Nikhil Banerjee - Raag Shree (FLAC)

Posted By MiOd On 8:37 PM 0 comments
Alt text

Though largely unknown outside the realm of Indian classical music, Nikhil Banerjee was considered a towering figure by Indian classical enthusiasts in India and around the world. Nikhil Banerjee was born in Calcutta into a Brahmin family, where music as a profession was discouraged, although his father, Jitendranath Banerjee, who was a sitarist by hobby, taught him the instrument. Young Nikhil grew into a child prodigy, won an all-Bengal sitar competition at the age of nine and soon was playing for All India Radio. At the time, his sister was a student of khyal great Amir Khan, who became a life-long influence. Jitendranath approached Mushtaq Ali Khan to take the boy as a student, and Banerjee studied with him for his initial training. In 1947 Banerjee met Allauddin Khan, who was to become his main guru along with his son, Ali Akbar Khan. Both were sarod players. Banerjee went to Allauddin Khan's concerts and was desperate to have him as his teacher. Allauddin Khan did not want to take on more students, but changed his mind after listening to one of Banerjee's radio broadcasts. Though Allauddin Khan was Banerjee's main teacher, he also learned from Ali Akbar Khan, the son of Allaudin Khan, for many years.Nikhil Banerjee was 16 years old when Allauddin Khan accepted him as a disciple, inviting the young sitarist to live with him in the time-honored Indian guru-disciple tradition. Allauddin Khan's influence on Nikhil Banerjee was profound. The sitarist modeled his life in many ways on his guru, having little interest in wealth and luxury. Nikhil Banerjee later said that his whole life, as well as his attitude toward music was changed by Allauddin Khan: "He had a strong antipathy toward anything narrow in the sphere of teaching. He was a teacher incarnate with the purest vibration. Any student, if really deserving, had from him the shower of his blessings, and by the sheer touch of his genius felt quite transformed. I consider him as really incomparable."
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Traditional Chinese instrumental music

Posted By MiOd On 10:57 AM 0 comments
Traditional Chinese instrumental music

Gu Yue Xin Yun (Old Music, New Sound)







Ripped with Exact Audio Copy (EAC), and compressed with LAME in mp3 at 320kbps..including Full Scans.



Part1

Part2

Part3

Part4

PORRINA DE BADAJOZ

Posted By MiOd On 9:18 AM 0 comments
Grandes figuras del Cante Flamenco PORRINA DE BADAJOZ





| MP3, 320 kbps| 90 MB | 2006 | Covers |



[01]. EL AGUA SE VA PA EL RÍO (tangos fronterizos)

[02]. EXTREMEÑA (Soleares)

[03]. UNA ÁGUILA IMPERIAL (Fandangos)

[04]. ESQUILONES DE PLATA (Bulerías)

[05]. A UN POCITO ME FUÍ A ECHAR (Tientos)

[06]. EL QUE QUIERA A LA MALENA ( Tangos)

[07]. FANDANGOS PRIMITIVOS DE PARDALERA (Fandangos)

[08]. HERNÁN CORTÉS (Tangos extremeños)

[09]. CUANDO CANTA LA PERDIZ (Guajiras)

[10]. LA OTRA (Bulerías)

[11]. TANGOS DE LA PICURIÑA ( Tangos)

[12]. EL AGUA YO LA BESÉ (Granaína)



HERE

Immortal Egypt - "Phil Thornton and Hossam Ramzy"

Posted By MiOd On 12:31 AM 0 comments
Enchanted Egypt - "Phil Thornton and Hossam Ramzy"

Eternal Egypt - "Phil Thornton and Hossam Ramzy"

On the same month of its release, “Immortal Egypt” won the highly sought after award BEST CONTEMPORARY WORLD MUSIC ALBUM OF THE YEAR by the New Age Magazine. This is the album that became the Bible for ALL Tribal & Fusion Middle Eastern dancers around the world. Causing a major wave of interest from dancers in Australia, New Zealand, South Africa, Singapore, Europe, UK, USA and South America alike. Immortal Egypt is a deeper exploration of the Egyptian dance/Western contemporary theme running through the albums 'Pharaoh' and 'Eternal Egypt' by Phil Thornton and on which Hossam has collaborated as a percussionist. During the recording of 'Eternal Egypt' Hossam was able to take samples of work in progress to Cairo and overdub 'Kawala' flute and quarter tone Accordion. On this album I was keen to use more Egyptian instruments as the “Eternal Egypt” session had gone so well. With this in mind, Hossam and I spent some time in Cairo during August 1997 recording overdubs using a wide range of traditional and modern Egyptian instruments including Violins, Nay, Kawala, Trumpet and Mizmars. Haunting mixtures of rhythms and emotions that turned the music from a daring experiment to a new style of music that set itself as the new Mile Stone in the history of East meeting West collaborations.
A thoroughly groovable collection of dub work, with Egyptian musicians providing the overdubs. This follows in the series by the duo of artists after Pharaoh and Eternal Egypt. The basic concept is to make some small recordings of various Egyptian musicians playing short parts, then mixing them into a cohesive whole in the studio, with the addition of some synthesizer work courtesy of Phil Thornton. The final product is a loosely bound set of recordings with an unbreakable beat and some slowly cooking basslines, along with various bits of ney, oud, and the like. For your standard world beat-type album, this is pretty good (much better than most). If it's authenticity one is looking for, don't let the title fool you. Still, this is quite an enjoyable album for listeners of all levels. ~ Adam Greenberg, All Music Guide


| MP3 320 Kbps - 155 MB | EAC,APE,CUE - 400 MB |



TRACK LISTINGS



[01]. At The Gates Of The Citadel

[02]. Cairo Blues

[03]. Last Words By The Temple

[04]. Morocco Dance

[05]. Derwood Green

[06]. El Moulid

[07]. Praying For Rain

[08]. Emerald Minarets In A Sea Of Stars

[09]. Sunrise Over Giza

[10]. Immortal Egypt



EAC-APE [400 MB]

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Covers



OR MP3 320 Kbps [155 MB]

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The African Jazz Pioneers - Sip'n Fly

Posted By MiOd On 12:07 AM 0 comments
Mavens of the great days of jazz-tinged kwela remember those mellow, driving days with a mix of love and awe. Both emotions will be revived by this run-don't-walk collection of revivalists, young and old. The classic rhythms of kwela and sax-jive live on, the brass and sax solos are sensational and there's even a really successful little bit of rap. ~ John Storm Roberts, Original Music, All Music Guide
Alt text




[01]. Sip 'N Fly

[02]. Bhod L'Umilo - To Belch Fire

[03]. Uyeyeye

[04]. Sgaxa 'Mabande - You Are The C

[05]. Front Page

[06]. Bra Ntemi's Kwela

[07]. Emalangeni - Jail

[08]. Way Back Fifties

[09]. Rondfontein

[10]. Flying High

[11]. Uzozo

[12]. Sunrise - Mpumalanga

[13]. Hullo, Hullo There - Sanibonan



Part OnePart TwoCovers

Kaushiki Chakrabarty - Pure (FLAC)

Posted By MiOd On 9:40 AM 0 comments
"Kaushiki Chakrabarty is one of the very few classical vocalists who will make a mark in the 21st century…." This was the assessment made by Bhimsen Joshi, one of India's greatest classical vocalists of the modern era. The qualities which have given rise to this level of commendation were certainly evident in this captivating performance of Khayal singing given at the Queen's Theatre, Hornchurch, London on the 30th of August 2003. Born in 1980 in the campus of Sangeet Research Academy, Kolkata, Kaushiki Chakrabarty is now a scholar of this great centre of lndian Cultural learning. The gurus of the Academy repose a great hope in Kaushiki and have blessed her for a glorious musical future. Kaushiki's mother, Chandna Chakrabarty was her first guru noting that she could reproduce virtually any musical and rhythmic phrase when she was only two years old. Kaushiki then became a "ganda-bandh" shagird (disciple) of her father's guru, Jnan Prakash Ghosh, according to India's ancient system of guru-shishya parampara. On account of the old age of her guru and with his consent, she resumed her training under her father, Pandit Ajoy Chakrabarty. The guru-shishya system of teaching is the most intensive and effective route of musical learning in North Indian Classical music. It is the very soul of the oral tradition of India, and embodies the living and learning relationship between master and pupil. Evolving from the era of the great Indian seers, what the tradition signifies is the complete emotional, intellectual and spiritual surrender of the ardent shishya (trainee) to the guru (teacher). Kaushiki has already proved herself as a versatile artist. One of the central tenets of Kaushiki's music is voice culture. She doesn't like to be typecast into groves like classical or light musician, her flexible voice means that she is capable of adapting to any style. Kaushiki recently performed at Pandit Jasraj's celebration of his distinguished musical career in Kolkata. Jasrajji was so moved by her performance that he was prompted to make an announcement on stage that he found in Kaushiki the one who will keep the lamp burning as the worthiest successor of the classical vocal music tradition of India. Kaushiki began this concert performance with a khayal composition in Raga Madhuvanti, a raga with calming and peaceful qualities usually rendered in the late afternoon. Madhuvanti is a relatively new raga. Although it is not possible to determine the time of creation of most ragas, we can say that there are no traces of the existence of Madhuvanti earlier than 50 years. Khayal is the main Hindustani classical music genre. In Hindi, Khayal literally means imagination or thought, and its effectiveness depends very much on the singer's ability to improvise on the chosen raga, more so than the lyrical content of the text. She begins with a short alap, skilfully outlining characteristic phrases of the raga sung to the backdrop of the tanpura drone. Alap is followed by the first composition (track 2) 'Shyam bhaee, Ghanashyam nahi aye more dware' which is set to a slow rhythmic cycle of twelve beats (ektaal) played on tabla. The second composition (track 3) 'Kahe maan karo sakhiri ab' is sung in teentaal, a medium tempo rhythmic cycle of sixteen beats. Kaushiki concludes the performance with a devotional thumri 'Morey Saiyan Bedardi'. Thumri is a romantic classical form which often depicts the depth of love for Lord Krishna. Raga Mand is associated with the rich folk music of Rajasthan in India. Most all the musicians of India have depicted Mand in the light classical forms of music in their own way. In thumri, the singer is allowed to take a more flexible approach to the raga. Notes outside of the framework of Raga Mand are added with great effect, and for this reason it is considered as Misra (or mixed) Mand. For this recital Kaushiki was accompanied by tabla player, Yogesh Samsi, son of the renowned vocalist Dinkar Kaikini. Yogesh is a highly respected artist of the younger generation and one of the foremost disciples of the late tabla virtuoso Ustad Alla Rakha Khan. He is known in the world of Indian music, as one of the most sensitive accompanists, demonstrating both an understanding of vocal music and virtuosic tabla skills. Kaushiki's father Pandit Ajoy Chakrabarty provides excellent harmonium accompaniment with supporting harmonium accompaniment by Sri Chiranjib Chakrabarty. Chiranjib is an Indian vocal singer himself, having trained under Pandit Arun Bhaduri at the Sangeet Research Academy. He has performed and accompanied both in India and the UK, and has established himself as a respected singer and teacher in the UK. Kaushiki was accompanied on the tanpura by Ranjana Ghatak, a vocal student of Pandit Ajoy Chakrabarty based in the UK.
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Nikhil Banerjee - Raag Maru Behag (FLAC)

Posted By MiOd On 9:08 AM 0 comments
Nikhil Banerjee was born in Calcutta into a Brahmin family, where music as a profession was discouraged, although his father, Jitendranath Banerjee, who was a sitarist by hobby, taught him the instrument. Young Nikhil grew into a child prodigy, won an all-Bengal sitar competition at the age of nine and soon was playing for All India Radio. At the time, his sister was a student of khyal great Amir Khan, who became a life-long influence. Jitendranath approached Mushtaq Ali Khan to take the boy as a student, and Banerjee studied with him for his initial training. In 1947 Banerjee met Allauddin Khan, who was to become his main guru along with his son, Ali Akbar Khan. Both were sarod players. Banerjee went to Allauddin Khan's concerts and was desperate to have him as his teacher. Allauddin Khan did not want to take on more students, but changed his mind after listening to one of Banerjee's radio broadcasts. Though Allauddin Khan was Banerjee's main teacher, he also learned from Ali Akbar Khan, the son of Allaudin Khan, for many years.Nikhil Banerjee was 16 years old when Allauddin Khan accepted him as a disciple, inviting the young sitarist to live with him in the time-honored Indian guru-disciple tradition. Allauddin Khan's influence on Nikhil Banerjee was profound. The sitarist modeled his life in many ways on his guru, having little interest in wealth and luxury. Nikhil Banerjee later said that his whole life, as well as his attitude toward music was changed by Allauddin Khan: "He had a strong antipathy toward anything narrow in the sphere of teaching. He was a teacher incarnate with the purest vibration. Any student, if really deserving, had from him the shower of his blessings, and by the sheer touch of his genius felt quite transformed. I consider him as really incomparable."
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Shahid Parvez & Kumar Bose - Sitar (FLAC)

Posted By MiOd On 5:11 PM 0 comments
Regarded as a child prodigy, Shahid Parvez gave his first professional performance in Calcutta at the age of eight. Today he is firmly established as one of the great Sitar players in the modern era of Indian Classical music. He started his training with vocal music and tabla at the tender age of three. By the age of four his father had worked out for him a rigorous schedule of daily 'riyaz' (practice) on the Sitar. Throughout his childhood, he would sit with his Sitar through the night practicing from 10pm until 4 o' clock in the morning, before leaving home for school! Despite receiving the praise of critics at such a young age, his father was determined that fame should not go to his head, and instilled in his son the virtues of humility. These values lie at the heart of Shahid Parvez's music today. As he points out, 'if an artist can stay humble and focus only on his art, he rises way beyond his talent and his craft'. Shahid Parvez hails from one of the most important Indian musical families in recent times. His uncle is the Sitar legend Vilayat Khan, a hard act to follow for any aspiring musician. Through a single-minded determination, guided by his father Ustad Aziz Khan, Shahid Parvez has been successful in creating a unique style of Sitar playing with universal appeal, successfully incorporating both gayaki ang (vocal style of playing) and tantrakari ang (instrumental style). Shahid Parvez has always believed that to play an instrument from your soul, then one should first learn to sing, 'you play an instrument with your hands, but the sounds really emanate from your heart'. He is not afraid of innovation, but as far as classical music is concerned he is a purist and a perfectionist. He is not attracted to the fashion of creating new ragas, believing that the established ragas, composed over the centuries by great masters, hold within them enough capacity for unlimited scope for improvisation. This performance was recorded live at the 2003 Saptak Festival in Gujarat, India, an annual festival which regularly invites Shahid Parvez to play alongside the best musicians of the Indian sub-continent. Here he is joined by Kumar Bose, a leading exponent of the Benares style (or gharana) of tabla playing. Hailing from Calcutta, a centre of excellence for tabla playing, Kumar Bose first came to prominence through his extraordinary performances with Sitarist Ravi Shankar in the 1970's. Under the guidance of his guru, Pandit Kishan Maharaj, he has gone on to establish himself as one of the most influential tabla players of modern times, himself producing many renowned disciples who are well equipped to carry on this valuable tradition. Although the tabla player's primary role is to provide rhythmic accompaniment to the soloist, there is a playful, and sometimes intense musical dialogue that carries on between the two artists throughout the performance, giving license for the tabla player to demonstrate the extent of his skills. Raga Bageshri is a popular raga of the late night, which is meant to depict the emotion of a woman waiting for reunion with her lover. It is said to have been first sung by Mian Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century. The recital begins with the traditional alap, a slow, introspective exposition of the raga, outlining key musical phrases which define the romantic mood of Raga Bageshri. Each raga has its own specific melodic shape which distinguishes it from other ragas which can use exactly the same notes, but have a completely different character. The Jod and Jhalla (track 2), are a development of the alap, with the important addition of a rhythmic pulse, outlined by the strumming of the chikari (drone) strings on the Sitar. During this section of the recital, the pace and intensity of the playing increases, and with the essence of the raga captured, the artist is free to express his virtuosity, at the same time careful not to sacrifice the essential character of the raga. The first composition (track 3) sees the introduction of the tabla accompanist playing an eleven beat rhythmic cycle, known as Rudra taal. Kumar Bose introduces the tabla with a short solo which exhibits his mastery over the vast range of tones produced on the tabla. Kumar Bose often mimics the melodic phrases of the sitar on the tabla while taking care not to disturb the flow of the performance. Two further compositions follow, first in a medium tempo twelve beat called Ektaal (track 4), and then in the faster paced teental of sixteen beats (track 5). As the recital draws to an exhilarating climax, the improvisations of the sitar and tabla become more intricate, both artists demonstrating the full extent of their mastery.
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Kala Ramnath - Nectar (FLAC)

Posted By MiOd On 5:05 PM 0 comments
Kala Ramnath is a tradition-bearer of one of the Indian subcontinent's most respected and most unique musical dynasties. She can be described as 'unique' in its precise sense. Like her cousin Sangeeta Shankar, she is a fourth-generation violin player in a seven-generation dynasty of musicians the first three generations having been court-musicians specialising in vocal music in Tripunittura in Kerala on the southwestern flank of India.She was born in May 1967 in Madras in Tamil Nadu and began playing the violin, a full-sized instrument at that, in October 1969. Her first violin teacher was her grandfather A. Narayana Iyer, one of the instrument's true visionaries. “What he used to teach me, I picked up very fast. I had good ‘grasping powers’, he told me once.” In an article in Screen, one of India's most astute music critics and commentators, Mohan Nadkarni quoted her grandfather saying he was "born into the family of vidwan [maestro musician-scholar] Appadurai Bhagavatar,a noted court-musician under the patronage of the Maharaja of Cochin." A. Narayana Iyer described his father, that is, Kala Ramnath's great-grandfather, as having "a very good reputation as a vocalist and as being an expert on the violin"; he studied singing and violin playing with his father though tragically he died while his son was still a boy. A pragmatist, Narayana Iyer was forced "to look for other avenues of livelihood." He moved to Bombay in the early 1920s where he worked as a stenographer. "I did not forget to take my violin with me," he told Nadkarni. He succeeded in breaking into the Bombay music scene. This included playing violin for soundtrack sessions in films and accompanying musicians like Pandit Vishnu Digambar Paluskar, as well as moving in circles that introduced him to the renowned musicologist Vishnu N. Bhatkhande (1860-1936). He stayed in Bombay for a decade before moving back down South. He and his wife Ammini Ammal had four sons and a daughter. All five children, including Kala's father, T.N.Mani, studied violin under their father.After all, his ambitions lay in teaching, not in basking in the limelight. Only T.N. Krishnan of his sons and his daughter N. Rajam, however, made violin their career and, as his granddaughter recalls, Narayana Iyer "charted the course of their careers." He tackled the problem of putting them on the see-saw of competitiveness (and sibling rivalry) uniquely. He taught Krishnan violin according to the Karnatic or South Indian system and his daughter the Hindustani or Northern Indian system in order that they would complement, rather than compete with, each other. Initially Kala's grandfather inducted her into both systems, a bilingual language course as it were, before she took the Hindustani fork and learned from her aunt, Dr. N. Rajam and her present guru, the magisterial vocalist Pandit Jasraj.Violin played in the Hindustani style has not yet gained the ubiquity it has in the Karnatic classical system. Its kismet may be never to attain a place comparable to the one it has in Karnatic music. Kala Ramnath is doing her utmost to change that imbalance with her fluidity of touch, her subtle developments in violinistic technique and, above all, her interpretative powers.
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Omar Sosa - Sentir (FLAC)

Posted By MiOd On 4:49 PM 0 comments
Continuing the development his groundbreaking World-Jazz sound, Cuban composer and pianist Omar Sosa combines traditional vocals and rhythms from Cuba, Morocco and Venezuela with contemporary jazz harmonies and spoken word in an extraordinary new recording full of passion and spontaneity. Featured on the CD are Moroccan vocalist and multi-instrumentalist El Houssaine Kili, Cuban/Yoruba vocalist Martha Galarraga, and Venezuelan percussionist Gustavo Ovalles. As part of his ongoing exploration of the African roots of music in the Americas, Omar's concept for Sentir involves each musician using his or her own folkloric expressions and finding a common musical vocabulary for communication and improvisation. Another part of Omar's approach involves the use of color as the basis of musical expression and the commonality of these 'spiritual zones' or trance states within the African Diaspora. The result is a fresh and poignant sound - one that celebrates the strong affinity of traditional musical roots and religious ceremonies in these cultures. Omar brings together the guembri, a traditional musical instrument from the Gnawa culture of North Africa, with bata drums, and Afro-Venezuelan percussion instruments such as the quitipla and culo e' puya. The guembri replaces the usual acoustic bass, and the darbukkah and tan-tan, both percussion instruments from Morocco, often replace the smaller bata drums. Several tracks feature the lyrics of Washington, DC-based spoken word artist Sub-Z. Also contributing to the project are San Francisco-based percussionist John Santos and a number of Moroccan musicians including Yassir Chadly, Bouchaib Abdelhadi, and Moulay.
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Omar Sosa - Prietos (FLAC)

Posted By MiOd On 9:27 AM 0 comments

Cuban Pianist Omar Sosa collects an international cadre of musicians to channel this higher energy into recorded form on Prietos. The result: a sprawling disc which explores idioms from West Africa, South America, Cuba, and the United States. While Sosa appears content to explore an idiom in its simplest and most direct form, he generally prefers to mix things up. You might hear a Yoruba prayer chant alongside a muted trumpet solo straight out of the jazz tradition, as on "Mother Africa." Or Brazillian poetry alongside an Ecuadoran chorus and a pulsing piano chorale, as on "Niño Divino." Most of the time, drummers and percussionists weave a dense fabric of interlaced rhythms on instruments indigenous to Africa as well as the New World.

Sosa deserves special credit for two accomplishments on Prietos.

First, he manages to integrate an incredibly broad variety of styles without sounding forced or pretentious. When the music of Morocco collides with the music of Cuba, Sosa finds enough in common to unite them into a seamless whole. The secret appears to be grounded respect for the African and post-African traditions. Prietos is more a recognition of common ground than any kind of post-modern pastiche. As Sosa puts it in the liner notes: "We are all children of the same Mother Africa."

Second, Sosa plays a vital role on the piano. His work at the keyboard displays literacy within the North American jazz tradition, as well as various musics of Latin America and Africa. In order to sew up the genres he brings together, Sosa utilizes a light touch and an impeccable sense of rhythm. During a couple of time-outs near the end of the disc, Sosa waxes lyrical—allowing one to appreciate the sweetness of simplicity.

It's hard to praise Prietos enough. The "Latin jazz" staple of North American music falls miles short of this epic fusion. Whether it be rap or djembe or marimba, every element of the African diaspora finds a home here. Omar Sosa, keeper of the flame, channels the energy from the human pulse to the throb of the drums to the fire of the gods. And back.

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Omar Sosa - Bembon (FLAC)

Posted By MiOd On 9:25 AM 0 comments


"Bembon" is the closing chapter in pianist Omar Sosa's trilogy of ensemble works that began with "Free Roots" and "Spirit Of The Roots". The whole represents a never-heard-before presentation bonding traditional Cuban sounds with Latin jazz, rap and African elements. One critic found enthusiastic justification for describing Sosa as "the year 2000 mix between Thelonius Monk and a youthful Eddie Palmieri".
In the ins and outs of Afro-American vernacular, "bembon" is a designation for someone with full lips. The pianist makes intentional use of this term to symbolize the common African roots of black music and culture on the American continents. Recorded primarily in Quito, the album picks up on musical themes from Ecuador, the "Lucumi Tradition" from Cuba and US hip-hop. In combining these elements, Omar Sosa also incorporates a string quartet for the first time, a nuance that complements his present quintet. Among the musical guests sitting in on the production are Cuban master percussionists Orestes Vilato and Pancho Quinto, as well as Ecuadorian legend Papa Roncon.
In addition to the US original track listings, the digipack version from SKIP Records also includes an exclusive French radio remix!

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Omar Sosa - Ayaguna (FLAC)

Posted By MiOd On 9:05 AM 0 comments

In this live Duo recording, Omar celebrates his ongoing collaboration with Venezuelan percussionist Gustavo Ovalles. These two kindred spirits have been performing together since 1999, delighting audiences throughout Europe, Japan and the United States with their inspired musical chemistry and creativity.

Ayaguna was recorded at Motion Blue in Yokohama, Japan, the newest of the Blue Note venues in that country, in July 2002. The intimate duo setting allows Omar to exult freely and passionately at the piano (inside and out), moving with ease from intensive groove patterns to delicate, balladic modes of expression.

The performance is enhanced by the live interaction of the Motion Blue sound engineer, who provides an undulating dimension of audio effects throughout the concert. While the various sound effects interact with the piano performance, Gustavo's percussion accompaniment provides a steady base for the aural feast. Gustavo is featured on a number of interesting Venezuelan percussion instruments including quitiplas and culo'e puya, as well as congas, bongo, maracas, guiro, snare and cymbals. An extraordinary synergy and sensitivity between the two musical voices is evident throughout the recording.

The title, Ayaguna, is taken from Ifa, the religious practice of the Yoruba culture of West Africa, and its New World offspring in Cuba (known as Santeria). Ayaguna is one of the paths of Obatala, the deity of peace and wisdom, albeit a path of Obatala as a young and fierce warrior, for whom revolution is a necessary part of change and progress. Both Omar and Osvaldo are "sons" of Obatala in their practice of Santeria, from which they draw much inspiration.

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Debashish Bhattacharya - Kolkata Slide Guitar (FLAC)

Posted By MiOd On 1:06 PM 0 comments

Pandit Debashish Bhattacharya is one of the world’s most remarkable slide guitarists and this album represents the culmination of a lifetime of intensive study, performance and innovation. All the guitars heard on Calcutta Slide Guitar are unique instruments designed by Debashish himself, a Trinity of Guitars – Chaturangui, Gandharvi and Anandi – representing three generations of instruments, while also continuing a thousand-year tradition of music. Calcutta Slide Guitar dazzles the listener with hypnotic patterns and stunning music shaped from Debashish’s original three-finger picking technique.

Born into a musical family on 12 January 1963, in Kolkata, India, Debashish Bhattacharya learnt to sing before he could talk. At the age of 3, he started playing the Hawaiian lap steel guitar, giving his first major concert on All India Radio at 4. The first slide guitarist to receive the President of India Award in 1984 he was made a Pandit at 40. Since then he has been established as one of the world’s most outstanding slide guitarists by tours of inspirational live concerts and bestselling albums, including the breathtaking collaboration with slide guitarist Bob Brozman, Mahima.

From the vibrant opener Bhattacharya moves to his 14-string candharvi, for a moving raga called “Prema Chakor” (Lover’s eyes). The sounds of flamenco, classical and saz string instruments conjugate into one unique instrument. The 42-year-old sweeps us through further emotions in his slow and meticulous manner. These are brought to a crescendo when Bhattacharya turns to the third guitar in his trinity, the chaturangui. The beautifully enamelled 22-string instrument has four additional tones allowing the musician to create an orchestra-like range best captured here in “Nata Raaj” (“Dance of Shiva”). Tellingly, the song brings together traditions from the Hindustani north and the Karnatic south of India. “The subtle melodic movements represent the mudraas – hand and eye movements the dancer uses.”

With this latest release Bhattacharya has reached the very heart of Indian classical music. He presents his three ragas with a lightness and unbridled pleasure that should touch the many amongst us who are uninitiated to this 1000-year tradition. Bhattacharya has a rare ability to improvise during even the most complex rhythmic cycles (such as the closing “Maha Shakti” which features a 16-beat cycle). In this album he adds previously unknown textures to these raga, proving that the slide-guitar has found a home in India’s music heritage, an assertion few would have thought possible a century ago.

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Debashish Bhattacharya & Bob Brozman - Mahima (FLAC)

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Slide guitar was born in Hawaii but has found its way into many styles and regions, including India, where Debashish Bhattacharya has achieved new heights of technical mastery on the instrument Because it's not restricted by frets, slide guitar can produce the micro-tones required for traditional Eastern music. And by adding a further 18 strings, Debashish has created a unique guitar that can match the drones and intricate expressions of more established Indian instruments such as sarod and sitar. On this album he showcases his playing alongside Hawaiian guitar ace - and veteran world music researcher, recordist, and fusioneer - Bob Brozman.

Half the fun is trying to work out who is playing what. While Bhattacharya's guitar style comes to the fore, there are unmistakably bluesy touches that are pure Brozman. They meet somewhere mid-Pacific with a furious flurry of guitar lines that blur the boundaries between East and West. Bhattacharya is also a ferociously talented vocalist and on 'Tagore Street Blues' he matches his own intricate playing note for note - a kind of one-man dueling banjos and a breathtaking musical high-wire act. But then musicality obviously runs in the family: the immensely playful 'Digi Digi Dom Dom' features the exquisite singing of his sister Sutapa while their brother Subhashis spreads his tabla mastery right across the album.

As with anything that Brozman touches, MAHIMA is bubbling over with the sheer joy of music-making - a BIG highlight.

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The Rough Guide Series [Re-Up]

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Enchanted Egypt - "Phil Thornton and Hossam Ramzy"

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This album blends traditional Egyptian rhythms and instrumentation with Western instrumentation to create an excellent world fusion album featuring lively rhythms and expert musicianship.



This is the third collaboration between Hossam Ramzy, a world-famous Egyptian percussionist with a number of best-selling albums, and Phil Thornton, one of New World's most consistently best-selling artists. Their first two albums Eternal Egypt and Immortal Egypt have both been very successful.
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On this album we have been able to combine our shared love of working with creative musicians from around the world with a new vision of Egypt and her Music. Hossam and I have covered a lot of musical ground in the 6 years since we worked together on ‘Immortal Egypt’. On this new album we have taken this technique a stage further. Hossam now has a studio in Cairo so we were able to bring musicians in while the songs were being developed, sometimes bringing people back several times to fill in gaps or create new improvisations as the arrangements came together. Hossam has a fantastically creative group of musicians, whom he works regularly with; many of them have recorded exceptional solo albums showcasing their individual styles and presenting the beauty of their respective instruments. This new group of musicians were invaluable in allowing us to take our compositions a stage further. In particular the addition of the Qanun and Magrouna to our sound palette has been a huge inspiration. Phil Thornton

TRACK LISTINGS



[01]. Apostles of the Interface

[02]. On the Desert Road to Alexandria

[03]. Zaiellas

[04]. Enchanted Egypt 1

[05]. Enchanted Egypt 2

[06]. Ali Mama

[07]. From Memphis to Heliopolis

[08]. Nefertari's Dream

[09]. At the Temple of Rameses the Great

[10]. Fanadaan

[11]. On the Transit of Venus



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Hamza Shakkur & Ensemble Al-Kindi - Darwiches from Damas

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Hamza Shakkur & Ensemble Al-Kindi - Darwiches from Damas





Sheikh Hamza chakour

Sheikh Hamza Chakour , born in Damascus in 1947, is a muqri (Koran reader) and a munshid (hymnodist). He is the disciple of Saïd Farhat and Tawfiq al-Munajjid; his task is to assure the continuity of the repertory proper to the Mawlawiya order. He is the choir master of the Munshiddin of the Great Mosque in Damascus and serves at official religious ceremonies in Syria, where he is immensely popular. Shaykh Hamza is an impressively large, charismatic figure. His bass voice with its richly rounded timbre has made him one of the foremost perfomers of Arab singing. His art is uncompromisingly sober and introverted, to the exclusion of all affectation. He develops his improvisations within the framework of a centuries- old modal art, where orison blends with dance, and prayer with art. The Islam he represents, far from being fundamentalist, is that of mysticism and happiness in the Faith.



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Muhammad Qadri Dalal - Unwonted maqâmat

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Muhammad Qadri Dalal - Unwonted maqâmat





The lute player Qadri Dalal is one of the last real Arab masters of improvisation in the most authentic vein of this tradition, who at the same time expands the possibilities of this music. He distinguishes himself from most of today's lute players by his vast and intimate knowledge of the Arab modes and he enjoys exploring the rarest ones, seeking new ambiances and emotional states while rigorously observing the rules of improvisation. This approach makes Muhammad Qadri Dalal a key figure in today's Arab classical music scene. Muhammad Qadri Dalal was awarded in 1988 by the Charles Cros Grammy Academy.



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Debashish Bhattacharya - Hindustani Slide (DVD)

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A showcase performance featuring the Hindustani Classical music of North India and one of its most popular and respected guitarists - Debashish Bhattacharya. In recent times, the slide guitar has become an important addition to the Indian music with its uncanny knack for approximating the nuances of the human voice. The improvisatory possibilities of the guitar are very well suited to the raga and tala systems of the Hindustani tradition, and [b]Debashish Bhattacharya[/b] has become one of India's leading concert guitarists. In this special concert presentation, Bhattacharya is accompanied by tabla master [b]Kumar Bose[/b] and his sister Sutapa on Tampura, in a performance that captures both the subtlety and astonishing virtuosity inherent in the Hindustani tradition. His guitar is modified with sympathetic resonant strings, and the occasion takes place at Max Muller Bhawan, one of Calcutta's best known concert halls. With exquisite image quality and sound, this great concert renderings are a must for any student or admirer of Hindustani Classical music. Featuring two of its most accomplished instrumentalists in an ideal setting, this is a presentation of the pure joy and spirituality of great and devoted music making.

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Eternal Egypt - "Phil Thornton and Hossam Ramzy"

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Two of the worlds most highly acclaimed musicians have joined souls to create a tremendously majestic album that evokes all the splendour of this ancient land. Exotic, stirring rhythms interweave with visionary music to provide an outstanding, hypnotic, and wholly captivating recording.
Egyptian native Hossam Ramzy is the leader and chief percussionist of Pharaoh's Egyptian Ensemble, best known to Western listeners as the backing group featured on Robert Plant and Jimmy Page's No Quarter tour and album. Ramzy began playing the darabouka (Egyptian tabla) at a young age, much to his father's dismay. He moved to Saudi Arabia as a teenager, learning his craft while supporting himself by playing trap drums for radio and television programs. In 1975, he moved to England to study jazz drumming for a while, and eventually recorded an album called Introduction to Egyptian Dance Rhythms. Peter Gabriel heard the record and invited Ramzy to play on Passion, his soundtrack to The Last Temptation of Christ. Before embarking on the Page/Plant tour, Ramzy also worked with Joan Armatrading, Marc Almond, Electric Light Orchestra, Debbie Harry, and Killing Joke. His Pharaoh's Egyptian Ensemble has also recorded over a dozen albums, on which Ramzy attempts to present Egyptian and Arabic music he hopes Western audiences will be able to understand and appreciate through his arrangements, rhythm choices, mixing touches, and tempos. In 2000, Ramzy released Sabla Tolo: Journeys Into Pure Egyptian Percussion and El Amar. Gypsies of the Nile-Rahhal followed in early 2001. ~ Steve Huey, All Music Guide
Phil Thornton is now closely associated with the British New Age music movement, but he is also an accomplished guitarist and has had a long touring and recording association with Sinead O'Connor. He is a regular member of the neo-psychedelic English band Mandragon, and he has worked with Gordon Giltrap, Talking Heads, Stallion, Die Laughing, Naked Lunch, 4 B 2's, and Expandis. Thornton augments his musical talents as an accomplished studio producer.



Thornton's first "non-rhythm" New Age work was the film score for Cloud Sculpting, which was later released on the New World Music, home to most of his recordings. On this project, he met didgeridoo player Steven Cragg, with whom he recorded Initiation and Tibetan Horn. In his Sussex, England, recording studio, Expandibubble, Thornton continues to explore new limits of sequenced electronic music (Alien Encounter) and the insights of tribal and ethnic cultures (Shaman). ~ Carol Wright, All Music Guide



[01]. Isis Unveiled

[02]. The Land Of The Pharaohs (Zaar Rhythm)

[03]. Through The Ankh (Masmoudi Rhythm)

[04]. Shimmers In The Sand

[05]. Desert Rhythm (Fallahi Rhythm)

[06]. The Cobra's Dance (Fallahi Rhythm)



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Spanish Guitar Gold Collection 1&2

Posted By MiOd On 7:40 PM 0 comments
Spanish Guitar Gold Collection, Vol.1

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TRACK LISTINGS



[01]. Armik - Nastoyashiy Ray

[02]. Novamenko - Tigr-Palas-Otely

[03]. Dzhessy Cook - Tsigsnka

[04]. Armik - Malaga

[05]. Armik - Rubiya

[06]. Armik - Tantsor Dozhdya

[07]. Novamenko - Puteshestvie

[08]. Dzhessy Cook - Burya

[09]. Armik - Luna v Andaluzii

[10]. Armik - Nevezuchiy

[11]. Novamenko - Sredizemnomorskiy Briz

[12]. Armik - Nezhnaya Strasty

[13]. Armik - Eskapada

[14]. Armik - Fantaziya Lunnogo Sveta

[15]. Armik - Pokrov Zhelaniya

[16]. Armik - Annete

[17]. Armik - Tainstvenniy Ray

[18]. Armik - Karty Lyubvi

[19]. Dzhessy Cook - Solnechniy Zontik

[20]. Armik - Romanticheskie Dushi

[21]. Armik - Obolyshenie

[22]. Armik - Plavanie k Bimini

[23]. Armik - Dlya Tvoih Glaz

[24]. Armik - Otrazheniya Raya

[25]. Armik - Moya Lyubovy

[26]. Armik - Slezinka

[27]. Armik - Solnechniy Ostrov

[28]. Armik - Sapfirovie Mechty



Guitar Gold Collection, Vol. 2



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TRACK LISTINGS



[01]. Nova Menko - Vospomenanya O Marte

[02]. Nova Menko - Bezmolbniy Pozeloy

[03]. Robert Michalis - Tanez Kopelova

[04]. Antonio Kobo - Polanlo

[06]. Gypsy Kings - Zganskaya Zhensheyna

[07]. Nova Menko - Polet v Ray

[08]. Antonio Kobo - Karebskya Zhensheyna

[09]. Robert Michalis - Teatr

[10]. Gypsy Kings - Prazdnek

[11]. Nova Menko - Garseya Porka

[12]. Antonio Kobo - Noche

[13]. Gypsy Kings - Otdalenne Mesta

[14]. Nova Menko - Konstantenople

[15]. Jesse Cook - Prizhok v Tanze

[16]. Nova Menko - Prizhok v Toledo

[17]. Jesse Cook - Vo Tme

[18]. Noyce - Moya Lubov

[19]. Antonio Kobo - Breeze

[20]. Antonio Kobo - Lubemoe Snovelenye

[21]. Gypsy Kings - Volchebeie Kamen

[22]. Noyce - Ti Nekogda Ne Ostavesh Menya Odenokym

[23]. Jesse Cook - Azul

[24]. Robert Michalis - Podsoznanye

[25]. Antonio Kobo - Lonnie Svet

[26]. Nova Menko - Nastroenye Lubve

[27]. Jesse Cook - Kaskad

[28]. Robert Michalis - Dozhd v Espanne

[29]. Jesse Cook - Vichodez Ez Grezee



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Africa. From Dakar to Johannesburg

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Africa. From Dakar to Johannesburg, 2006
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The beauty and variety of vocal music is represented by the Zulu choirs of Soweto (South Africa), the unique voice of Mamany Kouyaté (Mali), the songs of Boni Gnahoré (Ivory Coast), and the murmured voices of singers from Burundi.

01. Mamany Kouyaté - Fatou nana 6:03
02. Boni Gnahoré - Kpako solo 5:26
03. Ankata - Komanania 4:37
04. Tambours du Burundi - Umve mama urumviriza 2:28
05. Fulgence Compaoré - Bété foli 3:58
06. Kevin Mfinka - Mabélé 3:09
07. Tambours du Burundi - Pastorale 5:27
08. Bana Kin Percussions - Vanité 2:32
09. Barbeton L.M.C. - Sawubona mnaketfu 2:58
10. Koko - Koko lon ni lo 5:39
11. Various Artists - La kora du griot 7:41
12. Various Artists - Danse rituelle 3:26
13. Isigqi Samazulu - Isigqi samazulu 4:36
14. Various Artists - Extrait de la messe de minuit 2:58
15. Tambours du Burundi - Umubu 3:32

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No Make Palaver. Very Very Music from West Africa!

Posted By MiOd On 8:24 PM 0 comments
No Make Palaver.
Very Very Music from West Africa!
Heimatklänge Vol.6, 1993
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Track Listings
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1. Le Zagazougou - Ferima
2. Oumou Sangare - Ah Ndiya
3. Eric Agyeman - Ao! Masem Yi
4. Alhadji Chief Dr. Sikiru Ayinde Barrister & Africa's International Music Ambassadors - Africa Is My Father's Land
5. The Super Rail Band of the Buffet Hotel de la Gare de Bamako - Foliba
6. Baaba Maal & Daande Lenol - Thiedo
7. Stan Tohon & Le Tchink System - Yallow II / Piquons nous

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Verve Jazz Masters Vol. [31-40]

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Verve Jazz Masters 31 - Cannonball Adderley

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Taken from Adderley's mid-'50s residence at Polygram and Emarcy, Jazz Masters includes 16 tracks. Highlights include "The Way You Look Tonight," "Lover Man," "Stars Fell on Alabama" and "The Song Is You." ~ Keith Farley, All Music Guide



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Verve Jazz Masters 32 - Chet Baker

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Chet Baker was a primary exponent of the West Coast school of cool jazz in the early and mid-'50s. As a trumpeter, he had a generally restrained, intimate playing style and he attracted attention beyond jazz for his photogenic looks and singing. But his career was marred by drug addiction.Baker's father, Chesney Henry Baker,Sr., was a guitarist who was forced to turn to other work during the Depression; his mother, Vera (Moser) Baker, worked in a perfumery. The family moved from Oklahoma to Glendale, CA, in 1940. As a child, Baker sang at amateur competitions and in a church choir. Before his adolescence, his father brought home a trombone for him, then replaced it with a trumpet when the larger instrument proved too much for him. He had his first formal training in music at Glendale Junior High School, but would play largely by ear for the rest of his life. In 1946, when he was only 16 years old, he dropped out of high school and his parents signed papers allowing him to enlist in the army; he was sent to Berlin, Germany, where he played in the 298th Army Band. After his discharge in 1948, he enrolled at El Camino College in Los Angeles, where he studied theory and harmony while playing in jazz clubs, but he quit college in the middle of his second year. He re-enlisted in the army in 1950 and became a member of the Sixth Army Band at the Presidio in San Francisco. But he also began sitting in at clubs in the city and he finally obtained a second discharge to become a professional jazz musician.Baker initially played in Vido Musso's band, then with Stan Getz. (The first recording featuring Baker is a performance of "Out of Nowhere" that comes from a tape of a jam session made on March 24, 1952, and was released on the Fresh Sound Records LP Live at the Trade Winds.) His break came quickly, when, in the spring of 1952, he was chosen at an audition to play a series of West Coast dates with Charlie Parker, making his debut with the famed saxophonist at the Tiffany Club in Los Angeles on May 29, 1952. That summer, he began playing in the Gerry Mulligan Quartet, a group featuring only baritone sax, trumpet, bass, and drums -- no piano -- that attracted attention during an engagement at the Haig nightclub and through recordings on the newly formed Pacific Jazz Records (later known as World Pacific Records), beginning with the 10" LP Gerry Mulligan Quartet, which featured Baker's famous rendition of "My Funny Valentine."The Gerry Mulligan Quartet lasted for less than a year, folding when its leader went to jail on a drug charge in June 1953. Baker went solo, forming his own quartet, which initially featured Russ Freeman on piano, Red Mitchell on bass, and Bobby White on drums, and making his first recording as leader for Pacific Jazz on July 24, 1953. Baker was hailed by fans and critics and he won a number of polls in the next few years. In 1954, Pacific Jazz released Chet Baker Sings, an album that increased his popularity but alienated traditional jazz fans; he would continue to sing for the rest of his career. Acknowledging his chiseled good looks, nearby Hollywood came calling and he made his acting debut in the film Hell's Horizon, released in the fall of 1955. But he declined an offer of a studio contract and toured Europe from September 1955 to April 1956. When he returned to the U.S., he formed a quintet that featured saxophonist Phil Urso and pianist Bobby Timmons. Contrary to his reputation for relaxed, laid-back playing, Baker turned to more of a bop style with this group, which recorded the album Chet Baker & Crew for Pacific Jazz in July 1956.Baker toured the U.S. in February 1957 with the Birdland All-Stars and took a group to Europe later that year. He returned to Europe to stay in 1959, settling in Italy, where he acted in the film Urlatori Alla Sbarra. Hollywood, meanwhile, had not entirely given up on him, at least as a source of inspiration, and in 1960, a fictionalized film biography of his life, All the Fine Young Cannibals, appeared with Robert Wagner in the starring role of Chad Bixby.Baker had become addicted to heroin in the 1950s and had been incarcerated briefly on several occasions, but his drug habit only began to interfere with his career significantly in the 1960s. He was arrested in Italy in the summer of 1960 and spent almost a year and a half in jail. He celebrated his release by recording Chet Is Back! for RCA in February 1962. (It has since been reissued as The Italian Sessions and as Somewhere Over the Rainbow.) Later in the year, he was arrested in West Germany and expelled to Switzerland, then France, later moving to England in August 1962 to appear as himself in the film The Stolen Hours, which was released in 1963. He was deported from England to France because of a drug offense in March 1963. He lived in Paris and performed there and in Spain over the next year, but after being arrested again in West Germany, he was deported back to the U.S. He returned to America after five years in Europe on March 3, 1964, and played primarily in New York and Los Angeles during the mid-'60s, having switched temporarily from trumpet to flügelhorn. In the summer of 1966, he suffered a severe beating in San Francisco that was related to his drug addiction. The incident is usually misdated and frequently exaggerated in accounts of his life, often due to his own unreliable testimony. It is said, for example, that all his teeth were knocked out, which is not the case, though one tooth was broken and the general deterioration of his teeth led to his being fitted with dentures in the late '60s, forcing him to retrain his embouchure. The beating was not the cause of the decline in his career during this period, but it is emblematic of that decline. By the end of the '60s, he was recording and performing only infrequently and he stopped playing completely in the early '70s.Regaining some control over his life by taking methadone to control his heroin addiction (though he remained an addict), Baker eventually mounted a comeback that culminated in a prominent New York club engagement in November 1973 and a reunion concert with Gerry Mulligan at Carnegie Hall in November 1974 that was recorded and released by Epic Records. By the mid-'70s, Baker was able to return to Europe and he spent the rest of his life performing there primarily, with occasional trips to Japan and periods back in the U.S., though he had no permanent residence. He attracted the attention of rock musicians, with whom he occasionally performed, for example adding trumpet to Elvis Costello's recording of his anti-Falklands War song "Shipbuilding" in 1983. In 1987, photographer and filmmaker Bruce Weber undertook a documentary film about Baker. The following year, Baker died in a fall from a hotel window in Amsterdam after taking heroin and cocaine. Weber's film, Let's Get Lost, premiered in September 1988 to critical acclaim and earned an Academy Award nomination. In 1997, Baker's unfinished autobiography was published under the title As Though I Had Wings: The Lost Memoir and the book was optioned by Miramax for a film adaptation.Baker's drug addiction caused him to lead a disorganized and peripatetic life, his constant need for cash requiring him to accept many ill-advised recording offers, while his undependability prevented him from making long-term commitments to record labels. As a result, his discography is extensive and wildly uneven. ~ William Ruhlmann, All Music Guide



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Benny Goodman - Verve Jazz Masters 33

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Benny Goodman was a jazz clarinetist and band leader famous for the songs "Sing, Sing, Sing" and "One O'Clock Jump." A prodigy on the clarinet, Goodman joined the professional musician's union when he was just 13 years old and made his first recording as a soloist four years later. In the 1920s he played in orchestras, on the radio and for stage shows, and made several recordings as a sideman (including for Bessie Smith and Billie Holiday). In the early 1930s Goodman formed his own orchestra and the Swing Era began. He became a world famous bandleader, appeared regularly on the radio and in the movies and is often credited with introducing jazz to mainstream audiences. By the end of his career he'd had well over 100 hit songs, including "Let's Dance," "Blue Moon, and "Six Appeal."Benny Goodman is considered the first bandleader to perform in public with a racially integrated orchestra.



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Verve Jazz Masters 34 - Coleman Hawkins

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Coleman Hawkins distinguished himself as a tenor saxophone soloist in jazz orchestras during the 1920s and '30s, recorded and toured in Europe for five years, then returned to America in 1939 with his own band and a hit record, "Body & Soul." With his distinctive full-bodied sound, "Hawk" (or "Bean") was the dominant jazz saxophonist for four decades, through the periods of hot jazz, swing and bop. He played with all the greats, from Bessie Smith and Duke Ellington to Thelonious Monk and Miles Davis.



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Verve Jazz Masters 35 - Johnny Hodges


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Possessor of the most beautiful tone ever heard in jazz, altoist Johnny Hodges formed his style early on and had little reason to change it through the decades. Although he could stomp with the best swing players and was masterful on the blues, Hodges' luscious playing on ballads has never been topped. He played drums and piano early on before switching to soprano sax when he was 14. Hodges was taught and inspired by Sidney Bechet, although he soon used alto as his main ax; he would regretfully drop soprano altogether after 1940. His early experiences included playing with Lloyd Scott, Chick Webb, Luckey Roberts, and Willie "The Lion" Smith (1924), and he also had the opportunity to work with Bechet. However, Johnny Hodges' real career began in 1928 when he joined Duke Ellington's orchestra. He quickly became one of the most important solo stars in the band and a real pacesetter on alto; Benny Carter was his only close competition in the 1930s. Hodges was featured on a countless number of performances with Ellington and also had many chances to lead recording dates with Ellington's sidemen. Whether it was "Things Ain't What They Used to Be," "Come Sunday," or "Passion Flower," Hodges was an indispensable member of Ellington's orchestra in the 1930s and '40s. It was therefore a shock, in 1951, when he decided to leave Duke Ellington and lead a band of his own. Hodges had a quick hit in "Castle Rock" (which ironically showcased Al Sears' tenor and had no real contribution by the altoist), but his combo ended up struggling and breaking up in 1955. Hodges' return to Duke Ellington was a joyous occasion and he never really left again. In the 1960s, Hodges teamed up with organist Wild Bill Davis on some sessions, leading to Davis joining Ellington for a time in 1969. Johnny Hodges, whose unchanging style always managed to sound fresh, was still with Duke Ellington when he suddenly died in 1970. ~ Scott Yanow, All Music Guide



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Verve Jazz Masters 36 - Gerry Mulligan

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A solid if not ideal introduction to Gerry Mulligan's recordings for Verve, this 36th volume in the label's Jazz Masters series compiles eleven tracks he cut between mid-1960 and late 1962 while at the helm of his Concert Jazz Band. Highlights include renditions of Django Reinhardt's "Manoir de Mes Reves," Johnny Mandel's "Barbara's Theme" and George Russell's "All About Rosie." ~ Jason Ankeny, All Music Guide



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Verve Jazz Masters 37 - Oscar Peterson Plays Broadway

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Oscar Peterson was one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson's speed, dexterity, and ability to swing at any tempo were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did not fall into any specific idiom. Like Erroll Garner and George Shearing, Peterson's distinctive playing formed during the mid- to late '40s and fell somewhere between swing and bop. Peterson was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and recorded a remarkable number of albums. Perhaps it is because critics ran out of favorable adjectives to use early in his career; certainly it can be said that Peterson played 100 notes when other pianists might have used ten, but all 100 usually fit, and there is nothing wrong with showing off technique when it serves the music. As with Johnny Hodges and Thelonious Monk, to name two, Peterson spent his career growing within his style rather than making any major changes once his approach was set, certainly an acceptable way to handle one's career. Because he was Norman Granz's favorite pianist (along with Tatum) and the producer tended to record some of his artists excessively, Peterson made an incredible number of albums. Not all are essential, and a few are routine, but the great majority are quite excellent, and there are dozens of classics.Peterson started classical piano lessons when he was six and developed quickly. After winning a talent show at 14, he began starring on a weekly radio show in Montreal. Peterson picked up early experience as a teenager playing with Johnny Holmes' Orchestra. From 1945-1949, he recorded 32 selections for Victor in Montreal. Those trio performances find Peterson displaying a love for boogie-woogie, which he would soon discard, and the swing style of Teddy Wilson and Nat King Cole. His technique was quite brilliant even at that early stage, and although he had not yet been touched by the influence of bop, he was already a very impressive player. Granz discovered Peterson in 1949 and soon presented him as a surprise guest at a Jazz at the Philharmonic concert. Peterson was recorded in 1950 on a series of duets with either Ray Brown or Major Holley on bass; his version of "Tenderly" became a hit. Peterson's talents were quite obvious, and he became a household name in 1952 when he formed a trio with guitarist Barney Kessel and Brown. Kessel tired of the road and was replaced by Herb Ellis the following year. The Peterson-Ellis-Brown trio, which often toured with JATP, was one of jazz's great combos from 1953-1958. Their complex yet swinging arrangements were competitive -- Ellis and Brown were always trying to outwit and push the pianist -- and consistently exciting. In 1958, when Ellis left the band, it was decided that no other guitarist could fill in so well, and he was replaced (after a brief stint by Gene Gammage) by drummer Ed Thigpen. In contrast to the earlier group, the Peterson-Brown-Thigpen trio (which lasted until 1965) found the pianist easily the dominant soloist. Later versions of the group featured drummers Louis Hayes (1965-1966), Bobby Durham (1967-1970), Ray Price (1970), and bassists Sam Jones (1966-1970) and George Mraz (1970).In 1960, Peterson established the Advanced School of Contemporary Music in Toronto, which lasted for three years. He made his first recorded set of unaccompanied piano solos in 1968 (strange that Granz had not thought of it) during his highly rated series of MPS recordings. With the formation of the Pablo label by Granz in 1972, Peterson was often teamed with guitarist Joe Pass and bassist Niels Pedersen. He appeared on dozens of all-star records, made five duet albums with top trumpeters (Dizzy Gillespie, Roy Eldridge, Harry "Sweets" Edison, Clark Terry, and Jon Faddis), and teamed up with Count Basie on several two-piano dates. An underrated composer, Peterson wrote and recorded the impressive "Canadiana Suite" in 1964 and has occasionally performed originals in the years since. Although always thought of as a masterful acoustic pianist, Peterson has also recorded on electric piano (particularly some of his own works), organ on rare occasions, and even clavichord for an odd duet date with Joe Pass. One of his rare vocal sessions in 1965, With Respect to Nat, reveals that Peterson's singing voice was nearly identical to Nat King Cole's. A two-day reunion with Herb Ellis and Ray Brown in 1990 (which also included Bobby Durham) resulted in four CDs. Peterson was felled by a serious stroke in 1993 that knocked him out of action for two years. He gradually returned to the scene, however, although with a weakened left hand. Even when he wasn't 100 percent, Peterson was a classic improviser, one of the finest musicians that jazz has ever produced. The pianist appeared on an enormous number of records through the years. As a leader, he has recorded for Victor, Granz's Clef and Verve labels (1950-1964), MPS, Mercury, Limelight, Pablo, and Telarc. ~ Scott Yanow, All Music Guide



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Verve Jazz Masters 38 - Django Reinhardt

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Django Reinhardt was the first hugely influential jazz figure to emerge from Europe -- and he remains the most influential European to this day, with possible competition from Joe Zawinul, George Shearing, John McLaughlin, his old cohort Stephane Grappelli and a bare handful of others. A free-spirited gypsy, Reinhardt wasn't the most reliable person in the world, frequently wandering off into the countryside on a whim. Yet Reinhardt came up with a unique way of propelling the humble acoustic guitar into the front line of a jazz combo in the days before amplification became widespread. He would spin joyous, arcing, marvelously inflected solos above the thrumming base of two rhythm guitars and a bass, with Grappelli's elegantly gliding violin serving as the perfect foil. His harmonic concepts were startling for their time -- making a direct impression upon Charlie Christian and Les Paul, among others -- and he was an energizing rhythm guitarist behind Grappelli, pushing their groups into a higher gear. Not only did Reinhardt put his stamp upon jazz, his string band music also had an impact upon the parallel development of Western swing, which eventually fed into the wellspring of what is now called country music. Although he could not read music, with Grappelli and on his own, Reinhardt composed several winsome, highly original tunes like "Daphne," "Nuages" and "Manoir de Mes Reves," as well as mad swingers like "Minor Swing" and the ode to his record label of the '30s, "Stomping at Decca." As the late Ralph Gleason said about Django's recordings, "They were European and they were French and they were still jazz."A violinist first and a guitarist later, Jean Baptiste "Django" Reinhardt grew up in a gypsy camp near Paris where he absorbed the gypsy strain into his music. A disastrous caravan fire in 1928 badly burned his left hand, depriving him of the use of the fourth and fifth fingers, but the resourceful Reinhardt figured out a novel fingering system to get around the problem that probably accounts for some of the originality of his style. According to one story, during his recovery period, Reinhardt was introduced to American jazz when he found a 78 RPM disc of Louis Armstrong's "Dallas Blues" at an Orleans flea market. He then resumed his career playing in Parisian cafes until one day in 1934 when Hot Club chief Pierre Nourry proposed the idea of an all-string band to Reinhardt and Grappelli. Thus was born the Quintet of the Hot Club of France, which quickly became an international draw thanks to a long, splendid series of Ultraphone, Decca and HMV recordings.The outbreak of war in 1939 broke up the Quintette, with Grappelli remaining in London where the group was playing and Reinhardt returning to France. During the war years, he led a big band, another quintet with clarinetist Hubert Rostaing in place of Grappelli, and after the liberation of Paris, recorded with such visiting American jazzmen as Mel Powell, Peanuts Hucko and Ray McKinley. In 1946, Reinhardt took up the electric guitar and toured America as a soloist with the Duke Ellington band but his appearances were poorly received. Some of his recordings on electric guitar late in his life are bop escapades where his playing sounds frantic and jagged, a world apart from the jubilant swing of old. However, starting in Jan. 1946, Reinhardt and Grappelli held several sporadic reunions where the bop influences are more subtly integrated into the old, still-fizzing swing format. In the 1950s, Reinhardt became more reclusive, remaining in Europe, playing and recording now and then until his death from a stroke in 1953. His Hot Club recordings from the `30s are his most irresistible legacy; their spirit and sound can be felt in current groups like Holland's Rosenberg Trio. ~ Richard S. Ginell, All Music Guide



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Cal Tjader - Verve Jazz Masters 39

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The best single-disc overview of Cal Tjader's Verve years, this collection actually makes the vibraphonist's time spent at the label seem more rewarding than it actually was. While with Fantasy Records, Tjader usually spent his time cutting tough Latin jazz albums or releasing superb small-group, bop-tinged cool jazz sessions. But under the guidance of Creed Taylor, most of Tjader's Verve sessions put a smooth gloss on his Latin style and almost completely ignored his very real talents for mainstream small-group jazz. That doesn't mean that his Verve years weren't full of excellent music, because they were; it's just that he recorded less group music for Verve, so it's great to see that so much fine music shows up here. Every track's a winner, but the CD features such highlights as Tjader's surprise pop hit "Soul Sauce," a beautiful ballad reading of "The Way You Look Tonight," the amazingly frenetic big band recording of the Horace Silver tune "Tokyo Blues," and a hip-shaking version of "Moanin'" that has Herbie Hancock and Ron Carter sitting in. Judging by this collection alone, you'd think Tjader's Verve period was the perfect marriage of high-quality jazz and mainstream commercial instincts. If only "selling out" always sounded this good. Maybe there's more to Cal Tjader's Verve sessions than there appeared to be at the time. ~ Nick Dedina, All Music Guide



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Verve Jazz Masters 40 - Dinah Washington

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Dinah Washington was at once one of the most beloved and controversial singers of the mid-20th century -- beloved to her fans, devotees, and fellow singers; controversial to critics who still accuse her of selling out her art to commerce and bad taste. Her principal sin, apparently, was to cultivate a distinctive vocal style that was at home in all kinds of music, be it R&B, blues, jazz, middle of the road pop -- and she probably would have made a fine gospel or country singer had she the time. Hers was a gritty, salty, high-pitched voice, marked by absolute clarity of diction and clipped, bluesy phrasing. Washington's personal life was turbulent, with seven marriages behind her, and her interpretations showed it, for she displayed a tough, totally unsentimental, yet still gripping hold on the universal subject of lost love. She has had a huge influence on R&B and jazz singers who have followed in her wake, notably Nancy Wilson, Esther Phillips, and Diane Schuur, and her music is abundantly available nowadays via the huge seven-volume series The Complete Dinah Washington on Mercury.Born Ruth Lee Jones, she moved to Chicago at age three and was raised in a world of gospel, playing the piano and directing her church choir. At 15, after winning an amateur contest at the Regal Theatre, she began performing in nightclubs as a pianist and singer, opening at the Garrick Bar in 1942. Talent manager Joe Glaser heard her there and recommended her to Lionel Hampton, who asked her to join his band. Hampton says that it was he who gave Ruth Jones the name Dinah Washington, although other sources claim it was Glaser or the manager of the Garrick Bar. In any case, she stayed with Hampton from 1943 to 1946 and made her recording debut for Keynote at the end of 1943 in a blues session organized by Leonard Feather with a sextet drawn from the Hampton band. With Feather's "Evil Gal Blues" as her first hit, the records took off, and by the time she left Hampton to go solo, Washington was already an R&B headliner. Signing with the young Mercury label, Washington produced an enviable string of Top Ten hits on the R&B charts from 1948 to 1955, singing blues, standards, novelties, pop covers, even Hank Williams' "Cold, Cold Heart." She also recorded many straight jazz sessions with big bands and small combos, most memorably with Clifford Brown on Dinah Jams but also with Cannonball Adderley, Clark Terry, Ben Webster, Wynton Kelly, and the young Joe Zawinul (who was her regular accompanist for a couple of years).In 1959, Washington made a sudden breakthrough into the mainstream pop market with "What a Diff'rence a Day Makes," a revival of a Dorsey Brothers hit set to a Latin American bolero tune. For the rest of her career, she would concentrate on singing ballads backed by lush orchestrations for Mercury and Roulette, a formula similar to that of another R&B-based singer at that time, Ray Charles, and one that drew plenty of fire from critics even though her basic vocal approach had not changed one iota. Although her later records could be as banal as any easy listening dross of the period, there are gems to be found, like Billie Holiday's "Don't Explain," which has a beautiful, bluesy Ernie Wilkins chart conducted by Quincy Jones. Struggling with a weight problem, Washington died of an accidental overdose of diet pills mixed with alcohol at the tragically early age of 39, still in peak voice, still singing the blues in an L.A. club only two weeks before the end. ~ Richard S. Ginell, All Music Guide



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SEMANA SANTA - Grandes Saetas II

Posted By MiOd On 12:53 PM 0 comments
SEMANA SANTA - Grandes Saetas II (Primera época 1930-1950)


| Mp3 320 kbps | 99 MB| 2005 | Covers | FlameUpload |




01. RAFAEL ROMERO - Detente Judas

02. ANTONIO MAIRENA - El corazón lo lleva

03. LA ANDALUCITA - Llorando a la Magadalena

04. NIÑO DEL MUSEO - Pararla en ese rincón

05. ANTOÑITA MORENO - Estrella de la mañana

06. CANALEJAS DE PUERTO REAL - Que sufristes padre mío de la Salud

07. PEPE PINTO - Pilatos te locondena

08. MANUEL VALLEJO - Al calvario camina

09. NIÑA DE LOS PEINES - Pilatos por no poder

10. ROQUE MONTOYA, JARRITO - El divino resplandor

11. ANTONIO DE CANILLAS - Triste está María

12. PEPE EL CULATA - Porqué no bajan lals manos

13. EL COJO DE MALAGA - Debajo del palio

14. ANTONIO DE CANILLAS - Mirarlo dulce y sereno

15. LA PAQUERA DE JEREZ - Con una cruz se ha caido

16. LA PAQUERA DE JEREZ - De mirarte llorar

17. ANTONIO MIRENA - Después de coronada

18. LUIS CABALLERO - Mare mía Macarena

19. RAFAEL ROMERO - Ha confesao al mundo

20. MANOLO CARACOL - Entre las dos y las tres



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Polkaholix - The Great Polka Swindle

Posted By MiOd On 5:10 PM 0 comments
Polkaholix
The Great Polka Swindle, 2007
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You think German polkas are only good for lederhosen? - check out this group. Clear your minds, pull on your sweats and may the 2/4s be with you. -
No Polka - no fun! Whithout Polka there is no TexMex, no Merengue, no Ska, no Punk, no - I don't know what. Firstly: no Rock'n Roll. - What, you didn't know that? POLKAHOLIX show you how its done. They have re-animated the Polka tradition, understandably in their own way. 2/4 time and off you go – this is Speed-Polka.
They are Men on a Mission, and the Mission is Polka. They are in fact, to all intents and purposes, knee-deep in the Polka hoopla. "Brilliant! POLKAHOLIX is the new live sensation from Germany. Excellent music, excellent show, go, polka go!!" [EKSTRA BLADET - DK]
POLKAHOLIX has done a dynamite job and drove the Ariano crowd wild!" [FOLKBULLITINO - I]
The Danes adore 'em, the Italians want to put their collective hands down their trousers and the Finns are frankly bonkers about their 'Ska-Brass-Tornados' (and we quote - English does not come easily to your average Finn). "It isn't what you play, it's how you play it. POLKAHOLIX all night long and the main stage at the Kaustinen festival is burning!" [AAMULEHTHI - FIN]
In their homeland, polka-starved Germans besiege the band wherever they appear, demanding instant polka-gratification. In Croatia they were partially responsible for the outbreak of peace, in Austria they brought down the rightist government of the day. In the Faroe Islands, gnarled fishermen feverishly knit jumpers to a POLKAHOLIX accompaniment, and in The Netherlands, at least one journalist was rendered speechless (temporarily). "Their music ranges from ska to cajun, from rock 'n roll to polka, from - words fail me. I'll just say that they're totally amazing." [GRONINGER DAGBLAD - NL]
After 300 concerts in 5 years, the POLKAHOLIX are red-hot (but not literally). Their new CD "The Great Polka Swindle" was recorded in the notorious Hansa Studios in Berlin, home to such famous polka-enthusiasts as David Bowie and Iggy Pop. Inspired by the polka-tastic results, 54 DJs in 16 countries voted this, their second CD, into the the World Music Chart Europe top 20 (divided by 4.3). This global formula has also been adopted in their homeland - the band is now RUTH-nominated for 2008 (RUTH is the German world music prize, and is not averse to a quick polka herself).
POLKAHOLIX are on a Mission of Polka. Is the Mission accomplished? We believe so!

01. Alles Lüge
02. Dziewczyna z Chicago
03. Das Modell
04. Polka All Night Long
05. Bolle Polka
06. Kookaburra Polka
07. Berlin (Idealpolka)
08. Herz ist Trumpf
09. Who Stole The Keeshka (Blutwurstpolka)
10. Krause seine Kreuzpolka
11. Schöne Frau aus Taormina
12. Was du mir erzählt hast von Liebe und Treu (Puffpolka)
13. Polka Kebab
14. Machopolka
15. Bel ami
16. Raumpatrouille (Orionpolka)

Andreas Wieczorek - Saxophone
Iven Hausmann - Trombone
Oliver Oltersdorf - Saxophone, clarinet
Andreas Hillmann - Trumpet
Volkmar Grosse - Bass
Mario Ferraro - Guitar, Steel Guitar
Jo Meyer - Accordion
Thomas Depkat - Drums

320 kbps including full scans

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