumpet
Nijazi Alimov - bariton tuba
Saban Jasarov - tapan
Suad Asanov - bass tuba
Dedzai Durmisev - bariton tuba
Sukri Zejnelov - baroton tuba
Dzeladin Demirov - clarinet, vocals
Ajnur Azizov - vocals

Italian jazz musicians Paolo Fresu and Antonello Salis join Kocani Orkestar on stage for a no holds barred workout.

Recorded live in Ravenna, Foligno, and Roma, Italy.

In Macedonia, Koçani plays for a variety of ritual and celebratory events for every stage of life. Rich patrons hire Koçani to play outside the hospital upon the birth of the baby; later most communities hire live music for the baby's naming ceremony. Muslim communities also use duvaçki orkestar for circumcision celebrations. They also play for all aspects of wedding events, from agreement ceremonies, engagements, to all segments of the wedding ceremonies. Some segments of the Macedonian population hire duvaçki orkestar to play for funeral processions and burials. Outside of ritual events, duvaçki orkestars such as Koçani also perform at special banquet evenings and small coffeehouses (kafic).

Kocani Orkestar comes from the city of Kocani, in the new Republic Of Macedonia (ex-Yugoslavia). Performed by two trumpets, three tubas, saxophone, clarinet, zurla (traditional oboe) and percussion, their style of music is aptly described in their region as Romska Orientalna Musika - 'Rom' meaning 'Gypsy'.

Biography Kocani Orkestar - Gipsy Brass Band

It is a potent mixture of powerful brass band sounds, Turkish/Bulgarian rhythms (including characteristic asymetrical time signatures such as 7/8, 9/8 etc., which are sometimes called 'Aksak' in traditional Turkish music), and Eastern-style solos which are at the same time very skillful, inspired and wild.

Biography Paolo Fresu

Paolo starts studying the trumpet at the age of eleven with his hometown Local Band.

After different musical experiences, in 1980 he discovers Jazz and starts playing professionally in 1982 recording for RAI under the guide of M° Bruno Tommaso and attending Seminaries at Siena Jazz.

In 1984 he graduates in trumpet at Cagliari Conservatory and in the same year he wins "RadioUno jazz", "Musica jazz" e "RadioCorriere TV" as Best Italian Jazz Talent.

In 1990 he wins "Top jazz" price with the review ‘Musica Jazz’ as best Italian musician, best group (paolo Fresu Quinet) and best record (Arrigo Polillo price for "Live in Montpellier").

In 1996 he wins the best European musician with one of his compositions for 'Académie du jazz' of Paris and the prestigious "Django d’Or" as best European Jazz Musician and in 2000 he is nominated Best Internationa Musician.

These are only the first of a series of awards that continue up to present.

Professor and responsible of various national and international institutions, Paolo has performed in each continent with the most important names of afro-american music of the last 30 years: Franco D'Andrea, Giovanni Tommaso, Bruno Tommaso, Tiziana Ghiglioni, Enrico Rava, Antonello Salis, Enrico Pieranunzi, Giorgio Gaslini, Gianluigi Trovesi, Aldo Romano, Glen Ferris, John Taylor, Kenny Wheeler, Palle Danielsson, Jon Christensen, Gerry Mulligan, David Liebman, Dave Holland, Richard Beirach, John Zorn, John Abercrombie, Helen Merril, Ralph Towner, Richard Galliano, Michel Portal, Trilok Gurtu, Jeanne Lee, Gunther Schüller, Paul McCandless, Jim Hall,Lew Soloff, Uri Caine, Gil Evans Orchestra, Toots Thielemans, Omar Sosa, Carla Bley, Steve Swallow, Andy Sheppard, Nguyen Le ecc.

He has recorded nearly three hundred records some in his name, others with Michael Nyman, Evan Parker, Farafina, Ornella Vanoni, Alice, Gunther Schüller, Negramaro, Stadio, ecc., and others cooperating in "mixed" projects…Ethnic Jazz Music, World Music, Contemporary Music, Ancient Music, ecc.

He is artistic director of Berchidda Festival "Time in jazz", and Jazz Seminaries in Nuoro.

He has often been guest in orchestras such as 'Grande Orchestra Italiana', French National Jazz Orchestra, NDR of Hamburg German Radio and the Italian Instabile Orchestra.

He has also coordinated many multimedia projects, cooperating with actors, dancers, painters, sculptures, poets, ecc., and has written musics for films, documentaries, viedeos, ballets and theatre pieces.

At present the is in involved in numerous projects, which take him all over the world for more than 200 concerts a year.
Lots of his productions have been awarded in Italy and abroad.
He lives between Paris, Bologna and Sardegna and directs the Cultural Association Time in Jazz in Berchidda, with which he has organized the prestigious festival since 1998.

Biografia Antonello Salis

Antonello Salis born in Villamar, a small village in the south of Sardinia, on February 28th 1950. Self taught, he started playing accordion at the age of seven and later approached to the piano.In the '70s joined several rock bands playing Hammond organ.
In 1973 he formed the "Cadmo" trio, then turned into a quintet with alto-saxophonist Sandro Satta and trombone-player Danilo Terenzi.
Since 1978 he performs piano and accordion solos.


He took part in many studio sessions and played with a number of musicians in Italy and abroad including Massimo Urbani, Enrico Rava, Paolo Fresu, Roberto Gatto, Riccardo Fassi, Pino Minafra, Paolino Dalla Porta, Gérard Pansanel, Lester Bowie and the Art Ensemble Of Chicago, Don Cherry, Don Pullen, Billy Hart, Ed Blackwell, Billy Cobham, Han Bennink, Nana Vasconcelos, Cecil Taylor, Pat Metheny, Michel Portal and many others.

He recorded so far 4 solo albums: "ORANGE JUICE, NICE FOOD", "SALIS!", "QUELLI CHE RESTANO" and "PIANOSOLO", produced by CAM Jazz.
In 1993 he joined the "Quartetto Nuovo", a quartet of accordion-players which also starred Richard Galliano, Marcel Azzola and Gianni Coscia.

During his career Salis worked on theatrical projects (Remondi and Caporossi, Sant'Arcangelo Festival), played music for modern dance acts (Roberta Escamilla Garrison, Teri Weikel) as well as he partecipated in film festivals (Venice and Taormina, amongst all) and played in various Italian films' soundtracks. He appears and plays accordion along with french guitarist Gérard Pansanel in Eric Rohmer's "Autumn Tale".

Besides he recorded with several italian pop singers and rock bands.
He played in many important festivals in Europe and America: Umbria Jazz, Roccella Jonica, Sant'Anna Arresi, Berchidda, Clusone, Noci, Ravenna, London, Bath, New York, Chicago, Moscow, Paris, Montreux, Nice, Le Mans, Madrid, Sao Paulo, Rio De Janeiro, Stockholm, Turku, Oslo, North Sea, Saint Louis of Senegal, Mexico City and many others.

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Pedro Aledo & Ensemble Méditerranéen - D'ile en ile

Credits to AmbroseBierce

Pedro Aledo & Ensemble Méditerranéen
D'île en île. Musiques de Méditerranée
Al Sur ALCD 102, 1995

Ensemble Méditerranéen
Pedro Aledo

From island to island

The Mediterranean Ensemble launched themselves out the challenge to appear entirely on the record marks but, also and especially to exist concretly through concerts and cultural events, which aims besides the sound and musical attraction, do bear on the creation of a humanistic trend. As a matter of fact, more than a "fusion", the Mediterranean and worldwide cultural generally speaking, is a universal patrimony which deserve all the interest of the human wills, in order to soundly build the grounds for a revival of the cultural and educative values. A momentum towards the surpassing of oneself, needs some courage and efforts. Some actions untiringly repeated. By bringing together some musicians friends from different extractions, I would like to take part in the creation of trend of tolerance and joy of living shared freely.
The support and the confidence of France-Télécom allowed me to under-take this artistic step. I do quote this sponsorship with a heartfelt gratitude.

My sincere thanks, also, to Regine and J.P. Déméry (Souleiado) as to the persons that brought their help to the realization of this record.

Pedro Aledo~

1. THE WEDDING SONG
A very popular song in Algeria and in the maghrebian communities living abroad the country. This song do accompany the festivities during the marriages.
Spanish text and arrangements : P. Aledo,
Spanish song : M. Fernandez,
Text and provencal song : M. Bramerie,
Algerian song : T. Bestendji,
Violin solo : C. Zagaria.

2. DULCE MELONAR
Andalusian popular song : "I sell very mild melons, and watermelons are very coloured".
On this theme, P. Aledo built a woof, half sung, evoking the "Tanguillo", musical form from Cadix.
Spanish text : A. Fernandez, P. Aledo,

3.TLM
Music composed by P. Aledo during a recent stay at Tlemcen (Algeria).
J.C. Latil (Oboe),
T. Bestendji (Quanoun),
M. Montanaro (Flute),
H. Hamadouche (Mandolute).

4. SERENATA SICILIANA
In the origin, this song was accompanied by a jew's harp. P. Aledo disclosed oriental-andalusian feature on the melody and coloured it with a "taqsim" and some answers in the quanoun

5. FROM ISLAND TO ISLAND
Inspired from the SERENATA SICILIANA, composition of P. Aledo, by inserting in it some verses in corsican, french, catalan and spanish. The quest of the beauty : "of she", the woman, the mother, the sea, the light...
This theme gave it's title to the record Soloist, guitar and singing : P. Aledo.

6. COMO QUIERES
From the north-west of Spain, region of Sanabria, repetitive musical theme on which Equidad Bares, the Performer, has improvised and fixed this loving plaintive ballad with a musical arrangement of P. Aledo
Soloists : M. Montanaro (double flutes),
Ch. Zagaria (violin).

7. FAGGIANELLA
At the time of the practice for recording of this record, Jacques DAU made explode this "Lamentu" of the south of Corsica. Song of the mountains, which seems inspired by some "Volcanic sigh" of the corsican soul.

8. CHAOUI
Berber wedding music played by T. Bestendji in the Zurna (close to the brton bombard, both are ancestors of the oboe).
Davoul and Bendir by S. River and Hamadouche.

9. FROM CADIZ TO MARSEILLE
In the first CD of the Mediterranean Ensemble, P. Aledo had superposed an Algeria Flamenco rhythm and a corsican terzetti.
It's the meeting here, still astonishing, of the Petenera, archaic flamenco mode (dreaded by the singers, so much it was apparently loaded of "maldicion") and an Occitan song which text quite as much tinged with sadness and loneliness.
Soloists guitar : Juan Santiago and Antonio Fernandez,
Song : Felix Santiago and Miquela Bramerie.

10. GASPARD DE VILANOVA
A song from a musical under "Le siege de Mons" (Words),
Michel Montanaro (Music).

11. SEPHARABE
Contraction between two cultures since centuries neighbourhood.
Dialogue between a part of a "cantigua" sepharade and an "arabo-andalous"evocation.
Vocal : Pedro Aledo, Taoufik Bestendji.

12. YO NO SE QUE ES EL AMOR
Rumba Flamenco, far from the common spectacular screams to this musical style. The young Manuel Fernandez, his brother, his cousin and parts of the Ensemble, offer this song with vitality and moderation.

13. SEPARATION
Cenem Diyici offered this song, from the east of Turkey, to the Mediterranean Ensemble.Ballade of an evening of January the 30th 1992, coming to settle on this record, such as a present coming from the heart of voice and the soul of Cenem friendship.
Accompanied by Alain Blesing (Ac.Guitar).

Raga Marwa
01. Chant de noces (Traditional Algerian)
02. Dulce melonar (Traditional Andalusian)
03. TLM (Pedro Aledo)
04. Serenata siciliana (Traditional Sicilian)
05. D'île en île (Pedro Aledo)
06. Como quieres (Traditional Of Sanabria)
07. Faggianella (Traditional Corsican)
08. Chaoui (Traditional Berber)
09. De Cadiz à Marseilla (Traditional Andalusian/Provencal)
10. Gaspard de Vilanova (A. Neyton & M. Montanaro)
11. Sepharabe (Traditional Sephardic/Algerian)
12. Yo no se que es el amor (Traditional)
13. Separation (Traditional Turkish)

Michel Montanaro - accordeon, flute, galoubet, tamburin, alto sax
Guy Suanez - spanish lute
Equidad Bares - vocals
Pierre Bonnet - flamenco guitar
Taoufik Bestandji - kanun
Zurna - vocals
Felix Santiago - flamenco guitar, vocals
Juan Santiago - flamenco guitar
Antonio Fernandez - flamenco guitar, vocals
Manuel Fernandez - vocals
Sandy Rivera - vibraphone, percussion
Keyvan Chemirani - zarb, percussion
Mustafa Toumi - darbouka
Christian Brazier - double bass
Andre Carboulet - clarinet
Christian Zagaria - violin, mandolin
Hakin Hamadouche - vocals, mando-lute
Miquela Bramiere - vocals
Jean-Luc Latil - oboe
Pedro Aledo - vocals, guitar, director
Jacques Dau - vocals
special guests:
Francoise Atlan - vocals
Cenem Diyici - vocals
Alain Blesing - guitar

Recorded at Marseille, January 1992


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Kushal Das, Surbahar - Raga Marwa

Credits to AmbroseBierce

Kushal Das
Raga Marwa, Surbahar
Ocora C 560193, 2005


Raga Marwa
1. Alap
2. Jhor
3. Jhala
4. Gat Jhaptal
5. Gat Drut Teental
6. Jhala Drut Teental

Kushal Das, a north Indian solo sitarist was born to a highly enriched musical family of Calcutta. His grandfather Late Bimal Ch. Das was a renowned Esraj player while his father Shri Sailen Das and uncle Sri Santanu Das are sitarist-s of high repute.
Kushal started his talim from the age of seven. He received intensive and rigorous training in advanced sitar techniques and the art of music making under the affectionate guidance of Prof. Sanjoy Bandopadhyay, the renowned sitar maestro and academician. He also had the proud privilege of having learnt from great musicians like, Pt. Manas Chakraborty, Pt. Ramkrishna Basu and Late Pt. Ajoy Sinha Roy.
With a profound knowledge of musical understanding and raga improvisation Kushal is now considered as one of the foremost torchbearers of the tradition of Indian classical Instrumental Music.
The critics and connoisseurs have acknowledged him as a worthy successor of his idol, the legendary maestro Late Pandit Nikhil Bandyopadhyay.
His concerts are always marked for their aesthetic appeal and insight with a fine command of technical expertise. With maturity as his forte Kushal thus have the predominant virtues of Indian heritage and music.
An "A" grade musician of All India Radio and Television, he is a recipient of Sangeet Visharad from Pracheen Kala Kendra-of Chandigarh and Sur-Mani form Sur Singar Samsad of Mumbai.
Kushal has participated in most of the major music festivals in India. To name a few, Tansen Music Conference, Dover Lane Music Conference, ITC Sangeet Sammelan & Mini Sangeet Sammelans, State Music Academy Annual Conference, Saltlake Music Conference, All India Radio concerts are some of the important ones. (kushaldas.com)

HERE

Taoufik Bestandji - Poèmes d'amour

Credits to AmbroseBierce

Taoufik Bestandji & Farid Bensara
Poèmes d'amour. Anthologie de la musique citadine Algérienne. Malouf et Canaa
Al Sur ALCD 150, 1995

ANTHOLOGY OF ALGERIAN URBAN MUSIC

Malouf and Canaa

by Taoufik Bestandji

I have often been struck by the intransigence and the dogmatism of master Maghrebin musicians. Their cold attachment to the notion of "artistic territoriality" has developed into an unprecedented obscurantism and accentuated the erosion and impoverishment of the repertories of urban music. "This "insraf is strictly Telmcenian, it can in no way be interpreted by musicians from Constantine"...From East to West, statements such as these are often heard and these people persist in breaking the ties that, in all evidence, have united the classical music of the Maghreb for centuries, All criticism, all attempts at reflecting on the history and "cultural policy" of the music in these countries is either denied or relegated to quarrels between traditionalists and modernists, scientists and alchemists. Any aesthete having an independent mind, wishing to go beyond the notion of clans and "artistic regionalism", finds himself confronted in sterile polemics.

My desire to unite the repertories of Algiers (Canaa) and Constantine (Malouf) can seem provocative. My aim is very different: to attempt to rediscover the exchanges and circulation of works, that used to be so intense, and made this music vast corpus nourished by diverse influences. To do so, I insisted on respecting the aesthetics and technical standards of each of these two musical traditions: training of the musicians, choice of instruments, techniques used... Only certain forms of interpretation differ: I sought the interdependencies of the songs and the musical "sentiment".

After twenty-four years of exploring the Malouf, I reached the limits of the repertory.
There are different reasons for this.
In the 1970's there was a revolution in musical transmission. The use of tape recorders became widespread and helped young musicians to learn faster the repertory that was passed on orally before.
With the death of certain masters, entire sections of the nuba repertory disappeared. Musicians became sedentary and gradually isolated, further increasing the frailty of this heritage that had been preserved by the nomad life of masters who would move on when they felt the need for replenishing their repertory.

In 1974, a year before the war broke out between Morocco and the Polisario I gave a concert in Tetouan of Arab-Andalucian music that was on enriching experience for me: the people of Tetouan were charmed by our Malouf. Our group did a "jam session" with the S. Chekara orchestra which clearly revealed the similitude between the Moroccan and Constantine repertories. The same form of hedonism emanated between Algeria and Morocco in 1975 put an end to this project. I then turned to the Tunisian malouf which is closer to the urban music of Constantine, but, unfortunately, frozen and dominated by an institution, La Rachidia.

My obsession today is to compare and confront pieces that are interchangeable in their melody and rhythm. I have played relentlessly, during the past thirteen years, with the groups from Algiers and Tlemcen.
I may be considered as non standard by musicians of Constantine, as an intruder by musicians of Algiers and Tlemcen. It does not matter what I am given. My only goal is to make aware specialists and music lovers of the musical practices that have contributed to the richness of the borderless Andalucian-Maghrebin music.

Space-time, Nation state and Ala

The study of Maghrebin music is complex. There are no written sources, and the circulation of men and works over time has made the task difficult for specialists and musicians who are curious about their history.
The Maghreb, that vital space that saw their birth and blossoming of the nuba, was split and divided into three nationals - Morocco, Algeria, Tunisia. Since the independence of these countries, the arguments of artistic territoriality and musical heritage have been used to political, and not cultural, ends.
The orchestra of Rabat, previously directed by master Oukili, the Mossilia of Algiers and the Rachidia of Tunisia have broadly contributed to diplomacy between the three states of the Maghreb. Following their independence, the existence and development of urban music gained a new legitimacy and musical geography bent to the geography of political systems. The Ala, the Gharnati, the Canaa and the Malouf suffer today from a harsh nationalistic paternalism without historical or cultural foundation. To better lay the foundations of political legitimacy of States, the most influential artists-musicians became national defenders of a musical repertory that they modelled to their liking. The international regionalism, the privileged relationships between certain artists and the state and their manipulations reflect the confusion that prevailed within government circles. When the relations between these states deteriorated, the diffusion of music, and Andalucian music in particular, was prohibited, marking the breaking point.
Master musicians were deeply affected by this situation. The ravages of isolation and the national cultural policy gave new models to the nuba of the Maghreb. The external quarrels, reduced to internal conflicts, led to rival musical societies, sometimes devoid of meaning: Fez-Tetouan in Morocco, Tlemcen-Algiers-Constantine in Algeria, Tunis-Testour in Tunisia....

The best example of this situation is probably La Rachidia which was one of the most powerful instruments in the fight against colonialism, and became one of the Tunisian state's showpieces after independence was gained.
Theoretically, the Tunisian Malouf offers a fairly clear historical fresco of the different influences of Arab, Berber, and Ottoman music; however, this foundation, moulded from a millennial wealth of melody and literature, which has been congealed in the space of a just a few decades into a compilation written in a universal code under the power ofmodernisation.
The Rachidia is an institution created under the contestant nationalism movement of Bourguiba, defending the Tunisian cultural identity against colonialism and later, against the idea of an assimilation of the Maghreb. The Rachidia undertook radical transformations. The methods for training and diffusing the Malouf were submitted to strict control by the Conservatory. The modernisation of pedagogical tools confirmed the desire to break away from the traditional places of music as cafe-concert halls. The orchestra grew to resemble western symphonic orchestras. Instruments such as the nay, taught by Ali Darwiche, dominate the fhel of Ahmed El Wafi... In short, the Rachidia became an important element of Tunisian politics the modernists.

The Rachidia's close cousin, the Malouf of Constantine found itself cut off from all hypothetical roots. Its development became a national question. It was forced intoautonomy, being structurally and historically too far removed from the Canaa of Algiers.
The musical masters of Constantine built a closed universe, without much thought.
Ghrib is a word from Algiers, different from Hsin of Constantine. This variation should not be done. its not authentic. Statements such as these leave the neutral listener perplexed. the elites of the Canaa speak in the same way when they learn that a movement was changed in Tlemcen. for them, only the local tradition is authentic.

The interminable quarrels directly influenced the training of young musicians, to the point that, each region lost its taste for an overall style that was so alive in the past.

This recording comes to modestly unsettle these restrictions. The practice of the Malouf and the Canaa made me conscious of how serious the problem is: sectorisation leads to the death of micro-repertories. Urban musical tradition. relying on the strength of its history and its vivacity, must go beyond ideological cleavages and political manipulations.
The two nuba that are recorded here were carefully chosen and interpreted to reveal the comparison between the style of Algiers - The Ghrib is typical of Algiers - and of Constantine - the interpretation of the Cika nuba is from the Malouf. Listen carefully to discern the bridges between the two nuba. The words have been translated to make the comparison easier; the poetry and the themes are foundation of this art. They help to better penetrate this universe that bridges the Atlantic to the confines of Fez.

Nuba

Shortly after french colonisation. the word "Nuba" called war music to mind. "la nuba" was inscribed on postcards from the beginning of the century, showing a Zouave band without any brass instruments or drums. A dozen zourna players (double reeded wind instrument) accompanied by tabala (percussionists) interpreted popular melodies in classical modes.
Leon Roches, the head musician of the army of Africa was told the following legend at emir Abdelkader's camp, which he later transcribed in a book published at the beginning of the twentieth century: "i was told a typical story about the Nuba that goes like this: A pleasant Arab asked his compatriots if they understood the language of the Nuba: "It doesn't mean anything. it sings" they said, "Ignorant or simple-minded that you are", he said, "The Nuba speaks in the name of the sultan and yourselves".
the epithet "Nuba" recalled the noisy folklore of the Spahis regiments. It has a totally different meaning today: these suites of profane cantatas, interpreted in precise modes (Dhil, Zidane; Cika, Ghrib...), leading the initiated music lover to a state of Ecstasy and melancoly. The Nuba is by nature, mythical and nostalgic. The eternal Golden Age of Andalucia continues to inspire musicians and fulfil music lovers; this music also recalls refusals and disillusion.

The mouachah (poems sung to Arab-Andalucian music) of the two Ghrib and Cika Nuba talk of courtly love. they are for the most part anonymous. When they were composed in the Maghreb, they remain tinted with the nostalgia of the Al Andalous country, and the gardens and harmes of Grenada and Seville continue to forge the conscience of the people of Maghreb.

There are two Cika nuba in Constantine, the Nuba Cika and the Nuba Cika-Mjenba. the difference between the two is more in the order of pieces than a distinction in mode: the three Mcedder of this Nuba (Ya bass-8/adha nahit-9/ fah el banafsaj-10) are, in the tradition of Constantine, always interpreted in this ordder. The rest of the Nuba follows the order chosen by the musicians. They may move on with the Darj and, therfore, execute other movements (Insraf, khlac), or they can those the Inklabat, as is the case in this recording.
In this recording the Istikhbar, which usually comes at the beginning of the Nuba, comes after the three Mcedder.
The Nuba Ghrib is executed according to the rules of the Canaa of Algiers: each movement (Mcedder, Btayhi, Darj, Insraf, and Khlac) is interrupted by an instrumental solo. To renew with the custom of chorus singing, the first, seventh, and twelfth titles of this recording are sung by the entire group.

Between two musical cultures

Farid Bensarsa, currently professor of Andalucian music and conductor of a Canaa orchestra in Saint Denis, France, represents the meeting of two musical cultures: the Malouf of Constantine and the Canaa of Algiers.
He was born in Constantine in 1953. Like most musicians of his generation, his musical debut was at the consrvatory and with the artists of the funduk. Once established in Algiers, he took classes from the prestigious musical organisation, la Mossilia. He learned virtually the entire repertory from the grand master of Canaa, Ahmed Serri, and became conductor of the Mossilia after A. Serri's departure. At the request of his master, he initiated the musicians of la Mossilia to the Malouf. Bacheraf, and other pieces from Constantine, are today part of the repertory of Algiers. With his friend and master of the Canaa Nasser Benmrabet (violinist in this recording). he explored and made a rigorous classification of the nuba of Algiers.
In Algiers, the kwithra generally replaces the ud arbi (lute from Constantine). Farid, chose to keep his instrument. "Each time I play a Mcedder Ghrib, I love to subtly "dub" it with a mood that recalls the Hsin mode of Constantine. I can only do this with my ud." He would like to make a recording using these two instruments that are so far yet so close.

(1) Farid bensarsa is the conductor in the first part of this recording. With Arbaoui - Maoui - (lute), Bensaid Mokrane (alto), djamel Allam (mandoline), Abdelaziz Djemai (derbouka), Ahmed Adel (tar) and Nacer Benmerabet (violinist and conductor of the Mossilia of Algiers), all members of the Canaa orchestra of Saint Denis, he founded a non-profit organisation and teaches Arab-Andalucian music to young people.

(2) The second group is very different. The artists are all professionals. Mourad Fergani, son of master Mohamed Taher fergani, is a great stylist. Through a specific tuning, his guitar has its own sound and his playing style is unique. His solo in the Cika nuba reveals a care for harmonisation of the malouf.
Abdi H'Midou, flutist and old friend, is a confirmed jouwak player. He learned to master the difficult alternation of notes of this instrument with the grand master K. Darsouni. the instrument is gentle and melodious in his hands. His improvisations are rich in Lakhal Belhaddad, qanun player (zither) is well-known throughout the Arab world. He reveals his total mastery A. Fakhardji, . Today he accompanies all the great Algerian musicians, in particular in Chaabi music. His virtuosity is unequalled in all of western Maghreb. This "al Sur" collection devoted a CD to him, in which he reveals his technique and mastery of the qanun in more detail.
The beat/tempo of the Cika nuba is given by mabrouk Aissaoui on the tar and Nasser Bousaboua on the derbouka, two percussionists with different musical horizons. mabrouk Aissaoui of the Malouf of Bonne. Nasser Bousaboua trained mainly in the musical organisations of Constantine. His technique is close to that used for the Iranian zarb.
All these musicians today live and give concerts in France.

Taoufik Bestandji (Song, kwithra, alto)

 It is always difficult to write about oneself. Briefly, my background is as follows:
I was born thirty-seven years ago in Constantine, in a family of musicians. I couldn't adapt to the teaching methods of the Conservatory of Constatine, and turned to the last funduk of the city and private parties where I received most of my training. It seems to me today, that this was the only means for musicians of my generation to acquire the true foundations of the Malouf, since the conservatory and similar organization of Constantine reject the popular repertories (hawzi Mahjouz, Aroubi...)
At the end of the 1970's, I became known through television appearances, calling me to the attention of a few great masters such as A. Toumi, with whom I learned rare pieces. Alongside master T. Fergani, I learned the technique of certain Hawzi, without taking lessons directly.
Attracted by the practice of different instruments, I taught in the music schools of Constantine at a very young age.
During my three-year military service in Algiers, I became close with a number of musicians and musical societies, and have followed their evolution ever since.
In 1989, I left Constantine to teach Arab-Andalucian music at the National Conservatory of the Region of Marseilles. I have lived in France since then and constantly strive to share my passion for music.

Taoufik Bestandji

1. The night of union
In the sweet, beautiful night,
Our bodies and souls are euphoric,
I saw nothing but beauty in you.
All through the night you were like a courtesan, dazzled.
Pleasure was with us.
All night I braided flowers and my cup was filled.
To the sound of the lute and singing, my heart was full of joy.
Now in my solitude, without comfort,
thanks to you, my love, in all truth, I can live.

2. promises of love
None other than you I will love
I make the vow
Can not force you to love me
Do not know how
Nevertheless, I vow to wait for you
If I have hope
I will drink until ecstasy
To see you again
Can not stand your refusal
Must give up
You do not know the pain
That I have in my heart
You loved, I have too much pride
I am in mourning.

3. My messenger tears
My tears are my messengers
They tell you of my humble love
Do not push me away
I an nothing but a messenger
Love of my heart, when you left
You left me ill, annihilated
You had taught me how to love:
I can no longer love any other.

4. A pleasant moment
Oh moon, Oh Selene
Your white disk radiates
Serenity.
Androgynous woman,
You are beautiful
In the moonlight.
You served me
A sweet wine.
All at once, in one motion,
I drink and kiss you all over.

5. Breaking up
The woman I love is beautiful
But she is far from me and my body wants her.
But I broke up with her
And I am torn with regret.
I felt tenderness for her.
I liked to serve her patiently.
My body still burns for her
And my soul also yearns for her.

6. To censor of love
I am drunk, look at me
Have pity on my state
I am in love with a star
Very far from me
Tell me what pushed me
To love her so much
I will never lose hope
Of seeing her again
I will drink enough to dream of her
That she will come
And say "I want to drink too
and be carried away"
Have pity on my state
I am crazy about her.

7. Forbidden love
I told my heart not to love her with all my might
But the forbidden love is stronger than me
Let us rejoice, God allows it
O my heart, be patient
And do not lose hope

She charmed me with her beautiful eyes
She stole my heart
Now it is said, where is the secret?
I admit to it, I am crazy about her
Unfortunate secret of Punchinello!

8. The blue violet
Oh blue violet
Exquisite and alone
Your perfume is so sweet
You hide your little head
No one see you in the garden
Kiss my cheek and my leg
Become my most beautiful slave
-He spurned me, she says
He turned away from me
-Oh violet, tell me why
When you leave me you have pity
And in spite of me, my wounded heart
Is a slave to your sweet law.

9. Love punishment
Deep down in my heart
I suffer and sight
My body will not sleep
He wants it
In the garden, between the vines
My beautiful gazelle is sitting
She has joined her lover
Escaping from her chaperone
The wine in our full cups
Adds to the gold of her presence
In the garden, between the vines
My beautiful gazelle is sitting.

10. Courtship
I met her at a pilgrimage
Winning indulgences for her sins
I tried to set up an innocent meeting
She says "no, not you, and certainly not here"
"Goodbye madam" and I turn around
But, shortly afterwards, I miss her
She was sweet and cute
Be good to me, God of love
Set her on my path again
And you, muezzin, after the prayer
Give her a landmark for me.



Part 1
Part 2