Kazım Calisgan & Andreas Heuser - Asya

Kazım Çalışgan & Andreas Heuser - Asya Acoustic Music Records

...A tour d`horizon of a most beautiful kind, european polyphony and middle eastern homophony in an unheard of unity.“ was what the German Magazine „Akustik Gitarre“ said about „Asya“, the debut CD as a duo of Kazim Calisgan and Andreas Heuser. They play turkish instrumentals and imaginatively arranged turkish folk songs which reflect the influences of the middle east and the balcans. Kazim Calisgan`s middle eastern string and percussion instruments plus his heartfelt vocals are joined by Andreas Heuser`s guitars and violins. Their repertoire includes tender ballads, swinging musical dialogues and uplifting percussion tracks. They have been working together since 1988 initially as part of various band set-ups (E 5, Baba Jam Band, babajam), later as a duo. They have always tried to meet somewhere in the middle of East and West, joining their individual musical backgrounds.

01 - YOL HAVASI 6:08
02 - MEKADON 4:09
03 - PIR SULTAN DOSTA 5:01
04 - CAY HAVASI 6:10
05 - CAYDA CIRA 4:08
06 - VALLEY OF VARDAR 5:10
07 - REST AND RUSH 3:09
08 - ASYA 4:11
09 - OVER THE MOUNTAINS 3:34
10 - BLUE TOMATOES 5:33

MP3, 256 kbps, 90 MB. Booklet scans included.

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Jazz For Romantic Moments

Jazz For Romantic Moments, 2008

TRACK LISTINGS

01.Peppi Kamadhatu - Can't Smile Without You
02.Olive - L.O.V.E
03.Tata - When Will I See You Again
04.Otrie B - Jeremy M Quartet - Smoke Gets In Your Eyes
05.Peppi Kamadhatu - Love Is A Many Splendored Thing
06.Otrie B - Jeremy M Quartet - For Sentimental Reasons
07.Tata - Kiss Of Life
08.Jeremy Monteiro Trio - Stardust
09.Jeremy Monteiro - I'm Confessin' That I Love You
10.Jeremy Monteiro Trio - Your Eyes
11.Peppi Kamadhatu - Just Once
12.Jerome Atnom - Autumn Leaves
13.Jeremy Monteiro Trio - Can't Smile Without You
14.Jeremy Monteiro Trio - Misty
15.Otrie B - Jeremy M Quartet - Getting Sentimental Over You

143 MB, 320 kbps mp3, covers scans

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Taj Mahal - Senor Blues

SENOR BLUES won the 1998 Grammy Award for Best Contemporary Blues Album. Recorded at Cherokee Studios, Los Angeles, California. Personnel: Taj Mahal (vocals, harmonica, dobro, kazoo); Johnny Lee Schell (guitar); Jon Cleary (piano, ... Full DescriptionWurlitzer piano); Mick Weaver (Hammond B-3 organ); Larry Fulcher (bass); Tony Braunagel (drums, percussion, tambourine); Sir Harry Bowens, Donna Taylor, Terrence Forsythe (background vocals). The Texacalli Horns: Darrell Leonard (trumpet, trombone, French Horn); Joe Sublett (tenor saxophone). JazzTimes (9/97, p.68) - "Taj Mahal really digs deep and scores a direct hit with the rootsy SENOR BLUES....A national treasure still digging for roots after all these years." Vibe (8/97, p.151) - "...Mahal refurbishes yet another room in the big house we call blues....Taj Mahal is working some serious 20th century hoodoo-man swing here..."

Track Listing
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[01]. Queen Bee
[02]. Think
[03]. Irresistible You
[04]. Having a Real Bad Day
[05]. Senor Blues
[06]. Sophisticated Mama
[07]. Oh Lord, Things Are Gettin' Crazy Up in Here
[08]. I Miss You Baby
[09]. You Rascal You
[10]. Mind Your Business
[11]. 21st Century Gypsy Singin' Lover Man
[12]. At Last (I Found a Love)
[13]. Mr. Pitiful

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VIVA LA COPLA [Flac]

VIVA LA COPLA


| Flac | 322 MB| 2008 | Copla | Covers | Flameupload |

[01]. Dos cruces
[02]. Más que el tesoro del moro
[03]. Para el baturro es la jota
[04]. El agua y la pena
[05]. Xiqueta de la Albufera
[06]. María Belén
[07]. La banderita
[08]. Moreno tiene que ser
[09]. Angelita
[10]. Suéltame ya
[11]. La Espabilá
[12]. Lo de menos son los años
[13]. El Palancar
[14]. Luna de España
[15]. Lola ya está a tu vera
[16]. Olé tu, Olé yo
[17]. Fandangos de Huelva
[18]. La rosa del azafrán
[19]. Limosna de amores
[20]. Que cuando la miro llora
[21]. Soy el cante
[22]. Rosa cautiva
[23]. ¡Ay calle del Sacramento!
[24]. El muerto vivo 25. Soldadito español

Part 1
Part 2
Part 3
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Part 5

Classical Relaxation [Box Set]

TRACK LISTINGS
CD1
01. Johann Pachelbel - Canon
02. Wolfgang Amadeus Mozart - Piano Concerto No. 21, 'Elvira Madigan': Andante
03. Philibert Delibes - Coppelia: Notturno
04. Franz Schubert - String Quintet In C: Adagio
05. Johann Sebastian Bach - Orchestral Suite No. 3: Air
06. Wolfgang Amadeus Mozart - Clarinet Concerto: Adagio
07. Franz Schubert - Symphony No. 8, 'Unfinished': Andante con moto
08. Tomaso Albinoni - Concerto, Op. 9 No. 2: Adagio
09. Christoph Willibald Ritter von Gluck - Orpheus And Eurydice: Dance Of The Blessed Spirits

CD2
01. Jules Massenet - Meditation, From 'Thais'
02. Svendsen - Romance In G, Op. 26
03. Edvard Grieg - The Last Song
04. Ludwig van Beethoven - Minuet
05. Joseph Haydn - Serenade, Op. 3 No. 5
06. Fibich - Poeme, Op. 41 No.6
07. Edvard Grieg - Elegiac Melody No. 1
08. Peter Ilyich Tchaikovsky - Elegia, From Serenade For String Orchestra
09. Edvard Grieg - I Love You
10. Ponchielli - Dance Of The Hours, From la Gioconda

CD3
01. Tomaso Albinoni - Adagio
02. Antonin Dvorak - Romance In F Minor, Op. 11
03. Edvard Grieg - 'Peer Gynt': Solveig's Song, From 'Peer Gynt'
04. Ludwig van Beethoven - Romance For Violin No. 2 In F, Op. 50
05. Franz Schubert - 'Rosamunde': Ballet Music In G, From 'Rosamunde'
06. Gustav Mahler - Symphony No. 5: Adagietto, From Symphony No. 5

CD4
01. Edvard Grieg - Peer Gynt: Morning
02. Franz Schubert - Standchen (Serenade)
03. Pjotr Iljitsch Tschaikowsky & Wolfgang Amadeus Mozart - Mozartiana Suite: Preghiera (Ave Verum)
04. Ludwig van Beethoven - Moonlight Sonata: Adagio Sostenuto
05. Wolfgang Amadeus Mozart - Piano Concerto No. 23 in A: Piano Concerto No. 23 in A, 2nd movement
06. Franz Schubert - Rosamunde: Intermezzo
07. Arnold Mendelssohn - Violin Concerto In E Minor: Violin Concerto in E minor, 2nd movement
08. Antonin Dvorak - Serenade For String Orchestra: Serenade for String Orchestra, 1st Movement
09. Georges Bizet - L'Arlesienne, Suite No. 2: Intermezzo
10. Joaquín Rodrigo - Concierto de Aranjuez, 2nd Movement
11. Franz Schubert - 'Trout' Quintet: 'Trout' Quintet - Theme and Variations

CD5
01. Jaques Offenbach - Barcarolle, from The Tales of Hoffmann
02. Jean Sibelius - Valse Triste
03. Franz Liszt - Liebestraum No. 3 in A flat
04. Luigi Bocherini - Minuet
05. Johann Sebastian Bach - Oboe Concerto in D minor (excerpt)
06. Ludwig van Beethoven - Piano Sonata No. 8, Pathetique, 2nd Movement
07. Pietro Mascagni - Intermezzo Sinfonico, from Cavalleria Rusticana
08. Johann Sebastian Bach - Sinfonia, from Christmas Oratorio
09. Franz Schubert - Ave Maria
10. Wolfgang Amadeus Mozart - Horn Concerto No. 3, 2nd Movement
11. Gustav Mahler - Symphony No. 1, 3rd Movement
12. Robert Schumann - Traumerei
13. Edvard Grieg - Ase's Death, from Peer Gynt
14. George Frideric Handel - Largo, from Xerxes
15. Antonin Dvorak - Symphony No. 9 ''From The New World'', 2nd Movement

CD6
01. Peter Ilyich Tchaikovsky - Swan Lake - Scene
02. Wolfgang Amadeus Mozart - Eine kleine Nachtmusik - Romance
03. Frederic Chopin - Nocturne in B major, Op. 9 No. 3
04. Giacomo Puccini - Humming Chorus (from 'Madame Butterfly')
05. Felix Mendelssohn - Notturno (from 'A Midsummer Night's Dream')
06. Wolfgang Amadeus Mozart - Symphony No. 35 'Haffner' - Andante
07. Georges Bizet - Carmen Suite No. 1 - Intermezzo
08. Franz Schubert - Piano Sonata in B flat major, D 960 - Andante sostenuto
09. Wolfgang Amadeus Mozart - Sinfonia Concertante in E flat major - Andante
10. Frederic Chopin - Piano Concerto No. 2 - Larghetto

CD7
01. Franz Schubert - Impromptu in G flat major
02. Rheinberger - Evening Song
03. Johannes Brahms - Serenade No. 1: Serenade No. 1 - Adagio non troppo
04. Robert Schumann - The Merry Peasant
05. Wolfgang Amadeus Mozart - Flute Quartet in G major
06. Ludwig van Beethoven - Symphony No. 7: Symphony No. 7 - Allegretto
07. Johannes Brahms - Cradle Song
08. Franz Schubert - Quartet in G Major: Theme and Variations
09. Peter Ilyich Tchaikovsky - The Seasons: The Seasons - 'June' (Barcarolle)
10. Wolfgang Amadeus Mozart - Symphony No. 36 'Linz': Symphony No. 36 'Linz' - Poco adagio

CD8
01. Johann Sebastian Bach - Prelude In C Minor
02. Edvard Grieg - Piano Concerto In A Minor - Adagio
03. Wolfgang Amadeus Mozart - Flute Concerto No. 2 - Adagio non Troppo
04. Gaetano Donizetti - Andante
05. Franz Schubert - Impromptu In B Flat Major
06. Claude Debussy - Clair de lune
07. Wolfgang Amadeus Mozart - Divertimento In D K251 - Andantino
08. Giordani - Caro Mio Ben
09. Wolfgang Amadeus Mozart - Piano Concerto No. 9 'Jeunehomme' - Andante
10. Rheinberger - Theme And Variations

CD9
01. Peter Ilyich Tchaikovsky - The Sleeping Beauty: Panorama
02. Johannes Brahms - Waltz, Op.39 No.15
03. Buffardin - Flute Concerto In G Minor: Andante
04. Franz Schubert - Impromptu In A flat
05. Wolfgang Amadeus Mozart - Violin Concerto No. 5: Adagio
06. Franz Schubert - Symphony No.3: Allegretto
07. Johann Sebastian Bach - Brandenburg Concerto No.2: Andante
08. Frederic Chopin - Piano Sonata No.3: Largo
09. Peter Ilyich Tchaikovsky - Suite No.1:: Intermezzo
10. Ludwig van Beethoven - Piano Concerto No.3:: Largo

CD10
01. Franz Schubert - La Traviata, Prelude Act 1
02. Robert Schumann - Foreign Countries and People from "Kinderscenen"
03. Peter Ilyich Tchaikovsky - Chanson Triste
04. Franz Schubert - Symphony No. 5 - Andante
05. Franz Liszt - La Campanella
06. Johann Sebastian Bach - Flute Concerto in Bb - Adagio
07. Frederic Chopin - Funeral March (from Piano Sonata No. 2)
08. Joseph Haydn - Symphony No. 94 "Surprise" - Andante
09. Wolfgang Amadeus Mozart - Concerto for Flute and Harp - Andantino
10. Peter Ilyich Tchaikovsky - Sympony No. 6 "Pathetique" - Adagio Lamentoso

Classical, Meditation, Relaxation | Mp3 | 320 Kbps | 10:00:56 | 1.34 GB | 1991

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CD2
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CD4
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MCY – Ex Oriente Lux

This album is a dream dreamt about an imaginary Eastern culture by fresh hearted musicians from various cultures with high careers. Yes maybe it is a dream for now but one day it will surely become reality; the love shall prevail. I, as the commenter of this dream, wish my music to gift happiness and peace to all hearts.

Mehmet C. Yesilcay: Ud, Keys, Programming; Kani Karaca (Turkey): Vocals; Fadja El-Hage (Lebanon): Vocals; Jade Villalon (USA): Vocals; Chris Haller (Italy): Saxes; Osman Aktas (Turkey): Kaval; Volkan Yilmaz (Turkey): Ney; Istanbul String Orchestra; Cenk (Germany): Vocals; Vanessa Ekpenyong (Nigeria): Vocals; Saam (Iran): Percussion; Tunc (Germany): Guitars; Joe Aykut (Germany): Guitars; Bahadir Sener (Turkey): Kanun; Ahmet Kadri Rizeli (Turkey): Kemence; Mustafa Dogan Dikmen (Turkey): Vocals; Mixed by Hans Martin Buff (Prince, Chaka Khan, Soul Asylum etc).
MP3 VBR, 85 MB
http://lix.in/-40f790

Les Boukakes – Marra

On their third album Marra, Les Boukakes achieve to transfer the incredible energy of their live concerts into the studio and unfold their joyful playing in twelve ingenously arranged songs. Les Boukakes stand for music created in exile - for the perfect symbiosis of orient and occident. Rock ‘n’ raï, that’s how the six musicians from Algeria, Tunisia and France call their music style, a speedy mix of rock, raï, gnawa and châabi, which they catapulted within a few years from the streets and clubs of Montpellier onto the big festival stages and into the French radio charts. With their second album Bledi (2005) Les Boukakes received international attention.

Tracklisting:

Hammouda Safi Marra Salam Assaif Matselounich Oummi Amina Koulchi Maddoumi Kallouha Litim

MP3 VBR, 50 MB.

http://rapidshare.com/files/224233399/lebou-mar.rar

Les Boukakes – Bledi

Their new album, Bledi, brings together all that work and experience. Most of the material is their own, but there are also two heavily adapted tradition pieces, Dorbiha Zina and Sidi H'bibi, the latter of which was first supercharged in the late Eighties by Manu Chao's first band, Mano Negra. Les Boukakes take their version as a blueprint, then add the influence of the Nineties, and up the Arab quotient. Les Boukakes present 11 captivating and danceable songs. Most of the songs are their own compositions but there are also two traditional songs adapted to their “rock ‘n’ raï” style. In all songs the combination of raï, gnawa and châabi with rock and pop elements seems to happen in a completely natural way. Classical North-African instruments such as derbouka, karkabou and bendir are mixed to a strong cocktail with screaming electrical guitars and the adjuratory singing of Bachir Mokthar. Oud and tabla add a whiff of oriental flavour.

http://lix.in/-4a1f42 MP3 128, 45 MB

Les Boukakes - Makach Mouch'kil

The Boukakes' first album, released in 2001. A subtle fusion of Western Rock and Rai with the cover of a famous French song : "Mon amant de Saint - Jean".

MP3 VBR, 62 MB
http://lix.in/-4ba24b

Alain Blesing Octet - Yörük

Alain Blesing is a Dutch guitarist deeply influenced by Turkish music and tunes. This project is a jazzy interpretation of Turkish folk tunes, heavily depending on improvisation by the virtuoso members of the band. You may know the name from the albums of Senem Diyici, Turkish vocal.

MP3 128, 45MB
http://lix.in/-4ba5c5

Erik Marchand & Rodolphe Burger - Before Bach

Born of an unlikely wedding between tradition and electricity, this chance meeting shows that only open-mindedness and lack of prejudice are creative. We hear the whole range of possible crossovers between the realm of modal music and Blues harmonic approach in that surprising process that might be the first successful meeting of Rock with Brittany’s folk music with tunes such as the “blues de Poulaouen” or “Before Bach”, where Erik Marchand sings on Rodolphe Burger’s guitars linked to Mehdi Haddad’s electric oud. “Zalizomé”, adapted from Greek folk music as gathered by Eric Marchand. “Phobic Flight”, written by Burger where you can hear Marchand sing in Breton language. “Gheorge”, a Balkan marvel easternalized by Mehdi Haddad, etc.

ERIK MARCHAND VS RODOLPHE BURGER WITH MEHDI HADDAD & METEOR BAND Rodolphe Burger, chant, guitares, programmation / Erik Marchand, chant, clarinette / Sylvie Rivoalen, chant / Marco de Oliveira, basse / Hervé Loos, batterie / Mehdi Haddab, oud
MP3 VBR, 70 MB
http://lix.in/-3f6d4d

Troubadour - Mesut Özgen

In the troubadour tradition, travelling musicians carried news and culture from one region to the other. For those of us not lucky enough to catch modern troubadour Mesut Özgen’s multi-sensory performances, his first solo release lets us in on the news. Özgen is widely known for making classical guitar accessible to a wide-range of music lovers. Troubadour is no exception, offering compositions inspired by Spanish, Turkish, American, Hungarian, Argentinean and Indian folk musics. Featuring compositions by Carlo Domeniconi, Anthony Newman, and the prolific Christopher Pratorius.

Troubadour Folk inspired classical guitar music Mesut Özgen - Guitar
1. Variations on an Anatolian Folk Song by Carlo Domeniconi ("Uzun ince bir yoldayim" by Asik Veysel) (9:40)
2. Gigue (from Suite for Guitar) by Anthony Newman (3:57)
3. Shenandoah by Robert Beaser (10:29)
4. Misionera by Fernando Bustamante, Arranged by Jorge Morel (2:57)
5. Fantaisie Hongroise op.65, no.1 by Johann Kaspar Mertz (8:17)
6. Sonata: Ondas do Mar de Vigo by Christopher Pratorius Introducción y Danza (Sonata 1st movement) (6:39)
7. Sonata: Ondas do Mar de Vigo by Christopher Pratorius Canto (Sonata 2nd movement) (6:04)
8. Sonata: Ondas do Mar de Vigo by Christopher Pratorius Estudio (Sonata 3rd movement) (5:21)
further details on:
http://www.goldenhorn.com/display.php4?content=records&page=ghp023.html

MP3, VBR, 56 MB.
http://lix.in/-3f5b69

Ensemble Sarband - The Arabian Passion according to J.S. Bach

Sarband's 2009 release.

"The two passion oratories by J.S. Bach which have survived in their entirety, the St. John Passion, BWV 245, and the St. Matthew Passion, BWV 244, are considered the culmination of the Baroque art of expression and rank high in the Occidental canon of great works of music. Every year in the weeks leading up to Easter, they figure prominently in European concert programmes and Christian religious life alike. No composer has conveyed the suffering of man, embodied in Jesus Christ, God incarnate, in music in as striking and passionate a manner as Bach in these works. Sarband confronts Bach’s passions with the disastrous present-day situation in Jesus’ native land, the Middle East, but also with the conflicts between the Arabic world and the West, between believers and those who believe differently, between the future-oriented and the tradition-minded. All over the world, regardless of their origins or religions, people are suffering on account of these conflicts. In his Arabian Passion, Vladimir Ivanoff, musical director of Sarband, compares Jesus’ suffering and that of the colonized Middle East in the time of the New Testament with the current situation. Bach’s Baroque precision and complexity meet the spontaneity of classical Arab music and Jazz: two traditions which have a lot in common, for example highly sophisticated and structured improvisation techniques, but also two voices which could hardly be more different: that of the traditional Arab world and a new voice that is spreading through the world—the American way of life. Arab musicians, two jazz saxophonists and the Modern String Quartet have joined to reinterpret Bach’s passion music. Western and Middle Eastern musicians find each other in the music of Bach. In a world full of differences and conflicts, this musical cooperation creates an intense and contemplative space for mutual respect and peace. “The Arabian Passion” is a musical plea for peace. A plea nourished by the confidence which forms the basis of Bach’s passions:that one day all suffering will come to an end."

MP3, VBR, 105 MB.
http://lix.in/-48831b

Erik Marchand - Unu, Daou, Tri, Chtar

Latest project of the great Breton voice.

Unu, Daou, Tri, Chtar ! Unu = one in Rumanian, daou = two in Breton, tri = three in Serbian and Breton, chtar = four in Rom. 1 2 3 4 is the whispered beginning of many tunes, and represents four of the languages used by the musicians of this quartet : Erik Marchand, from Poullaouen, is a singer. Costica Olan, is a taragot and soprano sax player, his native language is Rom, he also use Romanian in his daily life. Viorel Tajkuna is Serbian and belongs to the Rom minority of the Serbian Banat, as a result he is trilingual. He is an accordionist and organist for weddings. Jacky Molard from Saint Malo, has been living in Spezet, central Brittany, for many years. He’s a composer, arranger and violin player, using a large range of musical languages. The four musicians met, on Erik’s initiative, within the multicultural orchestra The Balkaniks. On this album they play themes and songs many of which are tributes to others artists who have influenced their music : Marcel Budala , Gabi Luncă and Ion Onoriu from Bucarest, Mariana Drăghicescu of Timişoara, the Ştefaneti brothers from Moldavia, Jacques Brel to name but a few.

MP3, VBR, 77 MB http://lix.in/-3f5d71

Henning Schmiedt & Sema’Zen, Mystische Sufigesaenge (Ilahiler ve Nefesler)

This is the multinational ensemble interpreting the sufi classics of Turkish music. Voice is Sema Moritz, who recorded many more similar projects both in Germany and Turkey.
MP3, VBR, 98 MB.
http://lix.in/-4577e1

Dhafer Youssef - Malak (FLAC)

The kind of gig you watched and prayed would never end, charges with such magic that you knew you would be telling people about it in years to come. Born in Teboulba, Tunesia in 1967, composer, singer and oud player Dhafer Youssef has been living and working in Vienna, Austria since 1990. During this time he had the opportunity to perform his music on stages in Austria, France, Germany, Switzerland and other European countries as well as his native Tunesia (where he started singing in the Islamic tradition at age 5). Dhafer has been working with Sainkho Namchylak, Paolo Fresu, Arto Tuncboyacian, Linda Sharrock, Wolfgang Puschnig, Christian Muthspiel, Jamey Haddad, Iva Bittova, Tom Cora and other great improvisers influenced by world music concepts. He also formed his own ensembles with whom he recorded two previous CD's in 1993 and 1996. Dhafer's music is rooted in the Sufi tradition and other mystical music but has always been wide open to ideas from any other musical culture as well as the jazz scene. With his poetic approach on the oud (the Arabic lute), his complex Arab-colored compositions and especially his deeply affecting singing, Dhafer Youssef is one of the most impressive voices to emerge in this musical field for several years. Testifying a wide range of sound colors, stylistic facets and musical ingredients, the list of musicians involved on Malak includes German lyrical trumpeter Markus Stockhausen, Vietnamese guitar wizard Nguyên Lê, French bass virtuoso Renaud Garcia-Fons ("Oriental Bass"), Indian percussion master Jatinder Thakur, Indian bansuri player Deepak Ram, Italian tambourine professor Carlo Rizzo, Hungarian violinist Zoltan Lantos and other colorful players. A thrilling statement made of Arabic lyricism, rhythmic power, visionary strength, multi-cultural influences and jazz-oriented improvisation, Malak opens the way to a new definition of East-Western crossover.

1. Tarannoum
2. Iman
3. Eklil
4. A Kind Of Love
5. Jito & Tato
6. Derballah
7. Frag Habibe
8. L Enfant DU Sable
9. L Ange Aveugle

Dhafer Youssef vocal, oud
Markus Stockhausen trumpet, flh
Nguyên Lê guitar
Renaud Garcia-Fons bass
Deepak Ram bansuri
Zoltan Lantos violin
Achim Tang bass
Jatinder Thakur tabla, dolak
Patrice Héral drums
Carlo Rizzo tambourine

Linx:
Part 1 Part 2 Part 3 Part 4 Enjoy!

Dhafer Youssef - Electric Sufi (FLAC)

What sets this album apart is the jazzy backbeat of boopy percussion and cool brass topped by some awesomely eerie vocals - soft and fluent and soaring in the mystical style of the Muslim Sufis. Tunesian-born Dhafer Youssef started singing in the Islamic tradition at age 5. His music is rooted in the Sufi tradition and other streams of mystical sounds but has always been wide open to other musical cultures including jazz. With his deeply affecting vocal style, a variable approach on the oud (the Arabic lute) and complex Arab-colored compositions, Dhafer Youssef is among today's shooting stars in this crossover field. His 1999 release Malak was an immediate success that cast its spell even over the critics (Stereoplay: CD of the month, Fono Forum: 5 stars). Swiss Peter Rüedi wrote: "In all registers, especially the high ones, this man is incredible. His expressivity blows away all possible reservations... He is a composer of distinction and great breadth of expression ranging from clinking dissonances to real hit tunes - simple but not kitschy, lyrical, expressive, intense and thoughtful." With his new album, Dhafer Youssef takes a subsequent step on his way of fusing Arab traditions with contemporary sounds. Electric Sufi unites jazz improvisation, ethnic roots, funk grooves and electronics into a novel West-Eastern amalgam that echoes the general trends in today's world. Stockhausen's jazz/classical trumpet playing, Muthspiel's electric fusion guitar, Ram's Indian flute sounds, Cinelu's Caribbean rhythms, Ilg's solid jazz feel, Wimbish's electric groove, Calhoun's urban afro-funk and Packe's electronical soundscapes join in a multi-cultural network that is fresh and comprehensible at the same time. Dominated by the bewitching virtuosity of Dhafer Youssef's voice and the lyrical depth of his oud playing, this powerful album gives a great vision of our musical future.

Dhafer Youssef vocal, oud, sounds
Wolfgang Muthspiel guitars
Markus Stockhausen trumpets, flh
Deepak Ram bansuri
Dieter Ilg ac. + el. bass
Doug Wimbish electric bass
Mino Cinelu drums, perc.
Will Calhoun drums, loops
Rodericke Packe ambient sounds

01. Mandakini
02. Yabay
03. Electric Sufi
04. Oil On Water
05. La Priere De L Absent
06. Man Of Wool
07. La Nuit Sacree
08. Nouba
09. Farha
10. Nafha
11. AL Hallaj
12. Suraj
13. Langue Muette

Part 1
Part 2
Part 3
Part 4
Enjoy!

Dhafer Youssef - Divine Shadows (FLAC)

This heady, enticing cultural clash - the sensual warmth of Youssef's Middle East meets the cool sensuality of his European collaborators...has yielded moments of quite sublime beauty... the results approach the hypnotically sublime.Divine Shadows sees the culmination of Dhafer Youssef's musical journey over the past five years. This, Dhafer's fourth album, consolidates ideas that have emerged through his three albums on Enja Records whilst introducing a new dynamic. Since his arrival in Europe in 1990, Tunisian vocalist and oud player Dhafer Youssef, has established himself as one of the most exciting artists working in contemporary music. Bringing together the spiritual quality of Sufi with the most cutting edge sound of European jazz, has created a distinctive sound synonymous with his name. Produced by Norwegian guitarist, composer and producer Eivind Aarset, and featuring music which has formed the basis of the group's live concerts for the past year, Dhafer's debut album for Jazzland displays a mature cohesion. Unlike previous albums, Dhafer's voice and oud are at the fore in this album, from the glorious sweeping vocals of the opening track Cantus Lamentus to the purity of the oud on Miel et Cendres. The balance of tracks between string quartet and the band create a breadth of textures and musical styles that gives the album diversity and momentum. Gradually building and falling away from the hymn like beginning through the 11 meter groove of Eleventh Stone, the spatial glitchy electronics of 27 th Century Ethos and gently closing with the tender Un Soupir Eternel.Work on Divine Shadows began almost two years ago when BBC Radio 3 commissioned Dhafer to write 45 minutes of new music for a Contemporary Music Network UK tour featuring a special line up. Over the first three albums and through his live performances, Dhafer had become increasingly inspired by the sound world and improvisatory style of the Norwegian scene. It was this cinematic and compelling sound world which Dhafer chose to create a backdrop to his voice and oud playing. At the heart of this group is his long term collaborator Eivind Aarset. Having begun working together in 2001, Dhafer and Eivind have developed a very close personal and musical relationship. Also drawn from his previous band is drummer Rune Arnesen. Previous bands featured acoustic bass, however for this new band Dhafer partnered Rune with his colleague from Nils Petter Molvaer's group, electric bass player Audun Erlien. This quartet of truly remarkable musicians, was topped off by one of Norway's most creative and inspiring musicians, trumpeter Arve Henriksen. Divine Shadows introduces a new dimension to the band's live performances. The album has an added complexity and subtlety, aided by the inclusion of the Oslo Session String Quartet, which emphasises the melodies, complementing the textures and colours that the core band conjure up.Divine Shadows reveals the full potential of Dhafer both as a composer and performer, working with musicians whose creativity provides the perfect vehicle for his music.

Dhafer Youssef oud, vocal
Arve Henriksen trumpet, electronics
Eivind Aarset guitars, electronics, programming
Audun Erlien bass, bass balalaika
Marilyn Mazur percussion
Rune Arnesen drums, programming
Jan Bang programming
Oslo Session String Quartet

01. Cantus Lamentus
02. Play 27th Century Ethos
03. Play Miel et Cendres
04. Play Wind & Shadows
05. Play Odd Poetry
06. Play 27th Ethos
07. Play Persona Non Grata
08. Play Postludium
09. Play Eleventh Stone
10. Play Ivresse Divine
11. Play Un Soupir Eternel

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Arif Sag - Gurbeti Ben Mi Yarattim

Arif Sag
Gurbeti Ben Mi Yarattim
Kalan Müzik CD 105, 1998


01. Kula Kulluk Yakisir Mi
02. Gurbeti Ben Mi Yarattim
03. Kimsesi Yok Garip
04. Gezdim Su Alemi
05. Bülbül Ne Ötersin
06. Gitme Durnam
07. Dersim Dört Dag Içinde
08. Her Seher Her Sabah
09. Deli Gönül
10. Baydigin Basi
11. Bugün Bayram Günü Derler
12. Açilin Kapilar
13. Beni Hor Görme

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Saeed Issa - El Oud Sultan Vol.[1-4]

Four volumes of straight-forward compositions and improvisations for the oud with percussion accompaniment. A veritable catalog of maqams and traditional melodies. 15-20 cuts per disc. Excellent rhythmic playing.
Saeed Issa - El Oud Sultan 1

[01]. Ghanely Shewaya
[02]. Gamal El Donia
[03]. Ala Balad El Mahboub
[04]. Efrah Ya Albi
[05]. Madam Teheb
[06]. Been Shateen We Mayah
[07]. Samra Ya Samra
[08]. Fakrak We Mish Hansak
[09]. Awel Hamsa
[10]. Ya Retny Tier
[11]. Taala Salem
[12]. Ya Awazel Falfelo
[13]. Ahl El Mahaba
[14]. Yabo El Ouon El Soud
[15]. Taala Awaam
[16]. Abgad Hawaz
[17]. Aeiny Bitref

HERE

Saeed Issa - El Oud Sultan 2


[01]. Anssak
[02]. Al Atlal
[03]. Aroh Lemeen
[04]. Ahl El Hawa
[05]. Al Fawazeer
[06]. Ahbabna Ya Eain
[07]. Ya Wabour Ouly
[08]. Amar Loh Layaly
[09]. Ala Khado Ya Nass
[10]. Ya Ward Ala Foul We Yasmeen
[11]. Tel3et Ya Mahla Nourha
[12]. Zourony Kol Sana Marah
[13]. Sheed El Hezam
[14]. El Helwa Dee
[15]. Khafef El Rouh
[16]. Mala El Kassat
[17]. Leeh Ya Banafseg

HERE

Saeed Issa - El Oud Sultan 3


[01]. Samaah
[02]. Ghareb El Daar
[03]. Habaytak We Bahebak
[04]. Saken Fe Hay El Saida
[05]. Ya Salat El Zeen
[06]. Mara Tehaneny
[07]. Ely Yjdar Ala Aldy
[08]. Inaabe
[09]. Ya Helw Nadeny
[10]. Ya Halawet El Donia
[11]. Ya Maal El Sham
[12]. Khayef A'ol Ely Fe Alby
[13]. Sa3et Ma Bashoufak
[14]. Daret El Ayam

HERE

Saeed Issa - El Oud Sultan 4


[01]. Rak El Habib
[02]. Awedt Eany
[03]. Howa Saheh
[04]. Ya Zalemny
[05]. Hakablo Bokra
[06]. Esal Rohak
[07]. Ana Fee Entezarak
[08]. El Ward Gamel
[09]. Gadet Hobak Leeh
[10]. Ya Mesaharny

HERE

Elena Ledda - Maremannu

One of the prime movers in the reival of Sardinian song, Ledda is above all a passionate and brilliant singer, regardless of the style she chooses. Joined by a superb ensemble of mandola, guitars, keyboards, percussion and bass, and the appearance of accordionist Riccardo Tesi on many tracks, this recording (her second under her own name) proves that her vision is clear.

Artist bio:
Born in Selargius, ELENA LEDDA is without doubt one of the Italian artists of recent years who has been most successfully in marrying ancient and modern sounds. She began her career at a young age, adding to her classical voice studies at Cagliari conservatory (where she also studied oboe) her rediscovery of the traditional Sardinian vocal heritage together with her brother Marcello who accompanied her on guitar during live performances.

ELENA LEDDA's voice is the perfect union of strength and sweetness, combining expressive versatility and rigour with pure emotion, a technique that is the result of intense years of trial and experiment. She has the bravura of a great interpreter, with just the right degree of vocal shading and nuance, inflections whose chiaroscuro delivery sends a shudder through the audience. A voice that bewitches whoever hears it, whether or not they know the Sard language. It's not surprising that ELENA LEDDA over the course of her career has recorded for mumerous foreign labels and is considered a star of the first order also overseas. For all those who loved Maremannu, this reissue is yet another confirmation of ELENA LEDDA's talent, while for those unfamiliar with her work Sonos is the perfect introduction to this refined and eclectic artist, a pioneer in forging a music anchored in Sard tradition yet which is at the same time open to manifold influences

01. Fizu 'E Su Mundu
02. Rosa E Resolza
03. In Trese
04. Dillaru
05. Dilliriende
06. Maremannu
07. Rosario
08. Nieddamera
09. Des De Mallorca A L'Alguer
10. Ninnios
11. Imbala
12. Pregadoria

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Vidar Lande & Gunhild Tømmerås - Sordølen - Slåtter og slåttestev fra Setesdal

Vidar Lande & Gunhild Tømmerås
Sordølen - Slåtter og slåttestev fra Setesdal. Traditional Folk Music from the South of Norway
Etnisk Musikklubb EM 16, 2004

Double CD with English booklet. 63 tracks of Norwegian fiddle, hardanger fiddle and kveding (a traditional singing style). Vidar Lande is professor in traditional arts at Telemark University College, Rauland. Professor Lande has written and illustrated an overview of the music history in Setesdal, which accompanies the 2 CDs.

CD 1
01. Sordølen, slåttestev
02. Sordølen(1)/Den gamle Sordølen
03. Sordølen, slåttestev
04. Sordølen(2)/Frøyrakssordølen
05. Sordølen(2)
06. Sordølen(3)/Sigurd Sordal
07. Sordølen
08. Stev
09. Skjallmøyann(1)
10. Skjallmøyann(2)
11. Skjallmøylaget
12. Stev
13. Norafjells
14. Gorrlaus Nr 2
15. Gorrlaus Nr 3
16. Domedagsslåtten
17. Gamalstev
18. Norafjells
19. Den 4. gorrlause
20. Bånesullar
21. Homslien (1) i Ljotstogform
22. Homslien (2) ette Tarkjell Aslaksson
23. Homslien (3) ette Torkjell Frøysnes
24. Homslien (4) ette Eivind D. Aakhus
25. Song: Tiri-Tove
26. Skrubben
27. Valebjørgslåtten/Skrubben(2)
28. Nystev
29. Aakhusen
30. Tveitlien

CD 2
01. Jentestev
02. Jenteslått
03. Slåttestev til Tveitåen
04. F/oyrakjen/Tveitåen
05. Tveitåen
06. Frøyrakjen/Frøysnesen
07. Hovstaden
08. Slåttestev til Soteroen
09. Soteroen
10. Soteroen
11. Nere Neses minne
12. Filleveren
13. Filleveren
14. Noralaupen
15. Slåttestev til Skuldalsbruri
16. Noralaupen (Skuldalsbruri)
17. Ein ette Tarkjell Aslaksson
18. Ein ette Tarkjell Aslaksson
19. Ein ette Tarkjell Aslaksson (Fanten)
20. Ein ette Tarkjell Aslaksson (Fanten)
21. Skorsvikjen
22. Reisaren/Setesdalens kjempegangar
23. Tarkjell/Aslakssons minne
24. Gravferdssalme
25. Gravbakkjen
26. Gravbakkjen
27. Strømsingjen
28. Vers frå "dei to systrane"
29. Brureslaget
30. Ein ette Torjus Odden
31. Ein ette Torjus Odden
32. Stev til Reiseslaget
33. Reislaget ette Tarjell Aslaksson


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Guinée - Cultural Revolution

Guinée - Cultural Revolution. African Pearls, Vol.2
Syllart Productions, 2006

Sekou Toure, the first president of the west African state of Guinea, is remembered more kindly by musicians than by his political opponents. He set up state-funded bands to write modern songs based on old styles. In this wildly varied double album, there's the celebrated Bembeya Jazz, mixing Latin and local styles in their joyful tributes to both the great guitarist Sekou Diabaté and the Guinean army. Then there's the griot Kouyate Sory Kandia with a reminder that Guinea was once part of the 13th-century Malian empire. And there's rolling, upbeat guitar and keyboard jazz from the Super Boiro Band, and even a track from South Africa's greatest female singer, Miriam Makeba. An intriguing compilation.

A 2CD overview of work from the years of Guinea's cultural revolution -- a time when the government sought to unify and direct the newly independent nation through a host of regional and national musical programs! Although potentially domineering, the rare effort was actually somewhat liberating - and allowed Guinean musicians to hit a whole new level of expression during this time - modes that weren't necessarily bound towards commercial aims, and which are filled with sophisticated rhythms, melodies, and horn passages that go far beyond some of their African contemporaries. There's many echoes of jazz amidst the tunes - and in a way, some of these numbers remind us of the more free-thinking moments in work by artists like Mulatu or Salah Ragab - especially in the way the horns interact. 2CD set features notes in both English and French - and a total of 25 tracks that include "Sassilon" by Horoya Band, "Armee Guineenne" by Bembeya Jazz National, "Tam
Tam Sax" by Momo Wandel, "Bele Bele" by Kade Diawara, "Koulandian" by Ensemble Instrumental De Guinee, "Kadia Blues" by Orchestre De La Paillote, "Diere Lele" by Bah Sadio, "N'Fa" by Virtuoses Diabate, "Massani Cisse" by Quintete Sextete, and "Andree" by Sily Authentic.

CD 1
01. Ensemble Instrumental de Guinée - Flute Parlante
02. African Virtuoses - Kankan Diarabi
03. Sory Kandia Kouyate - Souaressi
04. Bah Sadio - Diere Lele
05. Virtuoses Diabate - N'Fa
06. Bembeya Jazz National - Petit Sekou
07. Quintete Sextete - Massani Cisse
08. Miriam Makeba - Djiguinira
09. African Virtuoses - Wouloukoro
10. Ballets Africains - Nina
11. Momo Wandel - Tam Tam Sax
12. Kade Diawara - Bele Bele
13. Ensemble Instrumental de Guinée - Koulandian
14. Orchestre de la Paillote - Kadia Blues

CD 2
01. Bembeya Jazz National - Armee Guineenne
02. Keletigui - Maderi
03. Horoya Band - Sassilon
04. Super Boiro Band - So I Si Sa
05. Pivi et ses Balladins - Kogno Koura
06. Camayenne Sofas - Nanimbaly
07. Kalum Star - Lalaba
08. Orchestre de la Garde Republicaine - La Guinee Diara
09. Silly Authentic - Andree
10. 22 Band Kankan - Wousse
11. Balla et ses Balladins - Sara 70

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RAFAEL FARINA - El Rey Gitano Por Fadangos

RAFAEL FARINA - El Rey Gitano Por Fadangos 2CD

| Mp3,320 kbps | 210 MB | 1997 | Flamenco | Covers | Flameupload |
CD 1:
01-A cazar el pato real
02-A Doña Concha Piquer
03-A las dos de la mañana
04-A Manolo Caracol
05-A mi madre
06-A Pepe Marchena
07-A Ramón Montoya
08-A un loco le dio la manía 09-Al Niño Ricardo
10-Almería quién te viera
11-Aquí termina mi historia
12-Así es el arte
13-Caballo que tanto quiero (en cualquier raza se encuentra)
14-Canté una saeta un día (se cura tu enfermeá)
15-Cerca del mío
16-Cinta negra
17-Como la madre de Dios (qué tendrá esa raza mía)
18-Con castigarme tan fuerte
19-Cosas de chiquillos
20-De donde nacen los celos.

CD 2:
01-De entre todas las mujeres (como te voy a querer yo)
02.-De ilusión también se vive
03-De mi corazón gitano
04-Deja tu orgullo en la puerta (llorando sobre una rosa)
05-Déjame qe beba vino
06-Dos locuras
07-El arte de Salamanca
08-El dar con un mal querer
09-El viti y su majestad
10-En ella vivió mi mare
11-En la cama me senté
12-En mi pensamiento
13-En Salamanca nació...
14-Esa cara tan bonita
15-Estando de juerga un día (una azucena sembré)
16-Explícame ese misterio
17-Fandangos de Navidad
18-Jugamos al mismo juego
19-En los momentos terribles
20-La muerte de Joselito

CD1
Download HERE
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Cd2
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Covers
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Jesse Cook - Vertigo

Credits to ajjiger

Mixing pop hooks, rock edges, and exotic Middle Eastern flavors with his zesty acoustic flamenco guitar, Jesse Cook has no such trouble discovering his own sense of adventure on his third album Vertigo. Cook indeed inspires a happy dizziness daring his listener to keep up with his global jaunts and unique, Tabasco-hot texturing of Art Avalos' percussion toys (what are djembes and guiro?) over solid rhythm guitar foundations, along with a keen ability to pluck out catchy melodies and improvisations. He hits the Cajun trail by punching out machine gun patterns over a shuffling groove and Buckwheat Dural's accordion harmony; then Cook kicks up some sand, drawing a hypnotic picture of gypsy excitement as counterpoint to the swaying violin harmony by George Koller. As odd as it may sound, allegretto is the flamenco-styled equivalent to a John Cougar Mellencamp song, a vigorous folk-rock clapalong reminiscent of the singer's recent cover of Van Morrison's "Wild Night." The guitarist even plays underwater, "Breathing Below Surface," with the help of a subtle trip-hop groove and underwater synth effects. ~ Jonathan Widran, All Music Guide

[01]. That's Right!
[02]. Byzantium Underground
[03]. Cancion Triste
[04]. Rattle And Burn
[05]. Red
[06]. Breathing Below Surface
[07]. Avocado
[08]. Allegretto
[09]. Vertigo
[10]. Fragile


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Al Di Meola - Elegant Gypsy

Guitarist Al di Meola first rose to prominence as a blazing jazz fusion player before his playing matured and he began to conquer other styles, such as acoustic Latin music. Born on July 22, 1954, in Jersey City, NJ, di Meola briefly studied at the Berklee School of Music in Boston during the early '70s before accepting a job replacing guitarist Bill Connors in fusion trailblazers Return to Forever (a group that included such monster instrumentalists as keyboardist Chick Corea and bassist Stanley Clarke) in 1974. It was with di Meola that Return to Forever enjoyed their greatest commercial success, as such releases as 1974's Where Have I Known Before, 1975's No Mystery, and 1976's Romantic Warrior cracked the U.S. Top 40 before di Meola jumped ship to launch a solo career. What followed remains some of the finest jazz fusion guitar-based recordings ever: 1976's Land of the Midnight Sun, 1977's Elegant Gypsy (which would eventually earn gold certification in the U.S.), and Casino, plus 1979's Splendido Hotel, before uniting with fellow guitar greats John McLaughlin and Paco de Lucía for 1980's Friday Night in San Francisco. Throughout the '80s and '90s, di Meola racked up numerous accolades (including earning yearly top honors in Guitar Player Magazine polls), kept on issuing solo releases on a regular basis, and played with others, including releases by Stomu Yamash'ta, Paul Simon, Stanley Jordan, and David Matthews, as well as further work with such former bandmates as Corea, Clarke, de Lucía, and McLaughlin. During the '90s, di Meola turned his back almost entirely on fusion to concentrate more on acoustic-based world music, as evidenced by such releases as World Sinfonia, Di Meola Plays Piazzolla, and Heart of the Immigrants, among others. Since that time, Di Meola has continued this eclectic approach with releases like 2003's Revisited, 2006's Consequence of Chaos, and 2007's Diabolic Inventions and Seduction for Solo Guitar, Vol. 1: Music of Astor Piazzolla. ~ Greg Prato, All Music Guide

1. Flight Over Rio
2. Midnight Tango
3. Mediterranean Sundance
4. Race With Devil On Spanish Highway
5. Lady Of Rome Sister Of Brazil
6. Elegant Gypsy Suite

- Al DiMeola / guitars
- Paco De Lucia / acoustic guitar
- Jan Hammer / electric piano, Minimoog
- Anthony Jackson / bass guitar
- Barry Miles / keyboards
- Lenny White / drums
- Mingo Lewis / percussions

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The World of Music: Hungary & Romania

Hallmark's World Of Music: Hungary & Romania collects some of the region's best-known traditional songs, including "Hungarian Dance," "Tzigane," "Bela Hungaria," "Ariba Floricaca," and "Romanian Skylark." Though it's not an in-depth compilation, the album does provide a decent sampling of Hungary and Romania's musical traditions.

[01]. Hungarian Dance - Ian Boutouk
[02]. Tzigane - The Balatonia Gypsy Orchestra
[03]. Blue Shawl - The Balatonia Gypsy Orchestra
[04]. Nadia's Doina - Georges Schmitt
[05]. Romanian Skylark - Ian Boutouk
[06]. Chamil - Ian Boutouk
[07]. Szomoru Vasarnap - The Balatonia Gypsy Orchestra
[08]. Golden Eyes - Ian Boutouk
[09]. Ne Revnoui - Title
[10]. Tchoubtchik - The Balatonia Gypsy Orchestra
[11]. Romanian Dance - Ian Boutouk
[12]. Bela Hungaria - Ian Boutouk
[13]. Hora Des Bergers - Ian Boutouk
[14]. Gypsy - Ian Boutouk
[15]. Atala - Ian Boutouk
[16]. Sirba Floricaca - Georges Schmitt
[17]. Yamschick Ne Goni Loshadej - Ian Boutouk
[18]. Boublichki - The Balatonia Gypsy Orchestra

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Elis Regina - Live in Montreux

Temperamental and moody, capable of fits of extreme generosity that could quickly turn into moments of rage-filled paranoia, Elis Regina was one of the most ferociously talented singers to emerge from Brazil. A perfectionist who was frequently dissatisfied, Regina drove herself and members of her band relentlessly, leading to her being dubbed "Hurricane" and "Little Pepper" by musicians and music journalists. Her tempestuous nature aside, she commanded the respect of Brazil's leading songwriters, who lined up for the chance to have her record one of their songs, and for much of her short life was the country's most popular female vocalist. Born Elis Regina Carvalho Costa in Porto Alegre in 1945 to a working-class family, Regina began singing professionally at age 12 on a children's television show called Clube de Guri. For the next two years she was a regular performer on the program and became a local celebrity. It was during this period that she signed her first recording contract at the age of 13. At 15 she relocated to Rio de Janeiro, where she recorded the first of three records, returning to Porto Alegre between each. Her initial recordings sold well and she was soon a teenage star, as well as the family's principal breadwinner. In 1963, at the age of 18, Regina and her father, in a move designed to further her career, relocated to Rio. Unfortunately, it was around this time that a military junta took over control of the country. Not long after her move to Rio, Regina became a fixture on Brazilian variety shows. Although the cool, supple, jazzy bossa nova sound was in vogue at the time, Regina preferred more raucous rhythms and full-throated singing. Adding to this was her dynamic, unsophisticated stage presence (which belied a career-long battle against near-paralytic stage fright) that, in American terms, might be best understood if one thinks of the tornado-like force that Janis Joplin could unleash. In 1965, Regina sang the controversial (and nearly censored) song "Arrastao" at Rio's first big popular music festival. In a performance that may well have been the defining moment of her career, she posed in Christ-like crucifixion, tears streaming down her face at the song's conclusion. From that moment on, her popularity rocketed; she went from being one of many successful Brazilian singers to the most popular and highest-paid singer in the country -- at the age of 21. Although not as overtly political as other singer/songwriters of her generation (e.g., Caetano Veloso, Gilberto Gil), Regina was not shy about criticizing Brazil's military rule. While touring Europe in 1969 she told a journalist that her country was "being run by guerrillas." Normally this sentiment would lead to either jail or exile (or both in the case of Gil and Veloso), but Regina's enormous popularity protected her somewhat from any public government retaliation. However, the military junta used more insidious strong-arm tactics, such as forcing her to sing the Brazilian national anthem at a ceremony to celebrate the anniversary of the country's "independence." She was roundly attacked by leftist performers for such a public display of pro-government sentiment, and it was years later that her husband revealed that she was threatened with jail if she did not comply with the government's wishes. As the mother of a young child at the time, Regina could not afford to become a martyr. Regina's career showed no signs of slowing as the 1970s came to a close; some of her best records were recorded during this time, and one album simply called Elis & Tom (recorded in Los Angeles with Antonio Carlos Jobim) has been called by many journalists and musicians one of the greatest Brazilian pop records ever made. However, while her career was in full swing, her personal life was in disarray -- two marriages ended in divorce, and she was raising three children as well as providing for her parents. In the late '70s, after the end of her second marriage, she began using cocaine regularly, but managed to keep her increasing dependence on the drug well hidden from her friends and family. Regina began 1982 by marrying for a third time, signing a new recording contract, and in general, planning for the future. All of this came to a halt on January 19, 1982, when she was found dead of alcohol and cocaine intoxication at age 36. Initially, her death was rumored to be a suicide, but there is no evidence indicating that it was anything more than a tragic accident. A few days after her death, a memorial concert was held in São Paulo featuring many of Brazil's most famous singers. Over 100,000 grieving Brazilians came to pay their final respects to this gifted, mercurial singer who remains as popular after death as she was in life. ~ John Dougan, All Music Guide

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Eduardo Paniagua & Jorge Rozemblum - Klezmer Sefardí. Jewish Wedding Music

Eduardo Paniagua & Jorge Rozemblum
Klezmer Sefardí. Jewish Wedding Music
Pneuma PN-810, 2006


01. Miserlou
02. Give me money
03. Just to be with you
04. The mothers-in-law of today
05. Rachenitza de Milev
06. The rose blooms
07. Come my love
08. Dance, Jewes, dance
09. The bridegroom's dance
10. The old Bulgar
11. Oh, what beautiful houses
12. Quiet! Still!
13. The rebe's dance


Jorge Rozemblum - canto, bajo, pandero
Eduardo Paniagua - kaval, kanun, coro
Ivo Hristov - clarinete de 19 llaves, zurna, coro
Nasco Hristov - acordeón, coro
El Wafir Shaikheldine - oúd, violin, derbuka, daf, panderos, coro
with:
Jasmina Petrovich - canto
David Mayoral - derbuka, pandero

320 kbps including full scans

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Les Flemmes d'enfer - Flames of Hell (Swamp Music Vol. I)

Les Flemmes d'Enfer / Flames of Hell. Best of Cajun and Zydeco Tradition (Swamp Music, Vol.I)
Trikont CD 00156-26, 1989


01. The Balfa Brothers - Les Flemmes D'Enfer [02:52]
02. Carrière Brothers - Robe A Parasol [02:39]
03. Adam Herbert - North Side Door [02:28]
04. Aldus Roger - Valse A Alida [02:30]
05. Lawrence Walker - Laissez Les Bon Temps Rouler [02:41]
06. Austin Pitre - Two Step A Tante Adele [02:31]
07. Dennis McGee & Sady Courville - Rosa, Tomorrow Is Not Sunday [02:36]
08. Lawtell Playboys - Lucille [02:57]
09. Lawtell Playboys - Personne P'ole Dancer Avec Moi [04:59]
10. The Balfa Brothers - Madeleine [02:48]
11. Austin Pitre - Two Step De Bayou Teche [02:59]
12. Nathan Abshire - A Musican's Life [02:42]
13. Adam Herbert - For The Last Time [02:39]
14. Dennis McGee & Sady Courville - Cowboy Waltz [02:17]
15. Carrière Brothers - Blue Runner [01:54]

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Part 2

Golden Brass Summit - Fanfares en délire

For fans of Gypsy brass bands like Fanfare Ciocarlia, this is a must-have set, from the recording archives of the annual summer festival in Guca, Serbia. It includes some well known names like Boban Marcovic and Milovan Babic, but the real treasure is in the wealth of classic sounds going back almost 40 years, recorded live and in the real spirit of dancing and community that are the earmarks of such performances. There is also a strong vocal component here, to get the full range of music form this most amazing festival. Featuring Boban Markovic, Dusan Radetic, Fejat Sejdic, Milan Nikolic, Nani Ajdinovic, Ljubisa Stamenkovic, Jovica Ajdarevic, Bakija Bakic, Slobodan Salijevic, Milovan Babic, Durmis Ismailovic, Ekrem Sajdic, Meka Ajdinoic, Sinisa Stankovic – all with their "orkestars" and Milicia Stosic, Paganke, Spasoje Jovic, Vica Choir, Vladan Baralic, Ferus Mustafov, Budimir Ilic, Aca Novkovic.

Every summer, the town of Guca in Serbia hosts an amazing and utterly unique brass festival in which as many as four hundred brass bands - regional winners chosen from twice that number in previous heats - compete for the coveted prize of the Golden Trumpet. The festival attracts crowds of 300,000 and seals the fortunes of the winners - at least until the next competition comes around - because the best are in huge demand to play at the biggest weddings and other major celebrations. Most of the prizes are carried away by the virtuoso Gypsy musicians. Golden Brass Summit is a retrospective survey of the finest work of the past forty years, selected from some 1300 recordings in the archives of the House of Culture in Guca. Many of these recordings have never been published before. This double CD is an anthology of musical styles ranging from emotive ballads with imaginative solo passages to the irresistible sound of the exhilarating Gypsy dance "Cocek". The album also includes some of the music that can be heard on the fringes of the festival: polyphonic singing, accordion, violin and flute - and young trumpet players who can hardly be seen behind their instrument. This is a musical rarity that will enthral not only lovers of brass bands and unusual Balkan rhythms. Featuring Boban Markovic, Dusan Radetic, Fejat Sejdic, Milan Nikolic, Nani Ajdinovic, Ljubisa Stamenkovic, Jovica Ajdarevic, Bakija Bakic, Slobodan Salijevic, Milovan Babic, Durmis Ismailovic, Ekrem Sajdic, Meka Ajdinoic, Sinisa Stankovic – all with their "orkestars" and Milicia Stosic, Paganke, Spasoje Jovic, Vica Choir, Vladan Baralic, Ferus Mustafov, Budimir Ilic, Aca Novkovic.

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The Inner Spirit of India

The Inner Spirit of India
Mastertech LAT1010, 2001

The acclaimed musicians who appear on this compilation show a clear understanding of the nuances of their instruments, and their ability to improvise is second to none.
The Inner Spirit Of India is a remarkable introduction to the music of North and South India showcasting both Hindustani & Carnatic styles.

1. Jagdeep Singh Bedi & Kailash Chandra Sharma - Raga Pilu
2. Karaikudi Subramaniam - Sarasasamadana
3. Tarun Bhattacharya & Daya Shankar - Dhun, Raga Khamaj
4. Sultan Khan - Sultan Bhai
5. A. Kanyakumari - Chintadirchara
6. L. Shankar - Tanam, Raga Aberi
7. Snehasish Mozumder - Misra Dhun, Dadratal
8. Zakir Hussain & Vikku Vinayakram - Percussion Improvisation

320 kbps including full scans

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Etta Scollo - Il Fiore Splendente

Etta Scollo
Il Fiore Splendente
edel Classics 0016362BC, 2008

Etta Scollo presents songs inspired by a thousand years of Arabic poetry on the island of Sicily! This is a fascinating musical journey into a far-off multicultural past, and a unique experience that is impossible to pigeonhole.

01. Preludio
02. Un solo bacio
03. Corro con te
04. Calice
05. A Ibn-Hamdis
06. Aiuta il liquore e ti da gioia
07. Una luna
08. # cosi snello
09. Fin quando durerà
10. Sicilia mia
11. Janchi
12. Non credete
13. Apparve (Trilogia della visione)

Etta Scollo - Vocals,d Guitar
Wroclaw Score Orchestra (3,11,13)
Berlin Pops Orchestra conducted by Joris Barstch Buhle (2)
Quartett Ottava Nota:
Marcello Enna - Violin
Alberto Giacchino - Violin
Paolo Giacchino - Viola
Daniela Santamaura - Violoncello
Sebastiano Scollo - Renaissance Lute
Fabio Tricomi - Oud, Kemenche, Mandolin, Romantic Guitar, Bendir, Daf, Tombak, Nej
Andreas Henze - Double Bass (9)
Ferdinand von Seebach - Piano (9), Trombone (11)
Franco Battiato - Italian and Arabic Vocals (3), Piano (5)
Giovanni Sollima - Violoncello (4)
Monika Leskovar - Violoncello (4)
Nabil Salameh - Arabic Vocals (6,13), Arabic Recitation (1,7)
Markus Stockhausen - Trumpet (9)
Alain Croubalian - French and Arabic Vocals (9)
Cécile Kempenaers - Vocals (12)
Paola Mandel - French Recitation (2)

320 kbps including full scans


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Teofilo Chantre - Azulando

Teofilo Chantre
Azulando
Tropical Music 68.839, 2004

This is a light, breezy, less Cape Verdean follow-up to Rodatempo. Teofilo's voice is more seductive than ever, gentle and peaceful in the opening song, Bola Azul, a bit jerky in Nada Mas Nada Menos (that's a strange song... but Mr. Chantre's inimitable charm is still there), and absolutely sensual in the lovely French ballad Les Bleuets Dans Les Bles (this one left me almost in love with Teofilo!) The next song is a duet with Cesaria Evora - a thing they should have done a long time ago! The other duet on this disk, Canta Cabo Verde, is with Angolan singer Bonga... the contrast between Teofilo's sweetness and Bonga's hoarseness is rather amusing, but for this upbeat, joyful anthem to Cabo Verde it's just as good as it gets. Another curious moment is Fonte di Nha Sodade, a beautiful "American jazzy" cut, at the end of which Teofilo even attempts to imitate an American jazz singer (not very successfully but quite charmingly). Vadiamundo and Um Novo Amor,
with Vitorino Chantre's lyrics, are two lovely, wistful mornas. The rest of the songs are pleasant but not very remarkable, with a slight tendency to pop music. So it can be said that this disc has less sodade and salty sea winds that were blowing across Rodatempo. Listening to Azulando is like walking along the streets of Paris in the evening, looking at the new moon rising over the roofs in the blue sky... and feeling the light breeze, perhaps coming from the faraway sea and bringing some sodade into your heart.

Teofilo Chantre; Cape Verdean singer/guitarist, first achieved widespread recognition as a songwriter on the albums of his compatriot Cesaria Evora. However, over the course of his solo albums for Lusafrica Chantre has gained much-deserved praise as an artist in his own right, and today, he is now considered one of Cape Verde's best known artists. The title of Chantre's new album, Azulando, translates as 'blueness.' Indeed, melodic beauty and harmonic sophistication imbue all his songs with the sodade for which the music of his homeland is famed, a notion of sadness inherent in the national style of morna. Azulando includes duets with Cesaria Evora and Bonga.

01. Bola Azul
02. Nada Mas Nada Menos
03. Des Bleuets Dans Les Bles
04. Mae Pa Fidje
05. Amor Dum So
06. Canta Cabo verde
07. Promessa
08. Segredo Na Luar
09. Hoje
10. Vadiamundo
11. Fonte Di Nha Sodade
12. Encanto Di Cretcheu
13. Um Novo Amor

320 kbps including full scans


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Ayo Nelson-Homaiah - Heartbeat (hull buyh dorr)

Ayo Nelson-Homiah
Heartbeat (Hull Buyh Dorr)
Gamton Music cdgam001, 1996

Ayo Nelson-Homiah was born in Sierra Leone, West Africa, and raised in The Gambia. He, like many African children discovered his deeply rooted addiction to music very early, he actually started playing drums he built himself from empty tins and card board boxes. 1980 he joined the "Royal Air Force" which brought him to Berlin in 1994. In 1995 he started busking in the streets of Berlin and met lots of artist from many countries. In 1995 he was one of the founders of the AfroCarib Percussion group "Maglaria". The group performed in most of the local clubs. In 1996 Ayo was one of the founders of the African Trance Percussion group "SENEGAMBIGHA". The group consists of 6 artists / musicians from the Countries Senegal, Gambia and Ghana. They are one of the most famous percussion groups in Northern Germany, maybe even the whole of Germany. They are also known in Berlin´s local clubs and many other German cities for getting the dance floor quickly filled, as
quick as lightning flash. The musicians Mohamed Diafoune (Senegal), Ayo Nelson-Homiah (Gambia), Emmanuel Domprey (Ghana), Gordon Odametey (Ghana), Ibrahim Alhado (Ghana), Omar Jobe (Senegal) are specialised in many different traditional instruments. The style of music played is, of course, traditional including vocals. We perform with instruments such as Djembe, Doundoumba, Kpalago, Seourouba, Talking Drum, Bougarabou, Flute, Maracas, Balafon, Water Drum and Mouth organ, to mention a few. The combination of the instruments played attracts the audience to invade the dance floor, and that is always a must. In 1996 Ayo released his first solo cd titled "HeartBeat"!! (hull buyh dorr) which had grooves from Gambia Ghana Nigeria in it. His long awaited secound solo album is due to be out in April 2005.

1. Heartbeat
2. Solina Jea
3. Gambia
4. Show Them
5. Doun' Doum Ba
6. Heartbeat [Version]
7. Tallin Ding
8. Express
9. Solina Jea [Version]

320 kbps including full scans

HERE

KALYANI ROY,The Virtuoso of Sitar

Credits to NePolyak
KALYANI ROY, MANICK DAS, NAMITA CHATTERJEE Colombia Archive World Music Collection- Kalyani Roy, The Virtuoso of Sitar
Brilliant album also featuring Manick Das and Namita Chatterjee.
1. Raga Yaman
2. Raga Yaman (Gat : II)
3. Bhatiali
4. Raga Durga
5. Raga: Mishra Khamaj

EAC-APE [350 MB]
Part 1
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Part 3
Part 4
Covers
Password, NePolyak

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MP3 320 Kbps [170 MB]
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Elvis Presley [02] – Loving You DVD

This, is in my opinion, Elvis's best movie.From the staged performances to the acting and story line, it is still great entertainment today.Also this dvd edition has been beautifully restored and the magnificent Technicolor shines.Definetely a must for any Elvis fan.

"Loving You" is based on a story written by Mary Agnes Thompson from the magazine Good Housekeeping. At the time she wrote the story, the young Oklahoma girl had no idea it would be transformed into the wonderful big screen sensation starring one of the biggest stars in the world. Even though the story seems biographical regarding Elvis, Mary Agnes Thompson knew nothing about him aside from hearing a couple of his songs on the radio. This movie is a must see for all, not only Elvis fans. If you're lucky enough to find a copy of the story, it is worth the read.

DVD-rip | 1957 | English | 98 minutes | XVid 576 x 320 – 786 kbps | Audio 128 Kbps | 640 MB | Covers


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The Very Best of Latin Jazz

The Very Best of Latin Jazz is the feel good soundtrack to your summer, two CDs packed full of summer sizzlers, perfect for any party or BBQ. Tracks include Mas Que Nada (Black Eyed Peas version), Mambo No. 5, La Bamba, Crickets Sing Anamaria, Soul Bossa Nova (Austin Powers theme) and Many More. Kick start your summer with The Very Best of Latin Jazz.

Track Listing
-------------
CD1
[01]. Sergio Mendes Ft. The Black Eyed Peas - Mas Que Nada
[02]. Astrud Gilberto - Crickets Sing For Anamaria
[03]. Los Lobos - La Bamba
[04]. Anita O'day - Peanut Vendor
[05]. Gypsy Kings - Bamboleo
[06]. Lou Bega - Mambo No. 5
[07]. Mongo Santamaria - Smooth Operator
[08]. Sivuca - Ain't No Sunshine
[09]. Sandpipers - Guantanamera
[10]. Astrud Gilberto - Agua De Beber
[11]. Quartette Tres Bien - Boss Tres Bien
[12]. Airto - Celebration Suite
[13]. Dave Pike - Sandunga
[14]. Yuri Buenaventura - Salsa
[15]. Willie Bobo - Roots
[16]. Cal Tjader & Eddie Palmieri - Picadillo
[17]. Slim Gaillard & His Musical Aggregations - Yo, Yo, Yo
[18]. Cal Tjader - Shoshana

CD2
[01]. Quincy Jones - Soul Bossa Nova
[02]. Astrud Gilberto Ft. Stan Getz - Girl From Ipanema
[03]. Jose Feliciano - California Deramin'
[04]. Tito Puente - Oye Como Va (Bongo Mix)
[05]. Ricky Martin - Livin' La Vida Loca
[06]. Edmundo Ross & His Orchestra - Light My Fire
[07]. Gloria Estefan - Dr. Beat
[08]. Nuala - El Sol
[09]. Tania Maria - Come With Me
[10]. Peter Cincotti - Sway
[11]. Cal Tjader - Soul Dance
[12]. Johnny Almond - Tales Of Junior
[13]. The Puppini Sisters - Tu Vo Fa L'americano
[14]. Tania Maria - Yatra-Ta
[15]. Machito Orchestra - Guaglione
[16]. Bobby Matos - Tema Da Alma Latina
[17]. Willie Bobo - La Descarga Del Bobo (Masters At Work Remix)
[18]. Sergio Mendes & Brasil '66 - Mas Que Nada

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Ofra Haza - Kirya

After having essentially kick-started the idea of ethno-techno with Fifty Gates of Wisdom, Ofra Haza stalled creatively at the start of the 1990s. In 1992, however, she pushed herself ahead with the album Kirya while still keeping intact her Yemenite Jewish roots. The production was high-tech but underneath the machinery lay plenty of thought for the music. She added hip-hop as well as other musical genres to her sound. This hybrid style became a kind of forerunner to the work of Natacha Atlas and Transglobal Underground. Bringing Lou Reed into the picture for a duet on "Daw Da Hiya" was something of a masterstroke, even if it didn't pay dividends in terms of sales. In essence, this adventurous disc is a landmark in world fusion music with the title track and "Trains of No Return" clear standouts. Once again, Haza pushed the envelope. --Chris Nickson

[01]. Kirya
[02]. Horashoot - The Bridge
[03]. Innocent - A Requiem For Refugees
[04]. Trains of No Return
[05]. Mystery Faith and Love
[06]. Daw Da Hiya
[07]. Don't Forsake Me
[08]. Barefoot
[09]. Take 7/8

EAC-WAV [280 MB]
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Part 2
Part 3
Scans
Password: King HellikXs

OR MP3 320 Kbps [100 MB]
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Elvis Presley [01] – Love Me Tender DVD

Elvis Presley made his motion picture debut in the Civil War drama Love Me Tender. Elvis, however, is not the star of the proceedings: that honor goes jointly to Richard Egan and Debra Paget. The story concerns three brothers--Egan, William Campbell and James Drury--who steal a Union payroll on behalf of the Confederacy, only to discover that the war is over and that they're now technically outlaws. Rather than return the money, the brothers divvy it up amongst themselves. Upon returning home, Egan discovers that his sweetheart (Debra Paget) has married Elvis, his youngest brother. Since Love Me Tender has been played incessantly on TV since the early 1960s, it is giving away nothing to reveal that the film is one of two in which Elvis Presley's character dies at the end. Naturally, Elvis is afforded plenty of opportunities to sing: the scene in which he launches into an anachronistic hip-swivelling performance at a county fair is one of the high points of mid-1950s kitsch. ~ Hal Erickson, All Movie Guide

It would take an enterprising brain to grab the hip-swivelling, rock 'n rolling Elvis Presley more or less straight from the Ed Sullivan show and dump him smack into a Civil War melodrama -- complete with screaming, albeit period-clad, teenage girls. But that is exactly what veteran scribe Maurice Geraghty set out to do in Love Me Tender and without apparently giving it a second thought. The results are uneven at best but the burgeoning teen idol actually handles the straight acting better than could be expected. In fact, Elvis is the only member of the cast with a somewhat realistic accent. Fox had enough trust in Presley's drawing power to award Love Me Tender Cinemascope (but not color) which, unfortunately, mostly succeeds to dwarf Geraghty's quaint little story of brotherly love and perceived betrayal. ~ Hans J. Wollstein, All Movie Guide

Cast * Richard Egan - Vance Reno * Debra Paget - Cathy Reno * Elvis Presley - Clint Reno * Robert Middleton - Mr. Siringo * William Campbell - Brett Reno DVD-rip | 1956 | English | 90 minutes | XVid 608x272 – 985 kbps | Audio 105 Kbps | 700 MB | Covers


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Ravi Shankar & Friends - Towards The Rising Sun

Ravi Shankar & Friends - Towards The Rising Sun

As Ravi Shankar explains in the notes to this cd all music in the East, despite other differences, is based on similar structures. This fact gives him the oportunity to explore a merging of the music of India with that of Japan. So here Ravi Shankar uses ancient indian ragas (system of melody forms which form the structure of Indian music) which use five notes and are similar to the modes used in Japanese music to execute his experiment. Of the six pieces contained in the cd five are permormed with the use of both Indian (sitar, tanpura, tabla) and Japanese instruments (the stringed koto and the shakuchachi flute). Of these, four are based on Indian ragas as mentioned above specifically composed to accomodate the use of Japanese instruments and make for very pleasing and meditative listening. The other piece which is called "Improvisations on the theme of Rokudan" is a 17th century Japanese composition for koto and here it is performed with the addition of Indian instruments. Whereas all the pieces on this record including the sixth which is a straight Indian raga are mesmerizingly beautiful, "Rokudan" is the showcase. There is an ascending structure to this piece which concludes with a magnificent crescendo that Shankar himself composed. Overall the music on this cd seems to have a stucture as opposed to other recordings of Indian music I have listened to which feel more free-form that makes it more easily comprehended the way western music is. So from India we travel east to meet Japan and further east to meet the West?

Padhasapa [East Greets East]
Kaharwa [East Greets East]
Improvisation on the Theme of "Rokudan" [East Greets East]
Namah Shivaya [East Greets East]
Tribute to Nippon [East Greets East]
Raga Hemant - Vilambit Gat in Teental - Drut Gat in Ektal [Homage to Baba Allauddin]

EAC-FLAC [370 MB]
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Part 4

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Shivkumar Sharma & Zakir Hussain - The Flow of Time (FLAC)

Scintillating santoor mastery from Shivkumar Sharma and assured reliable rhythm accompaniment from tabla maestro Zakir Hussain. The Santoor is essentially a folk instrument widely used as an accompaniment to singing in the Kashmir valley. Originally this was known as Shata Tantri Veena (100 stringed Lute). The Persians named it Santoor and the name became popular and has endured. Instruments of this family are known as Yang Chin in China, Zymbalon in Hungary and Rumania and Santoori in Greece. Despite its one hundred strings mounted on 25 frets, the Santoor inherently has only a limited range for the articulation of classical melodies. But Shivkumar Sharma after relentless experimentation, has modified the instrument by adding four more frets and 16 more strings to make minor adjustments in the arrangement of the strings on the various frets. Because of this modification the Santoor has gained a wider range of expressiveness and has now made the grade as a solo instrument on the concert platform. The five different Ragas are collected together unusually for their being played on santoor, and also according to their most appropriate time of the day, giving a passage through evening and night. Indian classical music is based on the concept of ragas; a melodic scale based system, and within which with groups of ragas based on same parent scales form the thaats. The various ascending and descending scales derived from the music notes create ragas, which evoke a mood, or emotion related to different times of the day and in some cases different seasons of the year. Underlying these ragas, there is a concept of rasas that represent the emotions evoked by the raga. So we have ragas played in a time cycle from dawn through the late night. There is a relationship between the time of the day represented in the raga and the emotion attached to it. The music on this album captures the flow of time as manifest in the splendid selection of ragas, with Marwa performed at sunset time followed here by a selection of ragas played in the night. Within that range there is a shift from serious mood to more romantic connotation as the evening merges into the night phase.

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Shivkumar Sharma & Zakir Hussain - Raga Kedar (FLAC)

In his early years, Pandit Shiv Kumar Sharma learnt both the tabla and the santoor. In addition he was also a vocalist. But it was after 1955 that he decided to reflect his true personality through an instrument that is meant to be played percussively – the santoor. Once in a long while is born a man whose efforts change the face of reality, whose conviction forces destiny to rewrite itself, whose genius has an impact across centuries. To state that Pandit Shivkumar Sharma has created history in the world of music, is an understatement, an inadequate attempt to capture the maestro’s achievements and contributions. After all how many musicians can boast of single handedly bringing forth an obscure, almost unknown instrument to the level of being “indispensable” on the concert platform! Musicians and their instruments do become synonyms, but how often does an instrument acquire an identity because of a musician! Santoor, which was used in Soofi music in the velley of Kashmir, owes its classical status to Pandit Shivkumar Sharma. In the early decades of the twentieth century, Santoor or Shata-Tantri Veena as it was called in the ancient times, was used as an accompaniment to a specific type of singing called Sufiana Mausiqi. When Pandit Uma Dutt Sharma, a renowned vocalist from Jammu, and a disciple of Pt. Bade Ramdasji of Benaras spotted it, he was convinced of the potentialities of the instrument. After extensive research on the instrument he bestowed the responsibility of establishing it on the concert platform on his only son Shivkumar. The rest, as they say, is history. However, the road to success was far from smooth. After several radio broadcasts and performances he appeared for his national level concert in Mumbai in 1955. This was a turning point in his life where he received applause as well as was severely criticized by the orthodox sections of musicians and listeners. Santoor according to them was not a complete instrument on which one could play classical music. Instead of getting disheartened or discouraged, in his characteristic manner he took these criticisms as a challenge. After in-depth research, he made some important modifications on this hundred stringed instrument, like a new chromatic arrangement of notes and increased the range to cover full three octaves. Besides, he also created a new technique of playing with which he could sustain notes and maintain sound continuity. Today Santoor is at par with any classical instrument, well established not just all over India, but across the globe. With his creative genius, Pt. Shivkumar Sharma has created a new genre of instrumental music. Through his performance career of over a half century, he has created millions of new listeners and ardent fans of Indian classical music. His performances are such a brilliant combination of rich knowledge, perfect skill and abundant spontaneous creativity, that all the sections of listeners feel enriched. Little surprise that his concerts are awaited by connoisseurs, music students, musicians and lay listeners alike. He believes in the immortality of this great heritage of Indian classical music and wishes to leave no stone unturned to make it so. With this aim in mind, he has been imparting his knowledge to the next generation of musicians. So deep is his conviction that despite no institutional or government support, he has been teaching in the Guru Shishya tradition, without charging a fee from his students, who come to him from all the corners of India as well as different parts of the world like Japan, Germany, Australia and America. While he never compromises on the purity of music, Pt. Sharma’s open minded approach has resulted in some of the most popular, innovative experimental albums like Call of the Valley, Feelings, Mountains, etc. In fact he is among those rare musicians who have been able to create successfully in the world of film music as well. Now for over forty years Santoor is an indispensable part of Indian film music. His compositions for blockbusters like Silsila, Lamhe, Chandni, Darr, etc. are all time favourites across the country. Music, he believes, is food for the soul. Naturally, his music is meditative and soothing at the same time. His immense faith in the ancient wisdom of Vedanta has resulted in creation of music for Shlokas from the Upanishads and a new raag called Antardhwani. Various recording companies from India and overseas have tried to capture Pt. Sharma’s genius for the last forty years. Today he has over 100 recordings to his credit in LPs, CDs, audio cassettes and even DVDs. In fact he is the only classical musician who has agreed to do a music video in order to appeal to the young generation. Naturally, a musician with such a vast spectrum of achievements has a long list of National and International awards conferred upon him like the Honorary Citizen for the City of Baltimore, USA (1985), Sangeet Natak Academy Award (1986), Maharashtra Gaurav Puraskar (1990), Honorary Doctorate from the University of Jammu (1991) Padmashree (1991), Ustad Hafiz Ali Khan Award (1998), and Padma Vibhushan (2001), to name a few. Born in 1938, Pandit Shivkumar Sharma, a musician par excellence, a great composer, an understanding, kind guru, a sensitive and aware citizen, this living legend is truly a personification of the Indian ethos and values. The world of music will forever be indebted to him for his incredible contribution.

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CALIXTO SANCHEZ -FLAC

CALIXTO SANCHEZ
| Flac,170 MB | 1995 | Flamenco | Carátulas |

Grabado en directo durante el concurso de la 1ª BIENAL DE
SEVILLA, los dias 15. 15 y 17 de abril de 1980, en el Teatro Lope
de Vega de SEvilla

1. Minera y Cartagenera
2. Polo
3. Cantiñas
4. Peteneras
5. Fandangos
6. Seguiriyas
7. Malagueñas

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Shahid Parvez & Anuradha Pal - Sheer Magic (FLAC)

This is music of the spheres rendered in a youthful and boisterous spirit. There is everything one can expect in a large performance from teasing rhythms to dulcet tones and finales that explode in climactic showers of sound. You are taken through the patterns of raaga, its mood with slow and urgent invitations. 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. Anuradha Pal has not just shattered the stereotypical image of women musicians but has established herself as the country’s only professional woman Tabla player who is pushing the dimensions with her experimentations. Today, Anuradha Pal’s name commands the greatest respect due to her immense talent and undiluted hard work. This live recording brings these two masterful instrumentalists together in a true feast of inspired music making, a gift to anyone who can fly on the wings of musical imagination and striving for eternal beauty.

Linx:
http://lix.in/-4a01f7
http://lix.in/-4b8898
http://lix.in/-3dccf9
http://lix.in/-40da3b
Enjoy!

Shahid Parvez & Anuradha Pal - Sensational (FLAC)

This is music of the spheres rendered in a youthful and boisterous spirit. There is everything one can expect in a large performance from teasing rhythms to dulcet tones and finales that explode in climactic showers of sound. You are taken through the patterns of raaga, its mood with slow and urgent invitations. 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. Anuradha Pal has not just shattered the stereotypical image of women musicians but has established herself as the country’s only professional woman Tabla player who is pushing the dimensions with her experimentations. Today, Anuradha Pal’s name commands the greatest respect due to her immense talent and undiluted hard work. This live recording brings these two masterful instrumentalists together in a true feast of inspired music making, a gift to anyone who can fly on the wings of musical imagination and striving for eternal beauty.

Linx:
http://lix.in/-4260c8
http://lix.in/-43e769
http://lix.in/-456e0a
http://lix.in/-46f4ab
Enjoy!

From Dusk to Dawn - The Raga Collection

Ravi Shankar From Dusk to Dawn - The Raga Collection
1. Raga Khamach 2. Raga Tilak Shyam 3. Raga Tilak Shyam 4. Raga Behas 5. Raga Sindhu Bhairavi 6. Raga Sindhu Bhairavia

EAC-FLAC [390 MB]
Part 1
Part 2
Part 3
Part 4

OR MP3 320 Kbps [160 MB]
Part 1
Part 2
Part 3

Philip Glass - Orion

Philip Glass comments in his liner notes that the constellation Orion may be seen year-round from both northern and southern hemispheres and that it appears to have inspired myths and stories in almost every culture. Organized around this unifying idea, Orion, a collaborative work by Glass and other artists for the 2004 Olympiad, is an expansive multicultural celebration, inspired by stargazing but ultimately oriented toward the Earth and its diverse inhabitants. Starting with Australia, then moving on to China, Canada, Africa, Brazil, India, and Greece, Glass portrays each nation through its characteristic style or instrumental associations, and provides energetic pattern music for an impressive roster of international artists. Mark Atkins' deep drones on the didgeridoo, Wu Man's brilliant playing of the Chinese pipa, and Ashley MacIsaac's poignant Celtic fiddling carry the musical journey across the first disc, and the overlapped performances by Mandingo drummer Foday Musa Suso, the Brazilian group UAKTI, sitarist Gaurav Mazumdar, and vocalist Eleftheria Arvanitaki bring this globe-trotting extravaganza to its anthemic culmination in Athens, backed along the way by the Philip Glass Ensemble. Whether or not one likes Glass' music, which is considerably tempered by the cooperative effort and toned-down for general consumption, one may still appreciate the sincerity of this generous tribute to world music and the Olympic spirit. ~ Blair Sanderson, All Music Guide

Orion is a live recording of the ninety-minute work commissioned by Arts, Dance, and Music Productions which premiered in Athens on June 3, 2004 (with The Philip Glass Ensemble) as part of the Cultural Olympiad in Greece. The recording features Eleftheria Arvanitaki vocalist, Mark Atkins on didjerido, Wu Man on pipa, Gaurav Mazumdar performing a sitar work by Ravi Shakar, Ashley MacIsaac on fiddle, Foday Musa Suso on kora, and the Brazilian ensemble Uakti. The American Premiere on June 21, 2005, will be held at the Ravinia Festival in Highland Park, IL.

Disc 1
1. Australia
2. Interlude: Australia & China
3. China
4. Canada
5. Interlude: Canada & The Gambia
6. The Gambia

Disc 2
1. Brazil
2. Interlude: Brazil & India
3. India
4. Greece

EAC-FLAC [450 MB]
Part 1
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OR MP3 320 Kbps [225 MB]
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Ravi Shankar - The Teacher: Key Works

Ravi Shankar has been described in many ways. He has been hailed as a mediator between a traditional musical form and modernity, a master melodist who bridged continents and cultures, a lightning rod and a pioneer. He is the man who introduced the sitar, directly or indirectly – and, in the process, Indian music – to a world beyond the Indian subcontinent. He did not necessarily do it all alone but he spearheaded the movement as far as millions of people were concerned. Even his tabla accompanists such as Chatur Lal, Alla Rakha or Kanai Dutt energised people’s imaginations with their wondrous rhythmical cycles, intellectual muscularity and proof that life existed beyond the bar length. Ravi Shankar changed lives either directly or through the work of the Byrds, the Beatles, Traffic, the Incredible String Band, Yehudi Menuhin, Philip Glass and Mickey Hart. In the early sixteenth century C.E. Mughal warriors began building a new empire in the subcontinent. These invaders not only breached the subcontinent’s ancient Hindu integrity but also broached a whole new julabmost (sherbet) barrel. They brought Islam, Arabic and Persian, and a system of modal music similar to the subcontinent’s improvised raga form but outlandishly different too. They brought strange foreign food like apricots, pistachios, walnuts and almonds but discovered delights like jackfruit, snake and bitter gourds and mangosteen. The passage of the years and the arrival of more tolerant, more culturally curious Mughal rulers created a new hybrid culture in the conquered regions of Northern India. The cultivators of this particular orchard grafted Islamic and Persian principles onto a Hindu and Sanskrit rootstock. Over millennia, the Indian subcontinent had honed a system for handing knowledge down the generations known as guru shishya parampara. It was a chain for transmitting knowledge from guru (teacher or master) to shishya (disciple or student), a continuity of transmission down a line of preceptors. The shishya learned everything by word of mouth, example and heart. Everything was taught orally. The system ingrained respect for the guru. Guru shishya parampara underpinned Hindu culture and conduct. It handed down the entirety of Sanskrit literature, Hindu observance and ritual, legal codes, philosophic tenets and the arts in all their manifestations. The guru-shishya-parampara method of teaching worked and remained the model for teaching in the North of the subcontinent. Regardless whether they were Muslim or Hindu, professional Hindustani or Northern Indian, musicians learned this way. And as similarly happened in Europe when German composers or Flemish painters learned from masters, it created schools of singing and painting (or, for example, wrestling) known as gharanas, a word rooted in ghar meaning ‘house’. Before radio and television linked communities the way it does now, the gharana system created oases of stylistic difference. Any given raga, no matter how basic to the core repertoire, might be interpreted with gharana-specific trademarks even if its chemistry of essential juices or rasas remained unique to that particular raga. Regional stylistic variations peculiar to Agra, Gwalior, Jaipur, Kirana or wherever, prospered. Ravi Shankar was not born into a family of hereditary musicians. His father was a minister in the court of the Maharajah of Jhalawar. He travelled abroad and encouraged his eldest son, Uday Shankar to experience other worlds. His youngest son, Robindro Shankaur Chowdhury – as it would be pronounced in Bengali - was born in April 1920. It wasn’t until around 1940 that Robindro adopted the Sanskritised version of his name, Ravi. He was only a boy when his father died in never satisfactorily explained circumstances in London. Robindro arrived in Paris in 1930 and his eyes went saucer-sized. His eldest brother Uday effectively became his teacher. He began dancing and playing a little incidental music in his brother’s internationally acclaimed dance troupe. He studied with, and got pointers from, various musicians but he dithered about becoming a musician. He could not make his mind up about being a dancer. Eventually, he took the plunge and asked to learn from Allauddin Khan, a formidable talent and a formidable man. He was accepted and began learning in the time-honoured guru shishya parampara manner. Side by side with Ali Akbar Khan and his sister Annapurna Devi (Shankar’s first wife), he learned at his guru’s feet. He soaked up the ‘house style’ and practised his ‘musical signature’. The next leap was to sign his playing with an individual flourish. The Hindustani tradition demands a balance of continuity and change. There are copycats everywhere and that applies particularly to art forms as improvised as the subcontinent’s classical music. But people can plagiarise themselves as well as others. That is called replication. Innovation within the tradition is what counts and Shankar created a signature style with a wonderfully romantic touch. Ravi Shankar’s sojourn in Paris and his wide travels in Europe, North America and Asia provided him with a cosmopolitan sensibility. He realised there was a gap in the teaching process. Non-Indian audiences probably had no notion of what a raga performance entailed, so he took time to explain key features that would assist comprehension and enjoyment. In so doing he created a new convention of stagecraft. Even if we never sat at Ravi Shankar’s feet and committed the route maps that are ‘Bhatiyar’, ‘Jhinjhoti’ or ‘Rasiya’ to memory or could not authoritatively pass the blindfold test and ‘name that raga’, millions learned from him. Surely, that is the mark of a teacher supreme. Along the path his music has enlightened, entertained, and, yes, educated millions. 1. Raga: Jhinjhoti 13’21” (Alap, Jod, Jhala & Gat: sitarkhani taal) ‘Jhinjhoti’ is a versatile raga usually performed late at night. 2. Raga: Patdeep 4’39” (Gat: sitarkhani taal) Raga is the melodic template that nourishes both the Northern (Hindustani) and South Indian (Karnatic) classical music systems. Raga also irrigates many folk and film music styles. As a historical generalization, the working repertoires of many Hindustani performers were smaller than those of their Karnatic counterparts. With the advent of radio, the potential of sound retrieval and a global market, many Hindustani musicians responded to the challenge with a new ingenuity. Raw material from light classical, folk and original sources was adapted. Ravi Shankar was no exception, as this relatively modern, afternoon raga illustrates. 3. Raga: Devgiri Bilawal 7’37” (Dhun: ek taal) Ragas are hymns to Nature and each raga has particular qualities that distinguish one from another. The majority are associated with a particular time of the day or a season. The appropriate time for the ‘Bilawal’ family, of which ‘Devgiri Bilawal’ is one, is from the late morning to noon. The great Alla Rakha (1919-2000) accompanies. 4. Raga: Rasiya 3’19” The arrival of recording technology meant rethinking how best to present a raga. This performance reflects one way in which microgroove EPs conditioned minds. 5. Raga: Rasia 20’56” (Gat: Vilambit teen taal) One step on, and a performance tailored to the opportunities of a performance lasting one side of a long playing record. 6. ‘Farewell, My Friend’ 12’30” Raga: Rajya-Kalyan (Alap, Jod, Jhala & Gat: teen taal) Years before the Beatles and the rest of the world’s youth went all sitary, Ravi Shankar’s name entered the western consciousness through the films of a fellow Bengali artist called Satyajit Ray (1921-1992). Shankar’s score for the Apu Trilogy was composed spontaneously to screen image. In April 1992, partway through recording an album he learned of his friend’s death. This performance is his reaction to Ray’s death with thoughts of his friend uppermost in his mind and music. Abhiman Kaushal accompanies on tabla. Ken Hunt

Ken writes and broadcasts about music and specialises in, amongst other musical genres, non-western classical music.
Pandit = Teacher, Scholar, Maestro Gat = instrumental composition Dhun = light air usually of folk origin Alap = introductory exposition of a raga Jod = 2nd part of exposition Jhala = final part, and climax, of a raga Taal = rhythmic cycle Vilambit = slow

[01]. Amor Verdadero
[02]. Alto Songo
[03]. Habana Del Este
[04]. A Toda Cuba Le Gusta
[05]. Fiesta De La Rumba
[06]. Los Sitio' Asere
[07]. Pio Mentiroso
[08]. Maria Caracoles
[09]. Clasiqueando Con Ruben
[10]. Elube Chango

EAC-FLAC [340 MB]

Part 1
Part 2
Part 3
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OR MP3 320 Kbps [160 MB]

Part 1
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Legends Of Gypsy Flamenco

Legends Of Gypsy Flamenco

No one does flamenco better than the gypsies. The artists on this cd are renown flamenco musicians/performers. This is high caliber stuff we have here, ladies and gentlemen. What you will hear here is what the performers do for themselves after the tourists have gone away. Like what we do here in Sevilla on the weekends in our courtyards with just family and friends. Pure flamenco with soul and passion, no commercial performances for the tourists. This is a great cd with famous artists and "Legends of Gypsy Flamenco II" follows in its footsteps. I would highly recommend starting here for people who are beginning to listen to flamenco music before they hear "nouveau flamenco".

[01]. Zingaros / Manitas de Plata
[02]. Maldigo Tus Ojos Verdes / La Paquera de Jerez
[03]. Pajaros Sedientos / Manuel Jimenez Rejano
[04]. En Una Huerta de Lora / Pepe"El Loreño" Nuñez
[05]. De los Campos de Jerez / Juan"El Ciclón De Jerez" Torres
[06]. Temple y Alma / Manitas de Plata
[07]. Bulerias / Curro Malena
[08]. Coplas a Curro / La Paquera De Jerez
[09]. Llanto Por el Niño de la Huerta / Pepe"El Loreño" Nuñez
[10]. Yo Te Comparo con Ella / Juan"El Ciclón De Jerez" Torres
[11]. Con Cambio de Gloria / Curro Malena
[12]. En la Minas / Manuel Jimenez Rejano
[13]. Mi Sentimiento / Manitas de Plata
[14]. Fandangos de Enrique el Almendro / La Paquera De Jerez

Performance Credits
Manolo Sanlucar Guitar
Curro Malena Track Performer

MP3 192 kbps, including Covers

HERE

Afro-Cuban All Stars: A Toda Cuba Le Gusta

A lively, spontaneous record that manages to sound both relaxed and forceful at the same time, A Toda Cuba Le Gusta shows off the talents of many of Cuba's elder statesmen of Afro-Cuban jazz. Over gently pulsating conga grooves and low-register ostinatos, such luminaries as pianist Ruben Gonzalez and singer Manuel "Puntillita" Licea float dramatic melodies, as their solo contributions are answered by brass section chords as thick and sweet as cane syrup. Although it is Ruben Gonzalez' presence on this album that gets the most attention, his tendency towards relentless chromaticism becomes tiresome early on, especially when it is contrasted with the exquisite phrasing and tremulous beauty of singers such as Licea, Raul Planas, and Ibrahum Ferrer. As would be expected, the trumpets blare with traditional Cuban bravado, evoking gentle romance and fiery passion with equal ease. Even the resident gringo, Ry Cooder, gets in some choice licks on "Alto Songo." The relative lack of dynamic movement in most of these songs may lead to them blending together in the ear of the listener, but the inherent tunefulness of each track, not to mention the sheer drive that this band is capable of summoning, cancels that complaint out nicely. An important collaboration and a promising debut. ~ Daniel Gioffre, All Music Guide

[01]. Amor Verdadero
[02]. Alto Songo
[03]. Habana Del Este
[04]. A Toda Cuba Le Gusta
[05]. Fiesta De La Rumba
[06]. Los Sitio' Asere
[07]. Pio Mentiroso
[08]. Maria Caracoles
[09]. Clasiqueando Con Ruben
[10]. Elube Chango


EAC-APE [340 MB]

Part 1
Part 2
Part 3
Part 4

OR MP3 320 Kbps [120 MB]

Part 1
Part 2

Covers

LA PAQUERA DE JEREZ- LA PAQUERA

LA PAQUERA DE JEREZ- LA PAQUERA
| Flac, 190 MB | 1990 | Flalmenco | covers |

[1]. Cubiletero
[2]. Malena
[3]. Como pasa el tiempo
[4]. Si dices que eres gitano
[5]. Estrella marina
[6]. ¡Ay gitano!
[7]. Viva la copla
[8]. Cantaora de Jerez

Part 1
Part 2
Part 3

Tekameli - Chants Religieux Gitans

Chants Religieux Gitans (Religious Gipsy Songs)

The "Gitan canticle" is a comparatively recent musical genre that draws threads from many ancient traditions. The history of the Gitans in France dates from migrations from Spain in the 1400's. A century later, a large community settled in Perpignan, and has persisted to this day. Their music is an evolving tradition, with flamenco one of the most important contributions. In the 1950's, rumba and salsa influences from Spain and Cuba crept into the sound. In the 1960's, non-Gypsy pastors began teaching canticles to Gitan religious assemblies. Around 1980, the fervent religious music that became the Gitan canticle grew in the evangelical groups in the Gypsy community of Perpignan. The musicians on this release are the Espinas brothers, Moïse, Salomon, Jérémie, and their uncle Jérôme. They are sons and grandsons of pastors, and Moïse, Salomon, and Jérémie's father Trente has composed several well-known canticles (though not the ones recorded on this release). The most obvious comparison one will draw on first listening will be to the Gypsy Kings. The driving flamenco guitar, rumba-inflected rhythms, and emotion-laden melismatic singing are the legacy of the Gitan tradition. Combine that with ecstatic religious expression and the result is both intensely personal and expansively universal. What this group lacks of the Gypsy Kings' slick sheen they make up for in sincere emotional intensity. The voices are not always clear and spot-on pitchwise, but this rough-hewn quality adds to the overall impact. The sibling harmonies, however, are pure and accurate. The propulsive guitar playing by Jérémie and Jérôme is clean and expressive. Chants Religieux Gitans is refreshing in its unabashed ardor and unapologetic sense of spiritual longing. - Peggy Latkovich

[01]. Fill De Deu
[02]. Mis Hermanos
[03]. Gloria A Ti
[04]. Mi Lucha
[05]. Senyor Ajuda Me, Senor Ayudame
[06]. Cristo
[07]. Hijos De Dios
[08]. Tu Mujer
[09]. Que Viene
[10]. Tu Consuelo
[11]. Ten Piedad
[12]. Te Clamo A Ti
[13]. L'alegria Del Senyor, La Alegr

MP3 192 kbps, including Covers
HERE

Ravi Shankar - Sitar Concertos and Other Works

Credits to ruskaval

Have you ever attended an ordinary party at which a stranger suddenly appears and does something remarkable? I was about to leave one recently where I met the woman who did voiceovers for the phone company’s automated messages. When she did her “please deposit an additional fifteen cents,” everyone cracked up. It was the peak of the evening. A few decades ago, Ravi Shankar decided to write two sitar concertos, probably as part of his “East meets West” campaign. By themselves, the concertos are nothing special. Both feature traditional thematic development. Both open with dramatic flourishes and introduce accessible musical devices early —flowing harps, legato strings, upbeat horns, and snappy percussion. Then Shankar’s sitar enters with its adagio moan and whine, and the party takes off. In Concerto No. 1, he’s clearly trying to find his element. While trying to find the edges, he noticeably pokes through the orchestral membrane. He’s like Johnny Depp in the formulaic Pirates of the Caribbean: flamboyant, inventive, quirky . . . and memorable. In Concerto No. 2, Shankar learns to integrate the orchestra more efficiently with the wild riffs of his difficult instrument. The music is less repetitive and takes a more chances. Like its predecessor, it is weakest during the Adagio, when sentimentality flashes its fawning smile. The other works on this two-disk set are more successful because they operate in the traditional raga medium. The duet with Jean-Pierre Rampal is satisfying and exciting. But the star cuts are the two he performs with Yehudi Menuhin. This extraordinary violinist has no trouble following, and sometimes leading, Shankar in his boldest forays. Like his eminent partner, Menuhin has both hands on the heartbeat of this music and they never stray. -- Peter Bates

RAVI SHANKAR: Sitar Concertos and other Works – Ravi Shankar, sitar/ Yehudi Menuhin, violin/ Jean-Pierre Rampal, flute/ London Philharmonic Orchestra & London Symphony Orchestra/ André Previn and Zubin Mehta.


EAC-Flac [720 MB]
Disc: 1
Part 1
Part 2
Part 3
Part 4
Part 5
Part 5

Disc: 2
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Part 4
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Part 6

OR MP3 320 Kbps [350 MB]
Disc: 1
Part 1
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Disc: 2
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Scans

Password: ruskaval

Claude Challe: Happiness

Claude Challe is an idiosyncratic figure in France's musical landscape, more a catalyst and -- some might say -- visionary, rather than musician. Challe managed to be on the cutting edge of youth fashions across the 1960s and 1970s, reappearing in the late '90s with even greater appeal. His CV boasts that he is an international DJ, fashion and nightlife entrepreneur, and new age guru -- all of which is, more or less, true. Yet a large part of his reputation comes from his association with celebrities (via his nightclubs) and his reputation as a ladies man non pariel. This and the fact he's long been recognized as Paris's premier club DJ. Of Tunisian descent, Challe's father was a rabbi who shifted the family to Paris when Challe was three. He claims that those early years -- the mix of Arabic sounds, Jewish mysticism and French culture -- shaped his destiny. He has since spent his life pursuing his ideals, working under the motto, "too much is never enough." Challe first attracted attention as a teenager when he was dubbed "the man with the golden scissors." He opened the first unisex hair salon in Paris in 1964 and was a figurehead amongst the Parisian swinging '60s set. In 1968, he hung up his scissors and went to live in a commune in Sardinia before following the Hippy Trail to India, Nepal, and Indonesia. Always with an eye on how to turn a franc, Challe returned to Paris and immersed himself in the fashion business. He imported classic American urban styles then picked up on what was happening in London and began importing clothes from the likes of Malcolm McLaren and Vivienne Westwood. Challe then turned his attention to the Paris nightclub scene, opening Le Privé, an upmarket yet bohemian venue and the restaurant Le Centre Ville. The success of these ventures allowed him to become involved in running Les Bains Douches, a fading punk venue that he turned into Paris's premier night spot. Here the likes of Jack Nicholson buddied up with Challe and chased women. Challe set up his own record label Chall'OMusic in 1996, offering "music to make the body resonate, to go straight to the heart and the emotions, thus expanding the mind." Drawing on his DJ skills, he mixed a double-CD compilation Les Bains Douches that celebrated the blend of house and world musics he had pioneered at the club. It was well received and a year later he issued a double CD with a harder techno feel, Lover Dose. Challe claimed this compilation reflected his feelings on love -- something he's never suffered from a lack of. Challe looked to his roots for his next double-CD compilation Flying Carpet (which explored the link between Algerian Raï and house music). Tapping into the refired passion for all things Eastern, Challe became involved with the Buddha Bar in 1998. A monument to Parisian chic, Buddha Bar was a restaurant de luxe dominated by a giant Buddha statue and surrounded by a galleried bar serving cocktails and sushi. Challe was resident DJ and by blending his musical influences -- house, ambient, North African, Asian, and a touch of French pop -- he created Zen soundscapes of mellow beauty. As more and more patrons asked for mix tapes of what Challe was playing -- Madonna and Princess Diana amongst them -- he issued the double-CD Buddha Bar in 1999. Its instantaneous success found Challe following it with Buddha Bar II and Nirvana Lounge. All have proved immensely popular in France, and Challe now not only hangs out with celebrities but gets hired to DJ at events like Celine Dion's wedding and promote the Dalai Lama's Parisian appearances. Having recently left the Buddha Bar, he is currently working on a project which involves him directing musicians to make specific Claude Challe music which he hopes to follow with a circus tour and a spiritual autobiography. ~ Garth Cartwright, All Music Guide

Disque : 1

[01]. Adam In Chains
[02]. Remembering Satie
[03]. Sentimientos
[04]. Beriba
[05]. Ain't Feel Nothing
[06]. Crying Angels
[07]. Come
[08]. Seductor (Original Mix)
[09]. Ya Mama (Deep Dive Corp' Remix)
[10]. Afro Stambul
[11]. Manvantara
[12]. Africa
[13]. Mystic Desire
[14]. Lero
[15]. Studio Pagol (Tomorrow Never Knows )

Disque : 2

[01]. Mana De Carnaval/intro
[02]. Summertime
[03]. Sinnerman
[04]. Everytime
[05]. Alone In The Dark
[06]. Forbidden Planet
[07]. Silence (Fade's Sanctuary Mix)
[08]. Orgasmus (Encore Une Fois Mix)
[09]. Waiting (Afro Deep Remix)
[10]. Mana De Carnaval
[11]. Trip Story (Momo's Exotic Mix)
[12]. Move
[13]. Jannit Adan
[14]. Manu from Newcastle - Parana

EAC-Flac [980 MB]
Disc: 1

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Part 5
Disc: 2

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Part 6

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Scans

Kocani Orkestar - Une Fanfare Tsigane

Kocani Orkestar - A Gypsy Brass Band

Kočani Orkestar (in Macedonian: Кочани Оркестар) also credited under the names: Kocani Orkestar, Kocani Orchestra, Kochani Orkestar and Kochani Orchestra is a Romani brass band from Kočani, Republic of Macedonia led by Naat Veliov. Kocani Orkestar are among the funkiest exponents of the Balkan brass band style which is found across ex-Yugoslavia and is a direct descendent of the music once played by Turkish army bands. They come from the city of Kocani, in the new Republic Of Macedonia. Their music is based on Gypsy tunes from various parts of the Balkans and on Turkish/Bulgarian rhythms, with a sprinkle of Latin flavour. Their song "Siki, Siki Baba" is featured on the soundtrack for the movie Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan although it has no connection to the Music of Kazakhstan. Together with the Romani singer Esma Redžepova, Naat Veliov is going to file a lawsuit for the producers of the movie for an unauthorised use of the song.

[01]. Solo Tapan
[02]. Srpsko Oro
[03]. Romski Cocek
[04]. Tarabuka Solo - Kocani Orkestar,
[05]. Kerta Mangae Dae
[06]. Trepaza
[07]. Nejatov Cocek - Kocani Orkestar, Veliov, Naat
[08]. Nic Can Bagna
[09]. Ciganski Cocek
[10]. Bulgarska Oro

MP3 192 kbps, including Covers
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Bebel Gilberto - Bebel Gilberto

Although Bebel Gilberto has been writing, performing, and recording since her childhood, this is only her second full-length solo album. The child of Brazilian legend João Gilberto and the celebrated singer Miucha, she comes by her musical talent honestly, but has honed and developed it carefully over the years, being careful not to overexpose herself or peak too early; as a result, she now emerges as a mature and fully developed singer despite her relative youth. Her eponymous sophomore effort is a delightfully warm and unaffected program of Brazilian pop, much (but not all) of it in a fairly traditional bossa nova style. There are electronic elements in the mix, but they are mostly kept in the background; instead of aggressive electronica or superimposed breakbeats, the instrumental accompaniment is mostly woven from organic percussion, acoustic guitars, bass, and piano. This all serves to keep one's attention where it belongs: on Gilberto's sweet, rich voice and her gorgeous melodies. Highlights include the lovely "Aganjú," the gently heartbroken "Every Day You've Been Away," and the lilting, almost funky "Cada Beiju." Very highly recommended. ~ Rick Anderson, All Music Guide

[01]. Baby
[02]. Simplesmente
[03]. Aganjú
[04]. All Around
[05]. River Song
[06]. Every Day You've Been Away
[07]. Cada Beijo
[08]. O Caminho
[09]. Winter
[10]. Céu Distante
[11]. Jabuticaba
[12]. Next to You

EAC-APE [280 MB]

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Kek Lang - Romany Songs

Kek Lang
Winter Moons,Summer Suns
Romany Songs from Hungary

Balkanized gypsy and klezmer music from a band assembled in Spain and comprised of an The gypsy families whose members make up the group Kek Lang (blue flame) were discovered when Tony Gatlif was making his film Latcho Drom. They all come from a little village near Nyabator in the eastern part of Hungary, where the songs still reek of mud, woodsmoke, bad vodka and loud swearwords. In typically Romany style this mixed group sings surprisingly complex folk music accompanied by accordion and guitar with jug or spoon used as percussion. It is essential to free oneself of all musical logic to enjoy these gypsy songs. The reward is there if one lets oneself go and be drawn into the music, with all its emotional turmoil, its chaotic undertones, both festive and naive, without any trace of bitterness. The music is a sort of challenge thrown out against the cold-heartedness of modern industrialized society and its technology.

MP3 192 kbps, including Covers
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MUIÑEIRAS Y ALBORADAS

MUIÑEIRAS Y ALBORADAS

| MP3-80 MB | Flac-240 MB | 1993 | covers |

[01]. Charanga Mozos e Vellos - MUIÑEIRA XULIANA
[02]. Axeitada por Emilio Corral - MUIÑEIRA DE BERGANTIÑOS
[03]. Agrup.Folk.Rosalía de Castro - MUIÑEIRA POPULAR
[04]. Cantigas e flores - MUIÑEIRA DE LUGO
[05]. Cantigas e flores - MUIÑEIRA DE OURENSE
[06]. Ricardo Portela - MUIÑEIRA DE CHANTADA
[07]. Lavadores-Sampaio - ALBORADA DO ANTERGO REINO DE GALICIA
[08]. Lavadores-Sampaio - ALBORADA DO MONTE PEQUEÑO
[09]. Aceitada por Emilio Corral - ALBORADA DE PONTECALDELAS
[10]. Conxunto Galego Os Morenos - ALBORADA DE VEIGA
[11]. Ricardo Portela - ALBORADA DE ROSALIA DE CASTRO

MP3

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AAshish Khan - Golden Strings of the Sarode (FLAC)

Aashish Khan is considered among the top handful of India’s greatest living Sarod players. His pedigree of training and lineage is unquestionable, having descended from the illustrious family of great musicians. Aashish Khan is considered among the top handful of India’s greatest living Sarod players. His pedigree of training and lineage is unquestionable, having descended from the illustrious family of great musicians. Aashish Khan was initiated into North Indian classical music at the age of 5 by his grandfather, the legendary Acharya Baba Allauddin Khan, exponent of the “Senia Beenkar” and “Senia Rababiya” Gharana. His talim (training) continues under the guidance of his father Ustad Ali Akbar Khan, and his aunt, Smt. Annapurna Devi, presently the leading exponents of the “Senia Gharana”, in the Beenkar and Rababiya anga of the Druvapada style. Aashish gave his first public performance at the age of 13, with his grandfather, on the All Indian Radio “National Program”, New Delhi, and in the same year, performed with his father and his grandfather at the “Tansen Music Conference”, Calcutta. Besides his virtuosity as a traditional sarodist, Aashish was a pioneer in the establishment of world music genera, as founder of the Indo-American musical group “Shanti” in 1969/70 and later, fusion group, “The Third Eye”; and composed a Sarod Concerto in “raga” form. With Pandit Rave Shankar, he has worked on many musical products for both film and stage, including Satyajit Rays’s “Apur Sangsar”, “Parash Pathar” and Sir Richard Attenborough’s film “Gandhi”. He has also worked with Maurice Jarre on John Houston’s film “The Man Who Would be King”, David Lean’s “A Passage to India”, and composed the music for Tapan Sinha’s films, “Joturgriha” and “Aadmi Aurat”. Aashish has collaborated with such diverse western musicians as John Barham, George Harrison, Ringo Star, Eric Clapton, Charles Lloyd, John Handy, Alice Coltrane, Emil Richards, Dallas Smith, Don Pope, Jorge Strunz, Ardeshir Farah, and the Philadelphia String Quartet. In 1989, Aashish was appointed to the prestigious post of the Composer and Conductor for the National Orchestra (“Vadya Vrinda”) of All India Radio, New Delhi, succeeding such musical starwarts as Pandit Ravi Shankar and Pandit Pannalal Ghosh. Aashish Khan is a respected guru and teacher, formerly on the faculties of the Ali Akbar College of Music in San Rafael, California, and the University of Washington, Seattle. While pursuing a busy career as a concert artist and composer, he teaches students throughout the U.S., Canada, Europe, and Africa, as well as India.

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Aashish Khan - Rainy Season Ragas (FLAC)

Aashish Khan is considered among the top handful of India’s greatest living Sarod players. His pedigree of training and lineage is unquestionable, having descended from the illustrious family of great musicians. Aashish Khan was initiated into North Indian classical music at the age of 5 by his grandfather, the legendary Acharya Baba Allauddin Khan, exponent of the “Senia Beenkar” and “Senia Rababiya” Gharana. His talim (training) continues under the guidance of his father Ustad Ali Akbar Khan, and his aunt, Smt. Annapurna Devi, presently the leading exponents of the “Senia Gharana”, in the Beenkar and Rababiya anga of the Druvapada style. Aashish gave his first public performance at the age of 13, with his grandfather, on the All Indian Radio “National Program”, New Delhi, and in the same year, performed with his father and his grandfather at the “Tansen Music Conference”, Calcutta. Besides his virtuosity as a traditional sarodist, Aashish was a pioneer in the establishment of world music genera, as founder of the Indo-American musical group “Shanti” in 1969/70 and later, fusion group, “The Third Eye”; and composed a Sarod Concerto in “raga” form. With Pandit Rave Shankar, he has worked on many musical products for both film and stage, including Satyajit Rays’s “Apur Sangsar”, “Parash Pathar” and Sir Richard Attenborough’s film “Gandhi”. He has also worked with Maurice Jarre on John Houston’s film “The Man Who Would be King”, David Lean’s “A Passage to India”, and composed the music for Tapan Sinha’s films, “Joturgriha” and “Aadmi Aurat”. Aashish has collaborated with such diverse western musicians as John Barham, George Harrison, Ringo Star, Eric Clapton, Charles Lloyd, John Handy, Alice Coltrane, Emil Richards, Dallas Smith, Don Pope, Jorge Strunz, Ardeshir Farah, and the Philadelphia String Quartet. In 1989, Aashish was appointed to the prestigious post of the Composer and Conductor for the National Orchestra (“Vadya Vrinda”) of All India Radio, New Delhi, succeeding such musical starwarts as Pandit Ravi Shankar and Pandit Pannalal Ghosh. Aashish Khan is a respected guru and teacher, formerly on the faculties of the Ali Akbar College of Music in San Rafael, California, and the University of Washington, Seattle. While pursuing a busy career as a concert artist and composer, he teaches students throughout the U.S., Canada, Europe, and Africa, as well as India.

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The Ultimate Jesse Cook

Rumba Flamenco artist Jesse Cook has blended the exotic Spanish music form with elements of new age, jazz, and easy listening on his releases for Narada Records. Signed to the label in 1994, he produced his debut Tempest one year later. Gravity, released in 1996, hit the Top Ten on the new age charts. Two years following, Vertigo was released and Free Fall appeared in mid-2000. ~ John Bush, All Music Guide

TRACK LISTINGS

Disc: 1
[01]. Mario Takes A Walk
[02]. Air
[03]. Paloma
[04]. Byzantium Underground
[05]. Baghdad
[06]. Surrender
[07]. Switchback
[08]. Brio
[09]. Red
[10]. Early On Tuesday
[11]. Breeze From Saintes Maries
[12]. Breathing Below Surface
[13]. Closer To Madness (Live)

Disc: 2
[01]. That's Right
[02]. Tempest
[03]. Rattle And Burn
[04]. Azul
[05]. Gravity
[06]. Fall At Your Feet
[07]. Dance Of Spring
[08]. Into The Dark
[09]. On Walks The Night
[10]. Gipsy
[11]. Waiting For Tide
[12]. Cascada
[13]. Toca Orilla

MP3 320 kbps including Covers
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Flamenco Lounge

Disc: 1
[01]. Gracia De Mujer
[02]. Amores De La Medina
[03]. Suspiros
[04]. De Amor Llore
[05]. Hispalis
[06]. Acordes Chill
[07]. Nuevas Raices
[08]. Tormento
[09]. Cumbres
[10]. Colores
[11]. Aroma Pa' Tu Cara
[12]. Platea

Disc: 2
[01]. Hablame Del Mar
[02]. Por El Albero
[03]. Pata Negra
[04]. Conjuro Que Alegra El Alma
[05]. Jaleo
[06]. Madero Hecho Cruz
[07]. Altozano
[08]. Mancha De Mora
[09]. El Conjuro
[10]. Albaicin
[11]. Caprichos De La Alhambra
[12]. Sarao

EAC-APE [650 MB]
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Disc: 2
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MP3 320 Kbps [250 MB]
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Orkestina - Transilvania Express

Balkanized gypsy and klezmer music from a band assembled in Spain and comprised of an Englishman, Irishman, Spaniard, and Bulgarian -- if that doesn't qualify as world music, then what does? With a basic lineup of fiddle, accordion, bass, and gadulka (a 13-string Bulgarian fiddle originally used to accompany dancing bears), Orkestina creates a wonderful noise, although it takes a little while to get fully warmed up. However, by the extensive "Mary," which runs through a couple of horas before heading into Celtic territory, they're all steaming ahead, with some superb playing that pushes higher and higher over the course of ten-plus minutes before a veritable musical explosion at the end, leaving the listener wondering how they can top that. But they do with "Momneele," a slow love song, drafting in singer Minka Nenova. And so it continues: "Horo No. 2" features some sterling accordion work from Jon Davison, and the Romanian "Sirba" suddenly takes off into a double-speed romp of jaw-dropping virtuosity. Smoothly negotiating complex time signatures, they ease through the klezmer mood of "Galitzyaner Tanz" before delving into traditional Bulgarian music for the closing "Groovski Ritmi," featuring some stunning work on the gadulka. Consider this album to be a joy and absolute pleasure. ~ Chris Nickson, All Music Guide

1. Horo no. 1 2. Manele 3. Mary 4. Momneele 5. Horo no. 2 6. Sirba 7. Grancharsko Horo 8. Galitzyaner Tanz 9. Groovski Ritmi MP3 192 kbps, including Covers Part 1 Part 2

Kulna Sawa - Musaique

Musaique is the second studio album by the alternative Syrian band, Kulna Sawa.

In 1995, the band was formed by young musicians who started re-arranging several folkloric songs, and produced them again in a contemporary way. "Kulna Sawa" (Meaning "all of us are together") became increasingly popular as they embarked on a series of concerts and TV appearances, culminating in several concerts in October 1999 in Damascus and Aleppo. The concerts were fairly successful that they lasted three nights and were attended by over than 5000 people. The band was invited to perform at The Syrian Song Festival, which was held at the Ancient Aleppo Citadel in 1999. The band also performed a series of concerts for three nights with British group called (Sin'e) in September 2000. The two bands performed individually and together on stage as part of the British Council's activities and was very successful. Kulna Sawa signed a worldwide recording contract with EMI Music and released two international albums. First was in June 2001 which included the singles Nezlen Ala El Bustan, Wain A Ramallah, Almaya, Koul Shi Esmoh Jadid and Noujmah Kutbiah. The Album got Golden Record. The video clips were mostly self-produced. The band toured abroad and did successful concerts most notably in Dubai, Jordan, Lebanon and Morocco. Lately, during the launching of their second album Musaique, they did three big concerts with the special appearance at the international Egyptian Musical. They shared the stage in Broadway in New York on November 2004 with the well known International artist of the The Sopranos TV series Dominic Chianese. They also performed with the famous musician of (Peter, Paul and Mary) Peter Yarrow in Saint Louis. Concerts were held in more than 20 major cities around the U.S including the headquarters of the United Nation in New York were they got their two Awards of Peace. The Daily Star, said that Kulna Sawa “is breaking new ground with their fusion of Western and Middle Eastern music styles." The band is in the final stage of recording their new Album.

[01]. Yali Aionek [02]. Wayn a Ramallah [03]. Kul al Rassameen [04]. Ya Helwa [05]. La Lau in Baref [06]. Teshki [07]. Wahiat Albi [08]. Um al Shaheed [09]. Kesset Madinah [10]. Kulna Minuel [11]. Bilmunasabeh MP3 192 kbps, no scans HERE Front Cover http://i39.tinypic.com/2a4oms5.jpg Back Cover http://i42.tinypic.com/vii14j.jpg

Mercan Dede - Sufi Traveler

Even electronic music's most-ardent fans understand that the ghost in the machine isn't conjured as a soulful or spiritual vibe. That comes by bringing in elements from more traditional styles. Understanding this, Turkey-born and Canada-based Mercan Dede intertwines thoughtful down-tempo programming with Sufi devotionals to create an imaginative hybrid that honors both styles. This two-disc effort, Dede's fourth release, includes an eight-part dance piece and a second disc of live performance featuring Dede and his group Secret Tribe. Not your average dance music, "Nar" is filled with impressionistic and moody soundscapes colored with Dede's ney (flute), jazz bass, violin, ambient electronics and, occasionally, devotional lyrics. "Seyahatname" is a more upbeat version of the same format with the band adding an emotional human imprint upon the tremendous ebbs and flows programmed by Dede. Earthy and inspirational, hip and ancient, Sufi Traveler is a voyage to modern Turkey that ably reconciles the past with the present and the future. –--Tad Hendrickson

Disc: 1
1. Nar-1 Ney
2. Nar-1 Mey
3. Nar-1 Yar
4. Nar-1 Ask
5. Nar-1 Sems
6. Nar-1 Can
7. Nar-1 Cem
8. Nar-1 Seher

Disc: 2
1. Guilname
2. Semaname
3. Hayalname
4. Sahname
5. Neyname
6. Vefaname
7. Askname
8. Falname
9. Sirname

MP3 256 kbps, no scans

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Natacha Atlas - Diaspora

North African and Arabian music is given a modern, dance-inspiring twist by Brussels-born and Washington, D.C.-based vocalist Natacha Atlas. A former singer for techno-pop band Transglobal Underground, and an occasional collaborator of Jah Wobble, Atlas has continued to explore the fusion of her musical roots with Western electronic dance music. While Option magazine explained, "[Atlas] has a beautiful voice, which sounds curiously like a blend between traditional Middle Eastern singers and Elizabeth Fraser of the Cocteau Twins," The Wire wrote, "buoyed by her devotional calling and the chatter of programmed beats, she swoops, glides and goes reaching for the heavens in a way that needs no translation". CMJ New Music praised her for having "explored the far reaches of the ethnotechno spectrum." The daughter of an English mother and a Sephardic Jew father, Atlas grew up in a Moroccan suburb of Brussels and was heavily influenced by the Arabic culture. In addition to learning to speak French, Spanish, and Arabic, Atlas was trained in the traditional techniques of raq sharki (belly dancing). Moving to England as a teen, Atlas quickly attracted attention as the first Arabic rock singer in Northampton. Dividing her time between England and Brussels, Atlas sang in Arabic and Turkish clubs and appeared briefly with a Belgian salsa band, Mandanga. In the early 1990s, Atlas became involved with England's alternative rock scene, appearing on ¡Loca!'s single "Timbal," Apache Indian's single "Arranged Marriage," and Jah Wobble's album Rising Above Bedlam, which included five songs she had co-written. Accepting an invitation to join Transglobal Underground as lead singer and belly dancer, Atlas was featured on the band's albums Dream of 100 Nations and International Times. Atlas continued to work with Wobble, as well, co-writing and singing on three tunes from his album Take Me to God in 1994. Atlas' debut solo album, Diaspora, released in 1995, featured accompaniment by Tunisian singer/songwriter Walid Rouissi and Egyptian composer and oud player Essam Rashad. Halim followed in 1997 and Gedida in 1999. Atlas worked with soundtrack composer David Arnold on the score of the Kurt Russell film Stargate. In 2000 she released a collection of remixes of her life's work thus far. Ayeshteni appeared the following spring. Something Dangerous appeared in 2003 with a slicker and more pop-oriented sound. The career-spanning Best of Natacha Atlas was released in 2005 and a year later the sentimental Mish Maoul appeared as an homage to the music she heard while being raised in Morocco. ~ Craig Harris, All Music Guide

[01]. Iskanderia
[02]. Leysh Nat'arak
[03]. Diaspora
[04]. Yalla Chant
[05]. Alhambra, Pt. 1
[06]. Duden
[07]. Feres
[08]. Fun Does Not Exist
[09]. Dub Yalil
[10]. Iskanderia
[11]. Diaspora [Mix]
[12]. Fun Does Not Exist [Mix]

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Tejendra Narayan Majumdar - A Light from the East (FLAC)

The Sarod is the most majestic sounding of all India's musical instruments. Its natural reverb and deep, resonant tone creates an air of grandeur and mystery. The history of the Sarod is a matter of historical debate, but what we do know reveals India's artistic connections with its neighbours Afghanistan and the Middle East. Its predecessor, the Afghan Rebab is an ancient instrument which according to literary archives was already being used in India in the 16th century. Since then, the Sarod has undergone many modifications in the hands of musical geniuses who through the centuries, have strived to create an instrument to suit each generation's aesthetic needs. Today's Sarod has retained many of the characteristics of its ancient predecessor, being made from one piece of carved wood, with a fretless metal fingerboard, and a skin stretched over the body of the instrument. The strings are strummed with a plectrum made of coconut shell, and the distinctive ringing sound is created by the musician stopping the string with the nail.

Tejendra Narayan Majumdar is one of the most influential and well-respected musicians in India today. He is one of the leading exponents of the Senia Maihar gharana, a musical 'family' which has produced giants such as Ravi Shankar and Ali Akbar Khan. Like so many of India's musicians, his training started at home from an early age. His grandfather, Bhibuti Ranjan Majumdar, and father Ranjan Majumdar provided early inspiration and guided the young prodigy through the initial part of his learning. Later, he became the disciple of the distinguished Sarod maestro Ustad Bahadur Khan and embarked on a path of rigorous training that was to last for eighteen years. All great Indian musicians share a seemingly unlimited appetite for learning and self improvement, which continues throughout their career. After the death of his guru, although by then a popular performing artist in his own right, Tejendra has pursued musical training and guidance under the tutelage of the most revered Sarod legend, Ali Akbar Khan.
Through his own endeavours and practice and with the benefit of all these influences, Tejendra has successfully developed a unique style of playing incorporating the dynamic instrumental approach, tantrakari with the melodic, lyrical vocal style known as gayaki. His success in blending these two styles has made him one of the most sought after performing artists in India and abroad today.

This recording consists of two classical ragas and one semi-classical piece.
Raga Bilaskhani Todi is a very popular and powerful morning melody belonging to the Bhairavi group of ragas. It was created more than four hundred years ago by Bilas Khan, the son of India's greatest musician Mia Tansen, the legendary court musician of Emperor Akbar.
The alap is a slow, gentle elaboration of the raga in which the musician skilfully and accurately explores subtle melodic nuances, careful not to cause any ambiguity or confusion with other ragas which use the same notes. For a raga is more than just a set of notes or a scale. It incorporates particular key phrases that help to assert its own unique identity.
The gradual unfolding of the ascending tones serves to enhance the serene mood of the music. Tejendra's alap incorporates three octaves, exploring the entire tonal range of the Sarod. The second part of the alap, known as jorh (track 2), is played in the ancient vocal style of dhrupad, starting from a very slow tempo gradually increasing in pace towards a crescendo. The intricate combinations of improvised passages played in a lively rhythmic style are typical of the Maihar style of presentation.

Basant Mukhari is also a morning melody which is a perfect blend of two other ragas, Bhairav and Bhairavi. It begins with a short alap, which serves to establish the flavour of the raga. The first composition (track 3) is set to teental, a slow rhythmic cycle of sixteen beats.
Tabla accompaniment is provided by the highly accomplished Yogesh Samsi, son of the renowned vocalist Dinkar Kaikini. Yogesh is a respected artist of the younger generation and one of the foremost disciples of the late tabla virtuoso Alla Rakha Khan. He has built a fine reputation on his ability to accompany instrumental soloists as well as vocalists, a rare quality in modern tabla players.
The final offering in this recording is a very sweet and melodious rendition based on Raga Mand. The composition is a light classical piece, set to Dadra, a rhythmic cycle of 6 beats. In light classical music the soloist is given more scope to take aesthetic liberties with the structure of the raga, a musical license that Tejendra exploits to great effect.

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Ravi Shankar & Ali Akbar Khan - The Master Musicians of India

TRACK LISTINGS

(01) [Ravi Shankar and Ali Akbar-Kan] Raga Palas Kafi
(02) [Ravi Shankar and Ali Akbar-Kan] Raga Bilashkani Todi

EAC-APE [210 MB]

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Nikhil Banerjee - Raag Shree (FLAC)

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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