Sutaras - Call of the Ancestors

Posted By MiOd On 9:53 PM 0 comments
Call of the Ancestors. Traditional Lithuanian Music, 1993
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SUTARAS was founded in 1988 by professional musicians from the Lithuanian Folklore theatre. Their repertoire includes folk music from all over Lithuania played on traditional folk instruments characteristic of each of its ethnic regions. They perform a wide variety of music ranging from shepherd's melodies to dance tunes. The musicians also sing, dance and tell stories.

Since ancient times, the Lithuanian people have expressed their love of country through their songs and handworks. Archaeological finds, place names, and ancient chronicles bear witness to the strong spiritual and material culture of the Lithuanian and other Baltic peoples. Travellers and historians from abroad documented the Balts traditions, beliefs as well as songs and musical instruments.
Lithuanian cultural researchers conducted more thorough analyses of these subjects. they collected folk instruments, documented their crafting methods, recorded melodies and their connections to various occasions. All of this collected and classified knowledge is available today to those who wish to study or enlarge it including musicologists, instrumentalists, craftsmen and music enthusiasts.
Today, ancient instruments are recreated through drawings and descriptions, while accordions and violins uncovered during ethnographic expeditions find new voices after restoration. Ancient Kankles once gathered dust in museums, but in the hands of talented folk artists they sound again through reproductions. traditional music can be heard on many occasions, and not only during concerts. It has returned into Lithuanian everyday life as a priceless gift of our ancestors.

In this CD is recorded a wide variety of Lithuanian vocal and instrumental music. You will hear shepherd's instruments, various kinds of kankles (bord zithers) and modern instruments common throughout Europe as well as Lithuania. Here you will be able to savour the accords of ancient "Sutartines" (polyphonic songs) as well as compare songs from the various ethnic regions of Lithuania. 20-page booklet with colour pictures and information about Lithuanian traditional songs and instruments included.

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Kirile Loo - Saatus (Fate)

Posted By MiOd On 9:38 PM 0 comments
Kirile Loo
Saatus / Fate
Erdenklang 40772, 1994

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The music presented in this recording is based on so-called regi-song. This is considered to be the oldest style of traditional Estonian music. The regi-verse song-form (verse in the Kalevala-metre) is common to the majority of Balto-Finnic cultures. It is presumed to date back to the 1st Millenium BC.
The present recordings introduce a wide variety of traditional Estonian music instruments. Piece No 1 introduces the oldest Estonian string instrument, the kannel, which is a traditional instrument common to the 10 cultures residing on the eastern shore of the Baltic Sea. The kannel’s venerable age is at least 2000 years.
Vibrant and magical, the regi-verse songs of Kirile Loo are as timeless as the primeval forests that blanket the Estonian landscape, and as haunting as the dreams one just barely remembers upon waking. And there is the pure, soulfully direct and totally captivating voice of this echanting artist: Kirile Loo was born in a Northern Estonian village called Varinurme. She spent the majority of her childhood at her grandmother’s home at Alutaguse, which is a place in Estonia covered by primeval forests and untouched by civilization. There was no electricity, no telephone, no TV in her grandmother’s home, but close ties with nature in such a place; bear, elk, wolves and snakes lived nearby the house. The artistic creed of Kirile Loo cannot easily be put into words. From a human perspective, the ideals of Kirile Loo are rooted in ancient times, when primitive man expressed thoughts in a straightforward manner, without unnecessary philosophical speculations.

Regilaul or regivärss is to Estonians what delta blues is to Americans. This particular recording is exceptionally good and recorded very professionally. Kirile Loo's voice is amazing. I recommend this CD to all the folk music lovers out there. It would certainly be a valuable addition to your collection. For people with Estonian heritage - this is a must have.

The CD, "Saatus", is of primary interest to two groups: music historians; and Estonians who wish to learn more about their culture. Until the fall of the Soviet Union, Estonians in exile had little or no opportunity to visit their native country; but the music and folk dance traditions have continued, even to the young generation of today. The ancient songs have rarely been heard at gatherings and festivals. "Saatus" brings together several selections so that the listener gains a broader view of the sounds and words of early Baltic musicians/singers. The chant-like, repetitive qualities of the songs are hypnotic. However, even music historians would have difficulty understanding the intent and content of the songs without the ability to understand or speak Estonian.
01. Vana Kannel - The Ancient Psaltery
02. Loomine - The Creation
03. Taevalaotuse Tekkimine - Genesis Of...
04. Höikumised - Holla
05. Ristitantsi - Cross Dance
06. Igatsus - Longing
07. Äia-Tuija
08. Joodiku Nadal - Drunkard's Week
09. Ei Mina Möista - I Do Not Apprehend
10. Äiu-äiu, Kössi-Kössi - Lullaby
11. Oh Minu Elu Igava - O,My Life!
12. Saare Tants - Island Dance
13. Akkame, Mehed, Minema! - Let's Go,Men!
14. Roopilli Hüüd - Reed Pipe Skirl
15. Surnuitk - Song Of Lamentation
16. Öhtu Ilu - Evening Son

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Part 1
Part 2

Musics of the Soviet Union

Posted By MiOd On 8:33 PM 0 comments
Musics of the Soviet Union
Smithsonian Folkways CD SF 40002, 1989

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The music on this album gives an idea of the beauty and variety of musical traditions performed today in the Soviet Union. The artists here are fine representatives of regional traditions that have developed over centuries.

The Soviet Union is a huge country. covering one sixth of the earth's land surface and stretching across eleven time zones. its population of over 275 million includes over one hundred distinct ethnic and linguistic groups. each with its own traditions and unique character. Traveling from the European Baltic republics to the Muslim villages of central Asia and on to the Arctic in northeastern Siberia, a traveler encounters many different musical traditions and ways of life. Throughout the Soviet Union music plays an important role in creating and reinforcing ethnic identity. Whether in the songs accompanying lengthy Russian wedding rituals, in Azerbaijan mugam compositions, or in Georgian harvest festivals, musical traditions are passed orally from generation to generation and embody a group's culture

The examples on this album were selected to represent the styles of the Soviet musicians who came to Washington, D.C..,in the summer of 1988, for the 22nd annual Smithsonian Institution Festival of American Folklife. The recording were furnished by the Soviet national record company. Melodia, which is issuing a companion recording of American folk music from U.S. recordings.

Future Smithsonian Folkways releases of music from the Soviet Union will focus on specific traditions and include extensive commentary by specialists in the field.

Very little indigenous music from the former Soviet Union is known to the West. This recording, from 1988, offers a rich sampling from many of the more than 100 ethnic groups within this vast region. The record begins with passionate Lithuanian lullabies and proceeds through ancient seasonal and ceremonial village songs from southern and northern Russia and the asymmetrical dance rhythms performed by Estonian bagpipers. From the distant Mongolian frontier, the amazing art of Tuvan multiphonic "throat singing" can be heard as well as the richly harmonic male choral singing still practiced in Georgia. "...[A] compelling taste of sounds from a country with a huge amount of indigenous music..."

01. Veronika Povilioniene - Lithuanian Lullaby
02. Veronika Povilioniene - Lithuanian Lullaby
03. Estonian Bagpipe Music
04. M.K. Mal´tseva leading vocal ensemble from Podserednee - South Russian Solo Song from Belgorod Province
05. M.K. Mal´tseva leading vocal ensemble from Podserednee - South Russian Wedding Dance Song from Belgorod Province
06. Kamenka village ensemble - North Russian Wedding Greeting Song from Arkhangelsk Province
07. Evdokiia Alexandrovna Oreshkina - North Russian Wedding Lament
08. Singers from the village of Shostova Gora in Arkhangelsk province - North Russian Lyric Song
09. S.B. Manchakai - Tuvan Folk Melody
10. M.C. Daknai - Song from Khomeizhi
11. Azerbaijani Classical Mugam, Bayat-i Kurd
12. Lile song and dance ensemble of the Lintekhskii House of Culture - Georgian Song
13. Gugava Dzohkia - Georgian Song
14. Lile song and dance ensemble of the Lintekhskii House of Culture - Georgian Wedding Song

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Iles du Cap-Vert - Les Racines

Posted By MiOd On 7:01 PM 0 comments
Iles du Cap-Vert - Les Racines, 1990

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Situated wide of West Africa's coast , this volcanic archipelago lost in the middle of Atlantic Ocean in composed of 10 islands and 5 islets. Formerly a Portuguese possession from the 15th century, Cape-Verde acceded to independence in 1975. Throughout a hard and majestic country one can find arid islands even when others have exuberant vegetation. Poor but stubborn, the Cape-Verdi Islanders have preserved their oral traditions almost intact.
From its history, Cape-Verde gave birth to a community presenting a high point of cross-breeding. The metis prevail not over physical constitution but over cultural point of view. Cape-Verde not over physical constitution but over cultural point of view. Cape-Verde Islanders lay claim to a cultural identity that is present in literature as well as in painting and music. Although Portuguese is the official tongue, the songs are mostly in Creole, composed from Portuguese and many African languages showing clearly the different sonorities found out in music and dances.
"Mornas", "Coladeiras", "Funana" are such musical kinds that ornament the musical richness of this country.
As well as a farm labourer or a workman the Cape-Verde Islander finds his well-being in this music that he tries constantly to make changes in as to identify himself to it, In this archipelago all the occasions are good enough to play, sing and dance.

Instrumental music composed by the great poet E.Tavares, dead circa 1930.

Song expressing love and passion. Poem of Antonio Jose De Rosa. Music of Raul Cova De Pina who plays a viola, today an obsolete instrument.

03. TITINA BRANCA - Funana
Song dedicated to the Woman. It is an air from Santiago Island. It can also be danced

04. SOLO TI RUMAO - Coladeira
It is a dance music, accompanied by a Cavaquinho, 3 guitars and a violin.

This feast of pounding takes its pur expression when accompanied by two drums and a man striking on the pounding stick while the villagers are singing.

06. MAR DI FAJA D'AGUA - Coladira
Playing the violin, Raul Cova De Pina makes dance the young Bravences, inhabitants of Brava Island.

A long song, partly improvised

08. FRUTO PROHIBIDO (Forbidden Fruit) - Morna
Popular morna evoking the torments of a loving heart.

Instrumental music for this samba of Cape-Verde Islands.

"Saudade" song (nostalgia) inspired by hawks soaring over Brava Island and who darken an impetuous love.

11. MATO DJEJE - funana
Improvised song as a tribute to the accordionist who plays here a Diatronic accordion.


13. TALAIA BAIXO - Coladeira
The Coladeira is a very appreciated air played in popular balls.

Hommage to Fogo Island and its volcano, In the archipelago there are very few women who sing because they would be looked as "loose women"

Viele solo played by nho Henrique, 85 years old, who is one of the last musicians able to play this instrument.

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Mory Kante - Tamala. Le Voyageur

Posted By MiOd On 11:36 PM 0 comments
Mory Kante
Tamala. Le Voyageur, 2001

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The more Malian of the Guineas, Mory Kanté finally arrives with his last production "Tamala" (Traveller, adventurer…). Tamala is a new album of 12 titles arranged by him. Tamala, it’s also an acoustic album which consecrates the triumphal return of the one who made his first weapons with the rail band of Bamako then with the international rail band before beginning a solo career in the middle of the Eighties. Do you remember yéké Yéké? Tamala: traveller, adventurer or walker supposes a movement, thus with this album, you are guaranteed to have ants in your legs.

Mory Kante inherited the griot tradition from the " jalis " of Mande. At its height during the reign of Sundiata Keita in the XIIIth century, the African empire of Mande stretched from the Atlantic coast to the region of Gao. Mory began his musical education even before his birth on March 29th 1950 at Albadania near Kissidougou in the forestland of Guinea. His mother, Fatouma Kamissoko, communicated with him through music when he was still in her womb…
Fatouma is of Malian origin. Her father, the Jali Mory Sanda Kamissoko, known as "Sanda" (the word, the proverb and the verb), was a spiritual leader for the griots in the regions of Kouranko and Sankaran in Guinea. The old man personally baptised the child and passed on to him his own name. The song "Alamina Badoubaden" from the new album (a beautiful tune recorded live by an ensemble that included some of the best griots living in France) is a tribute paid by the grandson to the renowned grandfather.
1950-64 -The griot child
Little Mory started his traditional education with his father, El Hadj Djelifode, leader of the griots of Kissidougou, who lived to the age of 109… Mory was one of the youngest of his thirty-eight children. He went to a French school and learned to play the balafon, the Kante family's emblematic instrument. The Jalis say that Sumaworo Kante, the king of Sosso, used to possess a very powerful "djo", the "Sosso Bala", a balafon (or rather a bala as the word balafon refers to the bala player) kept in a secre
According to the legend he gave this balafon to his griot saying these words: "Bala Fasseke Kouyate". Mory sings that story magnificently in "Exil of Sundiata", an epic 25 minutes piece recorded in 1975 at the time when he was part of the Bamako Rail Band. "Every balafon is tuned with that one. That balafon exists and there still is a place for it today", Mory explains. It's one of the first enchanted instruments. But it is wrong to say that Sumaworo Kante's balafon was a fetish. It's a means of communication between what people can see and listen to and what people can neither see nor listen to. The instrument makes possible cosmic communication, a communication of power."
1965-70 - First initiatory journeys
The young griot's initiation began at the age of 15. Mory was sent to Bamako, the capital of Mali, to live with his aunt, the griot Manamba Kamissoko (one of the singers from the Mali National Instrumental Ensemble) maried to the twins Fouceny and Lanssana Diabate. For several years, across the Mande, the young boy undertook the initiatory journeys necessary to become a griot: a succession of difficult ordeals (that were not solely musical) to complete his education
Back in town Mory had time to enthusiastically explore the different styles of music pouring in from the rest of the world: chachacha and mambo from Cuba, rumba from the Congo, soul from America, pop from England, yéyé's from France … Mory Kante adored the guitar and managed extremely well as balafonist, guitarist and singer for the Apollos, a group that performed during wedding festivities. With this reference to James Brown's celebrated "Live at the Apollo " recording, Mory already indicated a preference for the funky music that he would continue to draw upon for inspiration,
1971-77 - Journeys with the Rail Band
Mory was spotted by Tidiane Kone, the saxophonist and conductor of the The Rail Band that had been formed in 1969 in order to liven up the highly estimated Buffet de la Gare of Bamako. Mory joined the group in 1971 as guitarist and balafonist. The singer at that time was Salif Keïta. In 1973 when the latter left to join the rival group, the Ambassadors, Mory replaced him on the microphone. He tried himself out on a large variety of styles and notably excelled in the pure funk music inspired by James Brown, such as "Moko Jolo" (recorded in 1974 with the Rail Band and revived in 1993 on his album Nongo Village) and in the Mande-style Afrobeat works like "Dugu Kamleba" (1974), dedicated to Fela
In Bamako Mory discovered the Cora, a large harp-lute that comes from the region of Gabu through which the Gambie River flows. He learned to master the instrument without taking any lessons. His efforts were awarded the day in 1974 when the Malian music and spiritual master, Batrou Sekou Kouyate, gave him the Cora, which accompanies him on all the stages; he performs on throughout the world. Starting in 1975, the already famous Rail Band started to tour in all West Africa. In 1976 Mory was awarded the "Voix d'Or" (golden voice) trophy in Nigeria. The following year he decided to complete his training as a Griot by going to see the masters of the tradition in the major historical sites in Mande.
1978-83 - The Abidjan Journey
After leaving the Rail Band, Mory Kante settled in Abidjan in 1978. It was there that he developed what was going to become the mark of originality in his music and one of the keys to his success. " I opted for doing research on the sounds of traditional African instruments: the balafon, the violin, the bolon and especially the Cora", Mory recounts. "At a time when all orchestras were equipping themselves with modern instruments (guitars, keyboards…) I thought it was a shame to leave aside all these treasures."
With a small traditional ensemble (balafon, djembe, 5 stringed bolon), Mory Kante (Cora and vocals) provided the musical entertainment at the Climbier, which at the time was a renowned club in Abidjan. International stars such as Barry White and Johnny Pacheco also performed there. Mory's acoustic arrangements for international hits surprised and seduced the director of the American label Ebony Records, Gerard Chess, who decided to produce his first record, "Courougnegne", in 1981.
The artist's reputation was beginning to spread throughout Africa. It gained a new dimension in 1982 when he directed the Mande ballet (composed of 75 traditional and modern artists) on the stage of the French cultural center in Abidjan. A scaled-down version of this creation was part of the legendary show that French singer Jacques Higelin presented in the Bercy stadium-concert hall in Paris in the fall of 1985.
1984-89 - The Paris journey
Mory Kante came to France in 1984. Finding a place in the sun in the city of lights was not a simple matter- especially without a residence permit… A quasi-traditional version of "Yeke Yeke" was presented on his album "Mory Kante in Paris" which was a "façon-façon" ("home-made style") recording. Two years after having practically started out again from scratch, Mory's enormous talent had won him a place in the sun. The concerts that he gave with his electric cora received unanimous praise from the critics.
In 1985 he contributed to the musical track of the French film "Black mic mac". He was also one of 30 African artists in Paris who took part in the "Tam Tam for Ethiopia" adventure organised by Manu Dibango. It was on that occasion that he met Philippe Constantin, then one of the foremost talent discoverers for the young musical scene in France. Convinced of Mory's potential, Philippe offered him a contract for an album in 1986 when he was handed over the reins of Barclay Productions
The album "10 cola nuts", co-produced by the American pianist Davis Sancious, was hailed by the critics and nominated for the French "Victoires de la Musique" in 1986. The touring rhythm accelerated: Europe, North Africa, Mali, Senegal, the USA… Mory Kante was able to find an ideal balance in crossover music and the western public was ready to welcome these sounds, which opened up new horizons for it.
Yeke Yeke was re-recorded in a shorter version (faster, electric, and more conducive to dancing) for the album "Akwaba Beach" in 1987. The song's dazzling success took everyone by surprise. The sales soared to more then a million singles and more than half a million albums and its listing on the hit parades around the world multiplied. When "Yeke Yeke" reached the top spot on the Paneuropean charts in Billboard magazine (USA) in 1988, the griot from Kissidougou had succeeded in giving African music the place it rightfully deserves.
1990-95 -Planetary journeys and a return to the source
In 1990, on the 14th of July (French Bastille Day), Mory Kante, former illegal alien, represents France alongside Khaled on a huge stage in the heart of Central Park in front of tens of thousands of New Yorkers. And a few months later, on the occasion of the "Gala de la Francophonie", he had the joy of treading on the stage of the legendary Apollo Theater in Harlem. The album "Touma" (the moment) which was released that year, and was produced by Nick Patrick (who had produced the previous one) was a golden record in France.
The following year, for the inaugural ceremony for the Grande Arche de la Défence in Paris, Mory Kante was asked to present his Symphony of Guinea, to be interpreted by 130 griot musicians, both male and female traditional singers. This event foreshadows the project that Mory, than 41 years old, dreamed about in secret: the creation in Africa of an important musical City for the promotion of the Mande culture. He had already given it a name: Nongo Village.
To start out, Mory built his studio on land that he had acquired in the vicinity of Conakry. He recorded there the basic part of his new album for Barclay "Nongo Village", that was to be released at the end of 1993. The next year he toured both in Europe and in Canada. He was also awarded the "Griot d'Or" in Paris and attributed the "Prix Kilimandjaro" by Africa n°1 (the "number one" Franco-African radio station in France). But Mory Kante is mostly preoccupied by the realisation of his project, which was extremely ambitious within the context of the Guinean economy
1996-2001 - The traveller's endurance
Mory regains his artistic independence and his autonomy as a producer in order to assure the realisation of his album "Tatebola", released in 1996. The title song was chosen by Canal France International as the signature tune for the Mundial 98. The musical tours continued across the world, notably with Womad, while the City project starts to take form in Conakry, in a neighborhood that the population was soon to baptise "Mory Kantea".
"I want to help to industrialise African music and culture through this project", explains the singer. "It will include a major music school where traditional instruments will be taught, and where training programs will be offered in related fields; there will be a show business agency, three recording studios, and an audiovisual studio where artistic and cultural programs can be created. The tourist sector will offer a hotel, equipped with a club and a theater. In addition, accommodations will be available for the crews that will come to work in the recording studios.
In 2000, Leonardo Di Caprio called upon Mory Kante for the musical track of his film,"The Beach", which includes a remix of "Ye ke Ye ke". In December he was invited to the Vatican to participate in the festivities of the Pope's jubilee. Following this interesting experience for a Muslim, in early 2001 Mory Kante undertook the recording of his new album, "Tamala" (Le Voyageur), which includes a duet on the song "Nin Kadi" with the popular and exceptionaly talented English R&B singer SHOLA AMA. The album placed N#1 for October and November 2001 in the World Music Charts of Europe
On World Food Day, October 16th, 2001 Mory Kante was appointed F.A.O. (Food and Agriculture Organization of the United Nations) Ambassador to help in the mission to Fight Hunger to Reduce Poverty worldwide
In 2002 Mory Kanté hit the road to promote his new album Tamala (Le Voyageur). His tour included forty-eight shows, many of them recorded for broadcast, in fifteen European countries. He was consistently well received by the public who danced throughout the shows. He also performed in South Africa (Robin Island and twice in Johannesburg) and Morocco (Rabat and Casablanca). Some of the highlights of the tour were his headlining of the Fete De La Musique in Nice, France, his performance of 'Nin Kadi' in concert with Shola Ama, his concert in Geneva for the UN Gala and his participation in the F.A.O. Telefood concert in Johannesburg.
Another highlight for Mory Kanté in 2002 was his participation as narrator for a special television show to bring awareness to F.A.O. work to fight hunger and poverty throughout the world. The show was broadcast in 188 countries on World Food Day 2002.
In the same year, Mory Kanté was invited by the Dunya Foundation to create an all new acoustic show. The show was a first for Mory Kanté and the acclaim he received was such that he continued to tour the acoustic show in 2003.
September, 2004 saw the release of Mory Kanté's acoustic album, released on Riverboat Records/World Music Network. A stunning album of depth and poise that is contemporary and modern, while also being firmly grounded in his traditional griot roots, Sabou is the eagerly anticipated return of the griot from Guinea.

(01). Le Griot
(02). Nin Kadi (Too Much Of A Good Thing) feat. Shola Ama
(03). Nata
(04). Guineen Nou
(05). Alamina Badoubaden
(06). Dimini
(07). Wali Gnoumalombalia
(08). Mosso
(09). Mana Mana Ko
(10). Yakha

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Stella Rambisai Chiweshe - Kumusha

Posted By MiOd On 11:15 PM 0 comments
Stella Rambisai Chiweshe
Kumusha, 1991
Her Majesty - The Queen of Mbira Music from Zimbabwe - like Stella Rambisai Chiweshe is often called, is the first female artist who gained in prestige and has been honored with recognition in a music tradition that's been dominated by men: in Mbira music - known as the backbone of Zimbabwean music.

She is one of the few musicians in Zimbabwe and Southern Africa, who since more than 35 years is working in the role of traditional Mbira musician. When Zimbabwe was still a Rhodesian colony, Stella secretly was recognized as a Mbira player at forbidden ceremonies. Before independence Mbira instruments had to be kept hidden, because the colonial government had banned the instrument fearing its magical powers. Playing Mbira was punished with prison. After playing through the whole night at forbidden reunions, Stella then returned to her every-day-struggle of survival as a young girl within a colonial environment.

Stella Rambisai Chiweshe is nicknamed "Ambuya Chinyakare" (Grandmother of Traditional Music). She is a well respected and important woman in the music business too, where bands perform in night clubs and festivals. She set an example for the rest of the women musicians in Zimbabwe.

She is a professional artist in the entertainment industry and in the international music circuit. In Zimbabwe before independence she released more than 20 singles of Mbira music of which her first single Kasahwa went gold in 1975.

After Independence she was invited to become a member of the original National Dance Company of Zimbabwe, where she soon took the part of a leading Mbira solo player, dancer and actress. Her work will always be remembered.

Her solo work has established herself as one of the most original artists in the contemporary African scene using popular music to show the deepness and power of her traditional spiritual music at home and abroad. Stella's experience has been stimulating her to introduce Mbira music to the occidental context without loosing the relation to her Zimbabwean tradition: She creates warm dance grooves as well as popular songs always based on Mbira rhythms.

The fusion of Stella's music and contemporary guitars has not only made her an international figure, but also as Zimbabwe's cultural Ambassador.

Apart from her merit combining Mbira with Marimba in morden Zimbabwean music, she is touring Europe regularly since 1983 and has released seven internationally successful albums

1. Chigamba
2. Chikara
3. Gova rine Mhanda
4. Mapiyemana
5. Mahororo
6. Bangiza
7. Chakwi
8. Temayimisasa

320 kbps including full scans


Kalifi Dance Ensemble - Kalifi

Posted By MiOd On 11:04 PM 0 comments
Kalifi Dance Ensemble

Track Listings
(01). Baba
(02). Otofo
(03). Miriko
(04). Emmanuel
(05). Chop Bar Fufu
(06). Gahu
(07). Kafodidi
(08). Ewe Bells And Blekete
(09). Kpanlogo
(10). Sohu
(11). Kpegesu
(12). Atsi-Agbekor
(13). Wo Onineno

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Boubacar Traoré - Mariama

Posted By MiOd On 11:02 PM 0 comments
Boubacar Traoré
Mariama, 1994

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Traoré first came to prominence in the early 1960s. He had taught himself to play guitar and developed a unique style that blended American Blues music, Arab music, and pentatonic structures found in West Africa's Mande cultural region. He was a superstar in Mali and a symbol of the newly independent country. His songs were immensely popular and he enjoyed regular radio play. However, he made no recordings, and since there were no royalties paid to musicians, he was very poor and had to work odd jobs to make ends meet.
During the 1970s Traoré's popularity faded, until a surprise television appearance in 1987. Soon after this "rediscovery," Boubacar's wife died. Grief-stricken, he moved to France and did construction work to support his six children. While there, a British record producer discovered a tape of one of Traoré's radio performances, and he was finally signed to a record deal. His first album, Mariama, was released in 1990. Since then, Traoré has enjoyed international popularity, touring Europe, Africa, and North America.

1. Mariama Kaba
2. Benidiagnamogo
3. Mantjini
4. Diarabi
5. Kele
6. Kayes-Ba
7. Khobe Na Touma
8. Pierrette

320 kbps including Covers


Australia. Songs of the Aborigenes and Music of Papua, New Guinea

Posted By MiOd On 10:36 PM 0 comments
Australia. Songs of the Aborigenes and Music of Papua,
New Guinea, 1998 (1963)

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Track Listings
01. Malkari Song
02. Bora Song 'Tara Kuikui waru mapagu'
03. Bora song 'Wirru wirru'
04. Bora song 'Puipume malung inana'
05. Bora song 'Tike apuya'
06. Extract from Bora dance rehearsals
07. Extract from Bora dance rehearsals
08. Extract from Bora dance rehearsals
09. Antjali song
10. Malkari song
11. Women's Wungka dance songs
12. Women's Wungka dance songs
13. Women's Wungka dance songs
14. Man Ungginyu
15. Bora song 'Boala malu wutyuru'
16. Bora song 'Timbara lupu intyinawa'
17. Malkari song
18. Malkari dance song 'Centipede'
19. Song associated with Bora 'Ontoimo owa'
20. Women's Wungka dance song
21. Women's Owalapatanu song
22. Women's funeral dance song

Elcho Island, Central North Australia
23. Djadbangari Dance Song 'East Wind'
24. Karidyeri Dance Song
25. Didjeridu Solo a Trial And a Crying Child
26. Didjeridu Solo a Big Truck on the Mission
27. Bunggul Dance Song 'seagull' (djerag)
28. Bunggul Dance Song 'spider'
29. Bunggul Dance Song 'spider'

Traditional Music of the Gizra People of Papua, New Guinea
30. Jew's Harp
31. Song About a Bird
32. Dance
33. Flute
34. Two Flutes
35. Magician Song
36. Mourning Song

320 kbps including full scans


Cheikha Remitti - Ghir el Baroud

Posted By MiOd On 10:33 PM 0 comments
Cheikha Remitti
Ghir El Baroud, 1989
Track Listings
1. Ghir El Baroud
2. El Dzair
3. C'est fini, j'en ai marre
4. El Alia N'batou Ahna
5. Rani Alla M'rida
6. Hya B'ghate Sahra

320 kbps including full scans


Hariprasad Chaurasia - The Most Celebrated Flutist of India

Posted By MiOd On 10:29 PM 0 comments
Hariprasad Chaurasia
The Most Celebrated Flutist of India, 1990
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Track Listings
Raga Mian ki Malhar

1. Alap, Jod, Jhala
2. Gat (Rupaktal & Tintal)

Hariprasad Chaurasia - flute
Fazal Qureshi - tabla

320 kbps including full scans


Sultan Khan - Singing Sarangi

Posted By MiOd On 8:02 AM 0 comments
Sultan Khan
Singing Sarangi, 1988

Zakir Hussain accompanies on tabla. Good performances of "Kaunsi Kanada," "Chandra Madhu," and "Mishra Tilang." The album also includes a tabla solo piece lasting a few seconds short of ten minutes.

1. Raga Kaunsi Kanada (Alap and Gat)
2. Raga Chandra Madhu
3. Tabla Solo (Char Tal Ki Sawari)
4. Raga Mishra Tilang

Sultan Khan - sarangi
Zakir Hussain - tabla

320 kbps including full scans


Ravi Shankar - Improvisations

Posted By MiOd On 7:55 AM 0 comments
Ravi Shankar
Improvisations, 1991 (1968)
Shankar's Improvisations puts tradition alongside fusion, East next to West. Recorded about 35 years ago, the album still sounds fresh. It opens with a sitar/flute call-and-answer, leaps into an electric guitar-supported jazz piece, moves to a short and quick sitar showcase, and wraps up with a 20-minute traditional raga. From the very first note, the raga proves exceptionally evocative. The entire album is well-suited to Western tastes, featuring Shankar at his best both as a composer and as a virtuoso.

Ravi Shankar - sitar
Dennis Budimir - guitar
Ravi Shankar - sitar
Nodu C. Mullick - tampura
Harihar Rao - tampura, dholak
Kanai Dutt - tabla
Bud Shank
Louis Hayes
Gary Peacock

1. Improvisations on the Theme From Pather Panchali
2. Fire Night
3. Karnataki
4. Raga Rageshri
Part 1: Alap
Part 2: Jor
Part 3: Gat

320 kbps including full scans


Ali Akbar Khan - The Emperor of Sarod

Posted By MiOd On 11:09 PM 0 comments
Ali Akbar Khan
The Emperor of Sarod. Live Vol.1,1990
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Raga Bageswari Kanada

1. Alap, Jod, Jhala

2. Vilambit & Drut Gat (Tintal)

Ali Akbar Khan - sarod

Swapan Chaudhuri - tabla

320 kbps including full scans


Taj Mahal Meets the Culture Musical Club of Zanzibar - Mkutano

Posted By MiOd On 2:44 PM 0 comments
Taj Mahal Meets the Culture Musical Club of Zanzibar
Mkutano, 2003

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Taj Mahal goes Zanzibar. As early as the first few bars of the opening song “Dhow Countries” it becomes evident that Taj Mahal’s latest African journey is a musical winner. Not only did he take his blues to a place that is the stuff of myth and fantasy, this East African island just off the coast of Tanzania has been capturing the man’s imagination and spirit in a profound kind of way. “Dhow Countries” is a slow and meditative blues in a minor key. A tender evocation of African moods with lots of feeling, enhanced by the sounds of the Culture Musical Club of Zanzibar, the first and foremost taarab orchestra of Zanzibar.
„Muhoga wa jang’ombe“ is next and presents the Culture Musical Club in full glory. Taarab music from Zanzibar still stands as a musical universe in itself, a one-of-a-kind combination of Arabic, African and Asian musical traditions. There doesn’t seem to be anything like it anywhere else and it‘s richness has never been fully revealed or analysed, it seems. The orchestra is set up in various sections that mirror the eventful cultural and social history of Zanzibar. First of all there’s a powerful Arabian section consisting of qanun (cittern), oud (Arabic lute), nai (flute) and a number of violins. Especially the latter allude to the tradition of Egyptian film orchestras and also the traditions of Western and Indian classical music. Accordions and double bass are in the mix as well and the percussion department mostly consists of dumbak and bongos. On top of all this instrumental richness, there are the voices: male and female solo singers and choruses. To this day, the Culture Musical Club plays an essential part in the island’s cultural and social life. It’s a sort of „national orchestra“ and it has more or less single-handedly created the sounds of contemporary taarab from Zanzibar. The orchestra still provides a center of social activities for people in an environment of communication and music.

The three African-Americans on board go way back by now: Taj Mahal (vocals, guitar, banjo), Bill Rich (electric bass) and Kester Smith (drums). These three African-Americans always seem to enjoy plunging into a musical culture that’s different from the West in as much as it’s not been totally commerzialised and put on the marketplace for immediate consumption. Despite touring internationally, this orchestra from Zanzibar is still hanging on to its original identity as keeper of social traditions. No elaborate wedding ceremony in Zanzibar is complete without their musical contribution. It sure is a long way from the juke joints of Mississippi or the clubs of Chicago, indeed, but any blues scholar will be able to come up with some striking similarities concerning the social importance the blues has played for the people in past times, especially for the African-American community. But despite the many cultural differences of the two groups of musicians involved, a wonderful breaching of the gap occured. Taj Mahal took his blues – and the African-born banjo – to this remote African island of legendary and mythic stature. A place where the music has kept some mystery, it seems.
Some local heroes also took part. Female singer Bikidude is well into her nineties and a living legend - the most famous musical ambassador from Zanzibar. Next to her musical prowess, the myth of Bikidude is based on a number of real-life incidents. At the age of thirteen she fled from an enforced marriage into Tanzania, where she crossed the country barefoot. She left a second unhappy marriage and took a traditional dhow sailing-boat to Egypt. It was there she became a singer. She took off her veil and shaved her head. Thus, she created an alternative and somewhat provocative new role model for Islamic women in Zanzibar. Bikidude drank and smoked, she flirted and danced, she sang and played the drums. A major artist from Zanzibar still and singing on this album.

Taj Mahal is still a restless man. His career has exceeded a forty-year time-span by now and he’s been a recording artist for just a little less. His discography feature more than three dozen albums. His classic credo is still valid: “In the end, ultimately, the music plays you, you don’t play the music.” The man is more than just a performer – he’s also a receiver. The spirits of the ancestors have been working their way into his new project again. The meeting place is a spiritual terrain on which everyone taking part seems to be moving. Even a very secular song like “Catfish Blues” seems to be infused by these spirits, creating a unified and unifying concord of souls. This is even more evident in a song like “Naahidi Kulienzi”, Taj’s duet with singer Makame Faki.

Despite this fascinating unity of spirit, the search for the all-important moment of truthful musical communication becomes audible as well. But even this struggle provides valuable moments of musical authenticity. When Mahal’s banjo and the orchestra’s violins embark on a journey through the pentatonics of the blues („M’Banjo“), the listener becomes a witness to the process of finding mutual musical linguistics. TAJ MAHAL MEETS THE CULTURE MUSICAL CLUB OF ZANZIBAR presents another fascinating chapter of Taj Mahal’s ongoing musical journey to the source – nothing more and nothing less. It will not be his last. The search goes on.

Taj Mahal goes to Zanzibar. As early as the first few bars of the opening song "Dhow Countries" it becomes apparent that Taj Mahal's latest African journey is a musical winner. Not only did he take his blues to a place that is the stuff of myth and fantasy, but enhanced it with the sounds of the Culture Musical Club Of Zanzibar who are the foremost taarab orchestra of Zanzibar. Fellow African - Americans Bill Rich (electric bass) and Kester Smith (Drums), who are both very good friends of Taj Mahal's, help him to fuse the sounds of Zanzibar with the blues of America. Zanzibar is a cultural infusion of Arabic and African influences and right from the off this album is exceptional, with tracks like "Muhoga wa jang'ombe" bringing together an array of musical tradition from the Arabic, African, Asian and American continents. This album really does show Taj Mahals' musical ability to the full.

Here's an album so atmospheric you need a decompression chamber after you've heard it. He was born Henry St Clair Fredericks (in New York) but it came to him in a dream that he should call himself Taj Mahal. He's been on a musical odyssey since the 1960s, paying homage to every type of black music he can find - not dissimilar from the path chosen by Ry Cooder, with whom the parallels are obvious - together they formed the short-lived Rising Sons in 1966, and as solo artists both have made album collaborations with Ali Farka Toure and the veena player, V.M. Bhatt. So Taj is already an experienced African musical traveller - he's also done one with Malian kora player Toumani Diabate. Not all TM's experimental albums work, but this one from Zanzibar is a winner all the way.

From Samuel Charter's field trip to Ghana in the 1950s there has been a yearning to connect African-American music with Africa, either directly (did blues forms originate in griot singing?) or indirectly (does the blues singer inhabit the same cultural space as (say) the griots of West Africa?) But the dots cannot be joined so easily and the scholars have returned emptyhanded. When Ali Farka Toure was heard by Westeners the eureka cries were stifled when it was found that he learned all his blues from John Lee Hooker records. So there is a poignancy to TM's quest to marry the lush taarab music of Zanzibar with the soft, sad lilt of the country blues - the latest chapter of his "ongoing musical journey to the source - nothing more and nothing less" as the blurb says.

The Culture Musical Club of Zanzibar, one of the country's prominent folk orchestras (est. 1958), combines Arabic and African traditions, so the lineup includes accordions, nai, three violins, sanduku and three singers, one of which is Bikidude who is, apparently, well into her nineties. Taj brought his rhythm section along, and the ensuing soft collision is like a dream John Fahey might have had, "Stomping Tonight on the Banks of the Mississippi/Rufiji Confluence".
This was indeed an experimental album. The press release says "there was no chance in preparing the music to be made in advance". Some experiments fail, and Taj could have been left with a heap of bent sandukus and smouldering accordions. Instead of which we now have this lovely dream of an album.

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1. Dhow Countries
2. Muhoga Wa Jang'ombe
3. Zanzibar
4. Catfish Blues
5. Naahidi Kulienzi
6. Mkutano
7. Done Changed My Way Of Living
8. M'Banjo
9. Mpunga

320 kbps including full scans


Mzwakhe Mbuli - Resistance is Defence

Posted By MiOd On 2:36 PM 0 comments
Mzwakhe Mbuli
Resistance is Defence, 1992
Although the music business lives off symbolic heroes, it generates no more of the real-life variety than any other institution, especially if you think heroes have better things to do than suffer for their art. Mzwakhe Mbuli is a real-life hero. A black man from South Africa, the one place in the world where everyone knows politics matter, he has been jailed eight times for reciting the poems that he now sets to music.
Usually he was just "detained," but once he found himself in solitary for six months. No pencil, no paper, so he wrote the 1988 album Unbroken Spirit in his head. He was the "people's poet," the most prominent policy maker on the United Democratic Front's cultural desk, the embodiment of cultural struggle. For a long time his m.o. was hit-and-run--he'd show up at some public gathering, perform, and disappear before the police moved in. Arrest never stopped him long, and eventually he inspired a legion of stand-ins, proud young Mzwakhe wannabes who'd deliver versions of his poems at every rally.
Music was an afterthought for Mbuli, but an inevitable one. He was born in 1959 in Sophiatown, the teeming Johannesburg neighborhood that was the center of black South African culture from the 1920s until it was razed to make way for a white settlement called Triomf, and grew up with his seven brothers and sisters in a part of Soweto picturesquely nicknamed "Sub A." His father was a Zulu who worked as a long-distance driver and met his Xhosa mother on the Cape.
As his father's favorite, Mzwakhe was treated to an especially strict Zulu upbringing, denied shoes to build character and immersed in the culture's choral tradition at the all-night mbube competitions his father loved. Politics was never discussed, radio listening limited to mbube, yet the young man's questioning spirit was spurred by a pass arrest when he was thirteen, and by the time of the Soweto uprising in 1976, his father was dead, and politics were unavoidable. For two years Soweto's schools were on strike, and after Mbuli returned to complete his matric he also participated in a cultural group that continued the semiformal Afrocentric education of the strike period. There he was encouraged to write poetry. In 1981 he got up to recite at a funeral, and soon he was performing his poems of praise, pride, and defiance at weddings, cultural days, union meetings, May Day rallies, and funerals, many more funerals.
Mbuli's charisma came naturally. He's tall--almost seven feet according to some stunned reports, about six-five by my five-ten. His voice is distinct, resonant, wise, shaped by timbres and cadences that tinge moral zest with bitter irony whether you understand the language or not. Even unaccompanied, his mobile face, strong hands, and hunched shoulders pour on the body English, and his words cut deep. In his cultural guerrilla days, of course, voice, body and words were all he had. As a poet rather than an orator he could exploit Pretoria's putatitive tolerance for art, a sop abrogated by the 1986 State of Emergency. His unrhymed, rhythm-charged verse was rife with historical analysis, humanistic exhortation, and racial pride--with politics. But like all poetry it was concrete, structured, given to reverie and drama and lyric celebration. The names of the living and the dead--martyrs of apartheid, African rulers, ANC exiles, deportees-- recapitulated
Zulu praise-poem tradition, and the Latinate diction recalled the fellowship and inspiration of the classroom and the Marxist study group rather than their pretensions:
Let my mind interpret my dreams of Mount Kilimanjaro
Let my brain-power interpret the last struggle in Africa
Unless human rights are embarked in the statute books
Loyalty shall mean vengeance
Obedience shall mean rebellion
Conformity a bluff
And happiness a sign of danger
And Africa shall know no peace
Until we in the South are free
In 1986, South Africa's bravest independent label--called Shifty because it recorded on the run, in a sound truck--matched Mbuli with an integrated backup group featuring Kenyan guitarist Simba Morri. The banned tape became a literal underground hit in South Africa, where Shifty sold it as unmarked contraband, and surfaced in the United States on Rounder Records as Change is Pain. Much of the music, a rough avant-trad potpourri that owed dub and Philip Tabane's black-consciousness band Malombo, had to be created in Mbuli's absence, though he joined the final sessions.
The collectively conceived music on Unbroken Spirit seems wholer, with touches of sax jive and mbube-style female chorus, and though for the most part Mbuli once again intones over backup, occasionally he sings as if he's been doing it all his life, which of course he has. It went gold with no help from the South African Broadcasting Corporation.
This was after De Klerk's thaw, which made life somewhat easier for troublemakers like Mbuli, but no simpler. It took the efforts of thirteen embassies to get him a visa to play Europe with a newly formed band, The Equals. A weapons charge wasn't dismissed unitl 1991. And he became controversial on the typically fractious and exceptionally puritanical South African left, where some charged that he was a rogue, a self-promoter, and--based on his work with the UDF cultural desk and the South African Musicians Alliance--a "cultural commissar." It's difficult to judge such squabbles at a distance. But remember that the charismatic are often accused of roguishness and self-promotion, which even if it's true says next to nothing about their courage or their creative juice, and that the South African struggle has been complicated by the return of exiled heroes who expect and deserve their power back. Mbuli was probably too hard on Shifty. I'd guess that he
overreached himself administratively--at one point he opposed an Abdullah Ibrahim appearance because he hadn't gone through channels. But the sad doubts about his creative juice expressed by several South African observers prove only what we already knew--that the winds of fashion blow no more reliably on the left than they do anywhere else. Artistically, he's still on it.
Shortly after Mzwakhe exited his UDF post, he embarked upon a career as a pop star--"poet-musician" is his term. He developed a live act, with intros and codas that free him to play congas or dance with a high-stepping muscularity that's pure Zulu and a self-depracating postmacho that's all his own; his Resistance is Defence is the first A&R venture for South African expatriate Trevor Herman, whose Earthworks label made its name with compilations. Although Mbuli has international ambitions--he sees his themes as "universal," "not confined to the South African situation"--Resistance is Defence is less Euro than its predecessors. As before, most of the lyrics are in his richly accentuated, almost tonal English, but there's a lot of Zulu and Xhosa and Venda, and the Equals hit a township groove that blocks off blocky mbaqanga beats with the jazzier swing of the older, more urbane marabi style. I know why some hear Resistance is Defence as mbaqanga
Sarafina!-style, and there's probably a sense in which the edgy awkwardness of the Shifty albums better evokes South African bifurcation. But this is one gorgeous piece of music. Keyed to Tswana guitarist Floyd Manana, the multicultural Equals can play with any South African band from Mahlathini's Makgona Tsohle to Ray Phirri's Stimela. The poems have not just arrangements but tunes, often created from remembered snatches of mbube. Mbuli sings their intros and choruses with conviction, affection, and skillful ease. And he recites better than ever.
After all, there was nothing wrong with Sarafina!'s music that a little focus couldn't cure, and rarely has the black South African genius for jubilation under dire circumstances been put in sharper relief. "Lusaka," a shaggy dog song about political certainty as a function of political privilege, and "Land Deal," a quietly sarcastic skewering of apartheid doublespeak, achieve a head-scratching universality few universalists would think worthy of their grand designs. And while some South Africans suggest that the praise-poem tactic has outlived its usefulness, I find "Stalwarts" as gripping as Yeats's "Easter 1916," which also names a bunch of people I know nothing about, and fail to see how "Tshipfinga" will date:
When you govern the country
Think of those who died
When you are welcome in big city airports
Think of those who died
For Mbuli, the inevitability of victory is by no means equivalent to its imminence, and unlike most of the South Africans I spoke to, he's feeling no relief. The thaw hasn't melted the habitual contempt of police, politicians, and talking heads. The Inkatha violence is as horrific as any other. Homelessness is epidemic. And the vigilance of the people has by most accounts diminished, putting protest culture in decline. Barely noticed as an import, Resistance is Defence will be released by EMI under Mbuli's own imprint this month. (Editor's note: 1992) But though he remains a draw at stadiums and universities from Cape Town to the Transvaal, the new terrorism renders touring risky business indeed. So there's no knowing whether the phenomenal success of "Papa Stop the War," a 1991 collaboration ordered by township-disco hitmaker Chicco, means Mbuli has pop legs of his own. And whatever jealous South Africans imagine, he wasn't getting rich overseas.
Watching him, his band, and two amazing female singer-dancers rouse a half-filled weeknight S.O.B.'s or wolf down dinner from a hot dog cart before a late sound check at Fort Greene Park, he looked to me like one more struggling world-beat hero--the symbolic kind, this time.
Symbolic heroes who are political at all specialize in struggle once removed. They do more comforting and fortifying--and maybe, if they're as good as Mbuli, clarifying--than inciting to revolution. And though Mbuli is right to say his relevance transcends South Africa-- he talks about the Irish mother who came up to thank him for helping her mourn her lost loved ones--it's certainly rooted there. So I couldn't help asking whether he'd go into exile if the boot came down once again.
"This time, yes--once bitten, twice shy.
Unless I'm experimenting with my life,
I can't wait for death--just to be a
sitting target. So I will be the one leaving."
I was a little sorry to hear it. But I can't say I was surprised. - Robert Christgau

(01). Uyeyeni
(02). Tshipfinga (Chipinga)
(03). Pitoli
(04). Stalwarts
(05). Land Deal
(06). Lusaka
(07). Emandulo
(08). Ndimbeleni
(09). Joyina
(10). Malambalamba

320 kbps including full scans


Gabriele Mirabassi - Canto di Ebano

Posted By MiOd On 7:12 PM 0 comments

I have always firmly believed that the greatest of the many privileges that being a musician gives you is the opportunity to be able to shape your life with your own hands. However, it had never occurred to
me that the instrument that allows a musician to do this is in turn the product of other hands, hands that are just as competent and just as thrilled and that are responsible to a great extent for what is basically the secret heart of music and the work of a musician: the transformation of the raw material, the pieces of wood or metal, into sound that is impalpably sensual, tangibly volatile, close to the human voice and magical. This music is dedicated to ebony, that incredible wood, hard as a stone, which neither burns nor floats as its peers normally do. But this music is also above all an affectionate way of saying thanks to all the hands that together with my own allow the wood to carry out its “wizardry”.
When I saw the black planks of wood that had just arrived from Africa in the workshop of F.lli Patricola, when I saw how, together with their grandchildren, they season it and work it in a process
that lasts almost fifteen years and consists of moments of enthusiasm and cursing, scientific study and the craftman’s pragmatism, emotion and effort, I understood how closely our respective professions resemble each other in their essence, and once again I received the confirmation that when we
manage to do something that makes us really proud, we never do it truly on our own.

Gabriele Mirabassi

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Gabriele Mirabassi - 1-0

Posted By MiOd On 7:06 PM 0 comments

Italian clarinetist Gabriele Mirabassi was born in Perugia and studied both modern classical music and jazz improvisation at the prestigious Morlacchi Conservatory, from which he graduated in 1986. At first, he focused on performing modern compositions under the direction of figures like John Cage and Gunther Schuller, among many others. However, in 1992, he cut the jazz-oriented recording Coloriage with accordionist Richard Galliano, which helped make a name for him on the European jazz scene. Eventually, Mirabassi chose to focus solely on jazz; he went on to perform at numerous high-profile jazz events in Europe and beyond, and began recording regularly for Egea in the mid-'90s. He formed a regular trio with accordionist Luciano Biondini and tuba player Michel Godard. This lineup dominated 2000's acclaimed Lo Stortino; the same year, Mirabassi recorded Luna Park with a horn-heavy sextet. 2001's 1 - 0 augmented the trio with mandolin player Patrick Vaillant, and Mirabassi also recorded Cactus of Knowledge and Morton's Foot with Rabih Abou-Khalil that year.



Gabriele Mirabassi - Lo Stortino

Posted By MiOd On 6:57 PM 0 comments

Italian clarinetist Gabriele Mirabassi was born in Perugia and studied both modern classical music and jazz improvisation at the prestigious Morlacchi Conservatory, from which he graduated in 1986. At first, he focused on performing modern compositions under the direction of figures like John Cage and Gunther Schuller, among many others. However, in 1992, he cut the jazz-oriented recording Coloriage with accordionist Richard Galliano, which helped make a name for him on the European jazz scene. Eventually, Mirabassi chose to focus solely on jazz; he went on to perform at numerous high-profile jazz events in Europe and beyond, and began recording regularly for Egea in the mid-'90s. He formed a regular trio with accordionist Luciano Biondini and tuba player Michel Godard. This lineup dominated 2000's acclaimed Lo Stortino; the same year, Mirabassi recorded Luna Park with a horn-heavy sextet. 2001's 1 - 0 augmented the trio with mandolin player Patrick Vaillant, and Mirabassi also recorded Cactus of Knowledge and Morton's Foot with Rabih Abou-Khalil that year.



Gabriele Mirabassi - Luna Park

Posted By MiOd On 6:49 PM 0 comments

Italian clarinetist Gabriele Mirabassi was born in Perugia and studied both modern classical music and jazz improvisation at the prestigious Morlacchi Conservatory, from which he graduated in 1986. At first, he focused on performing modern compositions under the direction of figures like John Cage and Gunther Schuller, among many others. However, in 1992, he cut the jazz-oriented recording Coloriage with accordionist Richard Galliano, which helped make a name for him on the European jazz scene. Eventually, Mirabassi chose to focus solely on jazz; he went on to perform at numerous high-profile jazz events in Europe and beyond, and began recording regularly for Egea in the mid-'90s. He formed a regular trio with accordionist Luciano Biondini and tuba player Michel Godard. This lineup dominated 2000's acclaimed Lo Stortino; the same year, Mirabassi recorded Luna Park with a horn-heavy sextet. 2001's 1 - 0 augmented the trio with mandolin player Patrick Vaillant, and Mirabassi also recorded Cactus of Knowledge and Morton's Foot with Rabih Abou-Khalil that year.




Gabriele Mirabassi - Coloriage

Posted By MiOd On 6:25 PM 0 comments
Gabriele Mirabassi - Coloriage

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Italian clarinetist Gabriele Mirabassi was born in Perugia and studied both modern classical music and jazz improvisation at the prestigious Morlacchi Conservatory, from which he graduated in 1986. At first, he focused on performing modern compositions under the direction of figures like John Cage and Gunther Schuller, among many others. However, in 1992, he cut the jazz-oriented recording Coloriage with accordionist Richard Galliano, which helped make a name for him on the European jazz scene. Eventually, Mirabassi chose to focus solely on jazz; he went on to perform at numerous high-profile jazz events in Europe and beyond, and began recording regularly for Egea in the mid-'90s. He formed a regular trio with accordionist Luciano Biondini and tuba player Michel Godard. This lineup dominated 2000's acclaimed Lo Stortino ; the same year, Mirabassi recorded Luna Park with a horn-heavy sextet. 2001's 1 - 0 augmented the trio with mandolin player Patrick Vaillant, and Mirabassi also recorded Cactus of Knowledge and Morton's Foot with Rabih Abou-Khalil that year.
P1 P2 Enjoy!

Gabriele Mirabassi - Latakia Blend

Posted By MiOd On 6:19 PM 0 comments
Gabriele Mirabassi (from Perugia) studied at the Morlacchi Conservatory and graduated in 1986 with highest honors. In the following years he mostly played contemporary classical music with the best European ensembles. However, already during those days he ventured into jazz and improvisation. Through his work with Richard Galliano, Sergio Assad, Stefano Battaglia and others he received good exposure at large festivals throughout the world. He was selected Talent of the Year in Italy in 1996 and presented his Brazilian project Pixinguinha at Umbria Jazz in 2001. Italian critic Guido Festinese described him as "a lucid, driving, unpredictable clarinet player with a voracious musical curiosity." Mirabassi has several albums under his own name on the Italian Egea label.

In 2001 Mirabassi joined Rabih Abou-Khalil's group and soon became its foremost soloist who regularly brings the audience into a boiling state. While Rabih's music has an Arabic color, Gabriele's is deeply rooted in the folk music of his native Italy which he presents with great emotional power. Accordionist Luciano Biondini, who has also worked with such as Tony Scott and Enrico Rava, and tuba player Michel Godard, the most versatile exponent of his instrument worldwide, have been working with Mirabassi for quite a while - formerly as a quartet with additional drums or mandolin. All three of them are currently members in Rabih Abou-Khalil's band.

"Latakia Blend" is a charming album packed with thrilling original tunes. Graceful and inventive, it mixes the happiness and melancholia of folk dance music, the artistic perfection of a chamber ensemble and the improvisational drive of a jazz band. Consequently this album's program ranges from that sad Italian folk song "Gorizia" to Brazilian Chôro composer Pixinguinha's "Segura Ele" to an out-of-tempo rendition of Billy Strayhorn's ballad "Isfahan." And Mirabassi's warm clarinet adds nothing but pure beauty to all of them


The Highlife Allstars - Sankofa

Posted By MiOd On 7:24 AM 0 comments
The Highlife Allstars
Sankofa, 2001
International fans of West African highlife music have not had much to be happy about in recent years. Ever since Congo music edged highlife aside as the great pan-national dance music of Africa--a fait accompli by the mid 70s--Ghana and Nigeria have produced precious little of the venerable sound. Highlife came of age during the 1950s, a winning blend of recreational palmwine guitar music, and military brass band music. The style's greatest early exponent, E.T. Mensah, brought calypso into the mix and brought the music to a whole new level. But there's been little new to report in Ghana's highlife scene for most of the past two decades.
That fact alone would make these contemporary highlife recordings from Accra, Ghana, newsworthy. The good news is, they're also fantastic, full of the guitar interplay, emotive vocal harmonies, relaxed horn arranging and soulful warmth that made this music a hit in the first place. These nine tracks feature four groups involving both highlife veterans and rare younger musicians with a feel for the style. Alex Konadu and his International Band, from Kumasi, modern capital of the Ashanti State, contribute four selections, including the opener, "Mafe Wo," with its lulling palmwine intro, easy lobe and sunny horn arrangement. This is classic highlife, briskly rendered in a contemporary recording.
The elliptical tug and slide of palmwine guitar with its prominent use of blues-related dominant-seventh chords is a staple here, nowhere more so than on two acoustic tracks by Kwadwo Tawia. Tawia is that rare item, a palmwine player under 40! He combines electric and acoustic guitars, hand percussion and the seldom heard penpensiwa, a Ghanain thumb piano, creating a rich setting for his lithe, expressive voice.
This collection's sweetest vocal hook comes from Prince Osei Kofi, an alumnus of highlife's legendary African Brothers. "Enye Mea," a guitar-driven chugger, really hits home with its rich, tuneful call-response-singing. But the prize for guitar tangling goes to Konadu's band, which evokes Congo music, palmwine, and the countrified chromaticism of Chet Atkins on various songs. Kwaku Abeka's Arcobrass Band deliver the rousing closer, a song with the aggressive pump of Trinidadian soca.
This release puts the lie to the notion that Ghana's highlife is dead. Let's hope there's more where this came from! - Banning Eyre

1. Alex Konadu's International Band - Mafe Wo
2. Alex Konadu's International Band - Medan Wo
3. Kwadwo Tawiah - Otwee Emporo
4. Prince Osei Kofi & His African Heroes - Enye Mea
5. Prince Osei Kofi & His African Heroes - Fine Boy
6. Alex Konadu's International Band - Abrabo
7. Alex Konadu's International Band - Odehyee
8. Kwadwo Tawiah - Me Mere Beba
9. Kwaku Abeka's Arcobrass Band - Odo Ye Owu

320 kbps including full scans


Henri Dikongué - C'est la Vie

Posted By MiOd On 5:52 AM 0 comments
Henri Dikongué
C'est la Vie 1997

"Makes you want to lie back and let the music wash over you.”
Don't mistake Dikongué's music for the Afro Beat sounds of makossa, the national pop music of his home, Cameroon. He holds a musical ethic much closer to Pierre Akendengue or Francis Bebey--one where poetry and mood prevail over groove and danceability. This guitarist has integrated not only the Afro-Parisian sound, but allows Latin, Caribbean, and other regions of Africa to flow naturally into his compositions and playing style. It all seems effortless, almost breezy, but there is an underlying poetic complexity that makes the music almost impossible to ignore. Even the "dance tracks" have a suave sophistication and worldliness, a loveliness that is almost unknown to most fans of "African" music. The songs here modulate between simple solo guitar and voice ballads to fuller bands with violin, kit drums, and bass, occasionally allowing even some brass to insinuate itself into the mix. There are one or two saccharine moments, but the intrusion is
minimal. Dikongué's sweet, quavering voice and direct acoustic guitar are always front and center, delivering the goods direct to the heart first, and the feet after. --Louis Gibson

C'est La Vie, [Dikongue's] first American release, reveals an unusual mixture of [James] Taylor's gentle introspection and [Gilberto] Gil's thoughtful writing. It is music that, in addition to its appealing acoustic qualities, takes decidedly assertive points of view via lyrics and attitude, and it represents an important new shift in African pop.

One can best appreciate the universality of music when listening to artists who sing in a language that one does not understand. One can focus on the sensuality of the voice as another instrument in the arrangement, and bask in the enveloping images. Rarely have I heard a recording that makes this more possible than "C'est La Vie". Dikongue has produced a work of brash introspection and curiously raw sophistication, meticulous simplicity and placid bounciness, if any of this makes sense. It doesn't so much make me dance as sway and just generally groove. The songwriting, melodies, arrangements and production are all far superior to and intimate than his other currently available works. With an understanding that this CD is a consistent effort with no weak links, the strongest cuts are "Ndol'asu" with its swinging rhythms and violins, "Na Tem Ite Idiba", the memorable melody and group vocals of "Na Teleye Owa Ngea", the soaring "We Nde Mba", and
"Francoise". If you like world music but would prefer a sample that accentuates the internal beat of the soul while still swinging, "C'est La Vie" is worth many listens.

(01). Ndutu
(02). Ndol'asu
(03). C'est la Vie
(04). Na Tem Ité Idiba
(05). Na Teleye Owa Ngea
(06). We Nde Mba
(07). Bulu Bo Windi Tenge
(08). Francoise
(09). A Mumi
(10). Wen Te Mba Wenge
1(1). Doula

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C'est La Vie, [Dikongue's] first American release, reveals an unusual mixture of [James] Taylor's gentle introspection and [Gilberto] Gil's thoughtful writing. It is music that, in addition to its appealing acoustic qualities, takes decidedly assertive points of view via lyrics and attitude, and it represents an important new shift in African pop

320 kbps including full scans


Oliver Tuku Mutukudzi - Ziwere Mu Kobenhavn

Posted By MiOd On 1:14 PM 0 comments
Oliver Tuku Mutukudzi
Ziwere Mu Kobenhavn, 1995

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Mutukudzi and his eight-man band recorded this spirited album in Copenhagen during their 1993 tour of Europe.
Ziwere MuKobenhaven is a dance album with punch but without synthesized drum machines. He utilizes the Bantu African structure of interlocking patterns, thus creating a unified sound collage that is mesmerizing. This is how the Tuku beat becomes a dancing image of the life and spirit of the township. Trance and ecstasy overtake the dancer and he or she is one with the community ritual. The music unites the bush with the city and thus ameliorates the alienation from the roots of culture, a very important matter. His lead vocals, sung in Shona and English, tell the event he's describing and the response of the chorus confirm and enhance what has been sung. Listen to him sing "Kusaziva," which means "Ignorance," and "Hear Me Lord."
It is a circle of song, of community, and mystical unity in the round. A truly mystical album with that South African danceable drive underpinning it all.

With his soul-inflected Tuku style, singer/songwriter/guitarist Oliver Mtukudzi alone rivals Thomas Mapfumo for the mantle of Zimbabwe pop's spiritual father. Mtukudzi recorded his first hits in the late `70s and remains active today. Though it includes elements of Shona and other Zimbabwean traditional music, Mtukudzi's sound also draws heavily on South African township pop and classic R&B. Mtukudzi adores Otis Redding, above all, but his own husky, mellifluous voice sounds closer to Jamaica's Toots Hibbert.
Claiming no overriding stylistic model, Mtukudzi believes in the interrelatedness of all African music, "from Cape Town to Cairo." Just the same, Oliver's winning personality pervades his sound, rendering the Tuku style instantly recognizable. Mtukudzi always packs in a dance crowd at his frequent shows in Harare's hotel/club scene. His rollicking songs and long-legged dance moves go down well, but Mtukudzi says it's his message, not the beat that sells the songs. Acting as a kind of national conscience, Mtukudzi concentrates on family stories, sensitively exploring the social issues people face in their daily lives, including new problems surrounding AIDS and the premature deaths of adults in a family.
Oliver is revered in his native land for his ability to construct thoughtful, popular songs that address Zimbabwe's struggles in a profund yet apparent way that has endeared him to the public but often put him at odds with the ruling powers.
"I have tried to combine some of the beats which are the true, free expressions of Zimbabweans in order to make a national rhythm."

1. Ziwere
2. Ndiranarirei
3. Hear Me Lord
4. Ndipeiwo Zano
5. Street Kid
6. Ndikarangarira
7. Why
8. Kusaziva

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Maalem Si Mohamed Chaouqi - Les Gnawa du Maroc 'Ouled El Abdi'

Posted By MiOd On 8:58 PM 0 comments
Maalem Si Mohamed Chaouqi
Les Gnawa du Maroc 'Ouled El Abdi', 1995

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Originally from Mali and the Sudan by way of Timbuktu, the Ganawa are a brotherhood of musicians who settled in Morocco. The Ganawa's legacy spans a wide breadth of time, going all the way back to one of the original Muslims, Bilal. Besides being noted as Mohammed's Abyssinian slave and eventual sideman, Bilal is venerated as being the first human to recite the call to prayer. Among the Ganawa he is also credited with having invented the quarqabat (hand-held iron clappers). These instruments, when played in conjunction with the Ganawa's most favored lute (hajouj) and bass drum (tbel), let loose a spiritual healing power that relieves the pangs of "troubled souls." Taking the form of various genies, demons, spirits, and angels, this healing musical power is intended to reach those "troubled souls" who have prepared themselves by falling out of consciousness and into a trance. Si Mohamed Chaouqi, who takes center stage on this CD as the leading maalem
(master musician), is accompanied by an ensemble of up to ten players. The songs they share on this CD provide a glimpse into their sacred world where sound, healing, and the supernatural intermingle. Perhaps if we listen closely enough, our own souls will be touched by the Ganawa's hypnotic incantations. ~ John Vallier

I. Ouled Bambara
01. Fangara Fangarie
02. Sidi'amar
03. Youbadi
04. I Jellaba Tiktou
05. Allah Sawiye
06. Abou Mlik
07. Ana Hayou

II. Les Mlouks
08. Marhaba
09. Mimouna
10. Lalla Aicha Al Soudania
11. Lalla Aicha Al Hamouchia
12. Lalla Aicha Al Gnawia
13. Lalla Rquiya
III. El 'Ada
14. Derdba

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Baul Bishwa - 6th Sense. New Songs from Bengal

Posted By MiOd On 10:56 AM 0 comments
Baul Bishwa
6th Sense. New Songs from Bengal, 1999
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Bapi has called his album "The 6th sense" to touch the heart and recover an intangible and essential virtue there. Our task is to follow him and his "Baul Bishwa" along this winding path, note by note, step by step, body and soul.

This album is a gem.
Paralleling the Baul philosophy of taking the best elements of disparate religions and loving "humanity" as the common denominator, this music assimilates influences from a succession of Hindu, Buddhist, and Muslim conquests. This eclectic music captures some of the soaring vocal highs of qawaali music (think Nusrat Fateh Ali Khan), but it also features jangley beautiful melodies and is packaged in a deeper and more accessible rhythmic groove. This sound is quite different from the Rough Guide track- it's more organic and upbeat.
The liner notes are fabulous and detailed- with a history of Baul music as well as English and French translations of the presumably Bengali lyrics.
An interesting quote from Bapi Das Baul:
"when you are on stage with the only desire to share your music with a musician who comes from somewhere else, the listening is vibrating. You can hear it like an endless interrogation point; you can smell it in the air like the memory of a forgotten perfume... you can taste it in singing words you don't understand."
I'm surprised this album isn't better known. I'd recommend it as one of the first records to buy for someone wanting to explore the vast and diverse musical traditions of India.

1. Ore Amar Mon Ganer Nowka
2. Mona Mona Mon
3. Dancing with Chakras
4. Mi Je Mone Mone
5. Chere De Tor
6. Nodi Chena Bora Dai
7. Ore Obodh Mon Chas Kore
8. Yeatra

320 kbps including full scans


Gypsy Caravan. Music in and Inspired by the Film When the Road Bends...

Posted By MiOd On 5:37 AM 0 comments
Gypsy Caravan. Music in and Inspired by the Film When the Road Bends..., 2007

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This is a fascinating world tour of world music, demonstrating that there are many different types of gypsy music - not just one. But as exciting as the CD is, you should really see the film connected with it - an amazing and inspiring musical concert film with performances outdoors, in gypsy camps and various locations. The Maharaja group of Indian musicians is included because all Rom people are thought to have originated in Northern India about a thousand years ago. There's even some Rajasthani Rap, which is a kick and half. (The Roma were originally thought to have come from Egypt - and were called "gyptians.")
There are several flamenco selections, but my favorite group was probably Fanfare Ciocarlia - an 11-man Romanian brass band who play at an absolutely crazy speed and combine Romanian, Gypsy, klezmer and Turkish elements in their music. Their four CDs have been so successful they have brought their backward village electricity, a new road and a new church. Much of the music was recorded outdoors but the sonics are fine.
There are extensive notes about the Roma and their music, plus the effort to fight the widespread prejudice against them. A letter from Johnny Depp - who played a Roma character in the film The Man Who Cried - to a young Roma boy is very touching. There are 23 tracks in the album, with descriptions of each one - a real world music ear-opener.

01. Antonio El Pipa Flamenco Company - Tientos Tangos
02. Oprica Ivancea - Medley: Gyspsy/No Gyspy
03. Fanfare Ciocarlia - Nicoleta
04. Vlad Viorel - Smoking Bass
05. Esma Redzepova & Ensemble Teodosievski - Romano Horo
06. Anon. - Spoons
07. Taraf De Haidouks - Carolina
08. Maharaja - Maro Jailo
09. Maharaja - Roomal
10. Juana La Del Pipa & Here Church Congregation - Te Necesito
11. Anon. - Feria Feet
12. Ustad Murad Khan Langa - Desert Night Journey
13. Ustad Piroo Khan Langa - Rajasthani Rap
14. Fanfare Ciocarlia - Hora Cu Strigaturii
15. Antonio El Pipa Flamenco Company - Cantinas
16. Maharaja - Kimero 6:11
17. Children in Barnawar - Mehndi O Malir
18. Anon. - Market Moment
19. Fanfare Ciocarlia - Nakalavishe
20. Fanfare Ciocarlia - Asfalt Tango
21. Taraf De Haidouks - Mugur Mugurel
22. Esma Redzepova & Ensemble Teodosievski - Hajre Mate Diki Daje
23. Taraf De Haidouks - Jasmina Dromoro
24. Esma Redzepova - Djelem Djelem

320 kbps including full scans


Mario Lucio - Badyo

Posted By MiOd On 4:37 AM 0 comments
Mario Lucio
Badyo, 2007

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Most fans of Cape Verdean music will know that the musical treasures of this dry, windswept Atlantic archipelago aren't limited to the gentle mornas and swinging coladeiras of Cesaria Evora. Over the last few years, several younger artists have championed the more rhythmic, African side of their roots. But the group that really began this process were Simentera – the brainchild of Mario Lúcio, who was also their main songwriter. After their masterpiece Tr'adictional (2003), singers Tété Alhinho and Terezinha Araújo launched solo careers, along with Mario Lúcio.

This is actually Mario Lúcio's third solo album since, albeit the first to gain an international release. And while with Simentera, he concentrated on exploring Cape Verdean roots styles of the 20th century, Badyo goes back five hundred years, to when the Portuguese first brought African slaves through Cape Verde on their way to the 'New World'. Some remained on the islands – a diverse ethnic mix from different parts of West and Central Africa – and Badyo is a richly imaginative recreation of the styles they developed; coladeira, funaná, batuku, colecho, tabanka and others. After the slick production and celebrity cameos of Tr'adictional, the production and arrangements are relatively rustic, and Lúcio's softly intoned, almost conversational vocals take a while to sink in. But his tunes eventually work a subtle magic on this slow-growing but very satisfying album.

The gnawing of the local one-stringed fiddle or 'cimboa' on the opening batuku Amar Elo is just one of several novel sounds (for Cape Verdean music), which include harmonica, balafon, and home-made percussion. Reza draws on the polyphonic Latin mass of Cape Verde's breakaway Catholic sect, the Rabelados. If the tingling triangle and surging accordion of the funaná Diogo e Cabral seem to echo Brazilian forró, that's probably because the latter owes a debt to the former. And if Goré seems joyful, even light-hearted, take time to read the sad, poetic lyrics, which revisit the days of slavery. Like the cover image of Lúcio wearing a length of chain in place of a tie, there's a lot more to Badyo than there initially seems. - John Lusk, BBC

(01). Amar elo
(02). Alter
(03). Corre xintidu
(04). Diogo e cabral
(05). Dodu
(06). Maremar
(07). Maria na spedju
(08). Goré
(09). Nhu ariki
(10). Pretty down
(11). Reza
(12). Santo amado
(13). Scodja
(14). Simples sample
(15). Strela
(16). Un mar de mar

320 kbps including full scans


Festival Flamenco Gitano Vol.2. Con La Singla

Posted By MiOd On 4:10 AM 0 comments
Festival Flamenco Gitano Vol.2. Con La Singla, 1971
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Track Listings
(01). La Singla & Jesus Heredia - El Novio De La Maria
(02). Jose Carmona 'El Chocolate' - Siguiriyas
(03). La Singla & Jesus Heredia - Jasmin Flamenco
(04). Jesus Heredia - Tu Querer No Me Conviene
(05). La Singla - Rumba Saratonga
(06). La Singla & Jesus Heredia - Aires Cales
(07). La Galleguita - Serrana
(08). La Singla & Jose Carmona 'El Chocolate' - Martinete
(09). Jesus Heredia & La Galleguita & Jose Carmona 'El Chocolate' - Fandangos (A Tres)
(10). La Singla - Rumba Jaleo

320 kbps including full scans

Part 1