La Banda Municipale De Santiago De Cuba 1^2

The Banda Municipal de Santiago de Cuba is a brass band which remains true to the tradition of the Cuban brass band.

La Banda Municipale De Santiago De Cuba 1

This debut record confirms that the time has come to discover another side of Cuban music, socially very rooted in its folk culture and in the history of its liberation.
Released in 1997 on Buda Records.

01. La Comparsa
02. Reina Isabel
03. El Manisero
04. Frutas del Canay
05. Chan Chan
06. La Trova no morira
07. El Machete de Oro
08. Y tu que has hecho
09. Le Petite Cantate
10. Este Camino Largo
11. El Mambi
12. Cuba Puerto Rico
13. La Bella Cubana
14. El Carabali
15. Maria la O

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La Banda Municipale De Santiago De Cuba 2

This album "Brassband from Cuba II', like the Banda Municipal de Santiago de Cuba, is a family and friend production and story. The imaginative world of its music is 100% Santiagero: orthodox fans of horns and reeds should not take offense at the diversion from musical scores, the looped barrel organs, or the children's voices from the black district of San Pedro-- where the shadow of La Cumparsa De Los Oyas still brings to mind the history of slave gatherings in huge colonial plantations.
Released in 2001 on Buda.

01. Marieta
02. Se seca el arrollito
03. Chiclaneras
04. La Tarde
05. Triste muy triste
06. Le Enganadora
07. Paquito el Chocolate
08. Bodas de Oro
09. Mambo n° 5
10. La Serenata
11. Les Passantes
12. La Vaca Vieja
13. Siboney
14. La Culebra

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MICHAIL EL MASRY - NIGHTS OF EL HELMIA

[01]. Nights of El Helmia
[02]. Rising in The East
[03]. Over Joyed
[04]. Oriental
[05]. Suspicious Mind
[06]. Waving in Harmony
[07]. Sunrise
[08]. End of The Road
[09]. Wood Warm
[10]. The Prince

320 kbps including Covers

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Panorama - Medley Songs From The Arabian Heritage

Solo Singers:

Mayada Bsilis
Assem Soukar
Ibrahim Kifo
Ihab Yaghi
Souheil Dibes
Khayla El Hosn

Arranged by:
Samir Kwefati http://www.maestro-sm.com/

1. Al Mohafazat
2. Al Sh’abeah
3. Al Watan Al Arabi
4. Al Jazera Wa Al Forat
5. Al Ward
6. Al Lala

Bitrate: 192 kbps Encoder: LAME 3.97

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Nadka - The Lotus Trilogy

See also Nadaka - The Lotus Of The Quiet Mind

MP3 Bitrate: 192-224 kbps (VBR) - Encoder: LAME 3.92
Album II - / - Album III

Haytham Safia

Haytham Safia - U'd

Born in 1980 in the Galilean town of Kafr Kasif, Israel, the Palestinian 'oud player Haytham Safia has proven a versatile and adventurous musician. Safia graduated from the Academy of Music and Dance in Jerusalem in 2002. He turned to Europe and particularly The Netherlands, for crossover challenges which included successful collaborations with the multinational band No Blues. Safia has released three CDs, including the October 2007 album Promises.

Four multidisciplinary artists come together on an album that flows smoothly along, a river of emotions that range from contemplative to exuberant, from abrasive to playful. Haytham Safia has joined up with two classically-trained musicians from Amsterdam (cellist Eva van de Poll and oboe player Hanneke Ramselan) and an Iranian percussionist (the gifted Afra Mussawisada) in a more restrained experiment than his previous release Blossom (which allied nine artists from nine nations in a distant exchange). The result is at times riveting and challenging, and always pleasing to the ear.

Safia's 'oud-playing is known for its rigour and tautness. Here, it works particularly well with Ramselan's oboe in songs like "Moments of Relief", or the percussion duet "Way to the Roots". The combination of classical Western and Eastern instruments is never jarring and a playful element in this stylistic conversation (in songs like "Answering the Nature's Call" which, writes Safia, was influenced by Tunisian Anouar Brahim, although I found nothing to indicate how) lightens the exchange.

Haytham Safia has long established himself as a talented composer with a well-full of ideas. Promises will enhance that reputation with songs like "Voice of the Desert" standing out for its power and harmony. His latest quartet is a fine example of new crossover initiatives dominated by Oriental rhythms but always respectful of classical Western inputs ("Having Fun" being a racy jazz-inflected jaunt that proves the exception)..Daniel Brown

Some three years after Haytham Safia makes his depot as performer in the Netherlands, he brought his work up to a point where admiration is due. At first listen, this well-crafted solo album, ‘UD, submits politely to the extended musical traditions of the Arab ‘ud and follows up on the rapid development and progress of Palestinian music. Certainly, the way traditional Maqams (modes) were introduced and pursued by Haytham added a distinctive and generous look to the CD, but furthermore he sensationalized Maqams by the sprinkling of his unique trademarks. In ways, Haytham re-wrote much of the traditional melodies and formulas. His ‘ud grooves jumped out as atmospheric while the use of the ambient sounds that he exquisitely produced on the instrument really spiced things up, and embellished its meditative qualities. The Nahawand track is astonishingly lovely; dense, immersive and Intermittently brilliant. In my opinion, this is a true contemporary and progressive approach to music making. You don't have to be a fan of ‘ud music to enjoy this. It's a fantastic album to drive to, with recurring themes beautifully underlined by traditional openings and endings. This time round, ‘UD seems to sit coherently alongside this rich musical tradition of Taqasim (improvisations).

320 kbps, Covers

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Haytham Safia - Promises


[01]. Nada
[02]. Promises
[03]. Way to the Roots
[04]. Secrets in the Heart
[05]. Sikit Safar
[06]. Moments of Relief
[07]. Answering the Nature's Call
[08]. Voice of the Desert
[09]. Having Fun
[10]. Beauty

MP3 128 kbps , no Covers

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Fairuz - Safar Barlik (The Exile)

Safarbarlek


The film is set around 1914 when Lebanon was under the Ottoman Empire rule. The empire enslaved men to work for free. Abdou goes to get Adla the engagement ring but he's arrested with others and are taken to cut lumber. Meanwhile the Ottomans prevent the wheat from arriving to certain villages because they want to defuse the ongoing resistance operations led by Abou Ahmed. Adla travels to where some say Abdou is held prisoner and she meets with Abou Ahmed. She along other villagers start helping the resistance get the wheat to the people. When they accomplish their mission, Abou Ahmed, freed Abdou and others escape because now they're wanted, but on a promise to return and to continue fighting.

Quick Notes:
Unlike Rings for Sale, this film took full use of the scenery of the countryside in Lebanon. In the credits, it's mentioned that the film was shot on location in as many as eleven towns and villages. The film itself is more complex than Rings for Sale which was originally a musical play. The production value of Safarbarlek is very high and it shows from the re-creation of old cities, costumes, etc. I only had two problems, one was with some parts of the script, for instance how did Abdou know that Adla is at Oum Youssef's when he was trying to escape from the Ottomans the first time?

Things to look for:
1. Ya Tayr and Alamouni are both shot while Fairuz walks down the hills and valleys of the small towns exposing beautiful landscape which is nice to see and kind of authenticate the setting of the film.

Miscellaneous information:
1. Both Assy and Mansour play roles in this film. Assy has a more predominant character. He plays Abou Ahmed, the freedom fighter. Mansour role however is very small. I didn't even get his name in the movie.

1967 / Lebanon
Color / Approx. Time 115 minutes

Credits:
Fairuz ... Adla
Nasri Shameseddine ... Elmoukhtar
Huda ... Zoumorod
Assy Rahbani ... Abou Ahmed
Berj Fazalian ... Re'fat Bek
Salah Tizani ... Abou Darwish
Salwa Haddad ... Oum Youssef
Joseph Nassif ... Elhasoon
Layla Karam ... Zahia
With Ihsan Sadek, Rafik Elsebaiey, Abdullah Homsi, Ahmed Khalifa, Samir Shames, Shafik Hassan, Ziad Mkouk, Eli Chouieri, Souhil Noumani, Mohamed Mar'ei, Samir Abou Nassif Mahmoud Mabsout, Fawzi Kiali, Sami Maksoud, Mansour Rahbani, Nouzha Younes and Mervat.

Phenicia Films
Distrubted by the United Trade and Cinema Company - Fernand Khoury and Nader El Attasy
Written by the Rahbani Brothers
Music and Songs Written by the Rahbani Brothers
Produced by Nader El Attasy
Director of Photography Claude Robin
Directed by Henry Barakat

Filmstock developed in L.T.C. labs - Paris
Shot in Kafoun, Dhour Elshoyer, Ellaklouk, Doma, Ba'abda, Jebayl, Bayt Shabab, Jedita, Elmetayn, Zahla and Beirut.
Sound Recoreded at Baalbeck Studios
Sound Engineer Stanley Khoury
Assistant Directors Youssef Sharfeddeen, Samir AbouNassif and Haddi Issa
Assistant Producer Omar Shama
Cinematic Effects Samir Lama
Edited by Mohamed Abbas
Assistant Editor Khalil Ghamash
Make-Up Nadine Frino
Assitants William Néme, Zekardia, Sarkis and Rafat Al Seda
Hair Dressers Samia Nehma
Costumes of Fairuz by Seebo Wojo
Set Design Said Elnaboulsi
Production Manager Saleh Elajem
Produced by Nadir El Attasy
Still Photography by Farouj Satasian
Camera Assistant Sarkis Kokanian
Artistic Consultant Elias Mata
Artistic Managment Sabri Sharif

Click here for pictures from the film.

DVDRip| 112 minutes | AVI 544 x 240 | Audio 128 Kbps | 700 MB |

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8

IDIR - Identités

Idir was born in Aït Lahcène, a Berber village in Haute-Kabylia. This farmer's son started studying Geology and was destined for a career in the petroleum industry before his rise to stardom. Idir has been the ambassador of the Kabyle culture, especially the Kabyle music, with only his vocals and acoustic guitar. Idir has always used his status to claim his Berber (Amazigh) identity. His first album "A Vava inouva" came out in 1976, and the song "A Vava inouva" was translated into seven languages. After notable success, Idir wrote and recorded his second album "Ay Arrac Negh" (to our children) in 1979.

Idir restarted his career again with the release of a compilation in 1991 of seventeen songs from his first two albums "A Vava inouva" and "Ay Arrac Negh".

In 1993, a new album "les Chasseurs de lumières" (the hunters of lights) appeared on the Blue Silver label. "Les Chasseurs de lumières" is about (his) predilection, love, freedom and exile (which he had known since he moved to the Paris region in 1975). The acoustic guitar gives to the songs of this album a touch of modernism. We can also hear the voice of the Breton singer Alan Stivell in the duo "Isaltiyen". Idir restarted his career once again with "Identities" in 1999, a tribute album which joined numerous artists together including Manu Chao, Dan Ar Braz, Maxime Le Forestier, and Karen Matheson for a "A vava inouva 2". Also included were Gnawa Diffusion, Zebda, Gilles Servat, Geoffrey Oryema and the Orchestre National de Barbès.

In 2008, he had a baby with "Tout ce temps" written by Zaho. He insisted that she joins in for the release of the single as a duo.

Idir is also the author of "A tulawin", a music that has been made famous by Manu Chao's version named "Denia" (Poor Algeria), in his album Próxima Estación: Esperanza.

1 Idir , Karen Matheson A Vava Inouva 2 (4:24)
Acoustic Guitar - Tarik Aït-Hamou
Bass - Ewen Vernal
Guitar - Manus Lunny
Piano - Donald Shaw
2 Idir , Manu Chao , Khalida Messaoudi* A Tulawin (Une Algérienne Debout) (6:01)
Percussion - Rabah Khalfa
3 Idir , Zebda Un Homme Qui N'a Pas De Frère (4:13)
Saxophon - Joseph Doherty
Trumpet - Sylvain Lacombe
Violin - Joseph Doherty
4 Idir , Geoffrey Oryema Exil (Daγrib) (3:47)
Bas - Ewen Vernal
Guitar - Nicolas Yvan Mingot*
Percussion - James Mackintosh , Patrick Buchmann
Piano - Donald Shaw
5 Idir , Maxime Le Forestier , Brahim Izri Tizi Ouzou (4:28)
Acoustic Guitar - Tarik Aït-Hamou
Banjo - Mohamed Abdennour
Bass - Sylvio Marie
Mandoline - Mohamed Abdennour
Piano - Gérard Bikialo
6 Idir , Gnawa Diffusion Révolution (Tagrawla 2) (4:20)
Banjo - Mohamed Abdenour
Bass - Didier Bouchet
Guitar - Pierre Feugier
Mandoline - Mohamed Abdenour
Percussion - Pierre Givelet
Piano - Pierre-Henri Michel , Salah Meguiba*
Vocals - Amazigh Kateb
7 Idir , Thierry Titi Robin* Fable (Tamaçahuts 2) (5:21)
Bass - Pascal Stalin
Guitar - Miguel Sanchez , Paco El Lobo
Vocals - Paco El Lobo
8 Idir , Gilles Servat , Dan Ar Braz Illusions (Awah Awah 2) (3:26)
Bass - Ewen Vernal
Flute - Michael McGoldrick
Guitar - Manus Lunny
Piano - Paul McGeechan
9 Idir , Orchestre National De Barbès Le Jour Du Don (Tiwizi 2) (3:57)
Bass - Youcef Boukella
Guitar - Olivier Louvel
Percussion - Kamel Tenfiche
Piano - Jean-Baptiste Ferré , Taoufik Mimouni
Saxophon - Alain Debiossat
Vocals - Abdelaziz Sahmaoui* , Djamila Cheriet , Medhi Askeur*
10 Idir , Frédéric Galliano* , Ramata Doussou Bagayoko* Mémoires (Cfiγ 2) (6:08)
Bass - Samba Issa Dit Brazzo Dembelé
Coro - Djamila Cheriet , Ramata Diakité
Guitar - Lobi Traoré Ibrahima

World | APE (EAC Rip): 300 MB | MP3 - 320 kbs: 110 MB | Covers

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Tomatito - Barrio Negro

Tomatito is one of the leaders of a movement that has been called flamenco nuevo, which combines Spanish flamenco guitar with other Latin forms. For this virtuoso Spanish guitarist/composer, elements of everything from Cuban to Brazilian music are fair game. Flamenco nuevo has been incredibly popular in Spain since the '90s, and one of its biggest sellers was Barrio Negro (which was released in Spain in 1991 and in the U.S. in 1993). This very fresh-sounding and largely instrumental CD shows that while Tomatito (who has major chops as well as plenty of soul) owes a great artistic debt to traditional flamenco, he isn't a traditionalist or a purist himself. Not at all. It is Tomatito's willingness to stretch and broaden flamenco that makes Barrio Negro the exciting album it is. ~ Alex Henderson, All Music Guide

01. Barrio Negro (rumba)
02. La Voz Del Tiempo (tangos)
03. Canailla (alegrias)
04. Armonias Del Romane (colombiana)
05. A Mi Tio 'El Nino Miguel' (bulerias)
06. Caminillo Viejo (tangos)
07. Callejon De Las Canteras (taranta)

Flamenco | FLAC (EAC Rip): 180 MB | MP3 - 320 kbs: 85 MB | Covers

Archives have 5% of the information for restoration

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Part 1 | Part 2

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HERE

MIÑA GALICIA

MIÑA GALICIA




|Mp3|320 Kbps|77 Mb|2007|Rapidshare|



01. Himno Galleog
02. Foliada de Santiago
03. Foliada en Monforte
04. Alalá de Vilanova
05. Jota de Motrove
06. Farruquiña
07. Pandeirada de Abelenda
08. Foliada de San Xusto
09. Os Galeguiños
10. Jota de Cruceiros
11. Troula de Campaño
12. A patrona de Marin

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Persian Masteros-Collection 1:Mohammad-Reza Shajarian

Mohammad Reza Shajarian (Persian: محمد رضا شجريان) (born September 23, 1940 in Mashhad, Iran) is an internationally and critically acclaimed Persian traditional singer, composer and Master (Ostad) of Persian music. A living legend of Persian classical music^[1][2][3], Shajarian is also known for his mastery of Persian calligraphy and humanitarian activities.

Shajarian is considered as one of the most celebrated world music artists.^[4]His best works have been in collaboration with Parviz Meshkatian, Mohammad Reza Lotfi, Hossein Alizadeh, and Faramarz Payvar. His singing is widely believed to be technically flawless, powerful, and strongly emotional. In Persian classical Dastgah music, singing is the most difficult art to master and Shajarian is the embodiment of the perfect singer and a major source of inspiration. In 1999 UNESCO in France presented him with the prestigious Picasso Award, one of Europe's highest honors.

Download:

1. Abu Atta concert
2. Ahange Vafa
3. Arame Jan
4. Asmane Eshgh
5. Astane Janan
6. Bahae Delkash
7. Baharieh
8. Beydae Aref
9. Bidad
10. Booye Baran
11. Bote Chin
12. Chavosh
13. Dar Kheyal
14. Del Shodegan
15. Doode Oud
16. Entezare De va khalvatgozideh
17. Ey Harifan
18. Mahour
19. Majon e del
20. Meye Nab
21. Moammaye Hasti
22. Nava, Morakab Khani
23. Payame Nasim
24. Peyvande Mehr
25. Raze Del
26. Robaiyyate Khayyam
27. Rosvaye Del

Jazz Legends [3CD BOX SET]

50 CLASSIC SONGS AND SMOTH SOUNDS FOR LATE NIGHT LISTENING [3CD BOX SET]

Jazz Legends - A Touch of Romance

(01) [Joe Williams & Count Basie] I'm Beginning to See the Light
(02) [Louis Armstrong] Top Hat, White Tie and Tails
(03) [Al Hibbler with Count Basie and his Orchestra] Goin' to Chicago
(04) [Billy Eckstine] Tenderly
(05) [Dave Lambert & Buddy Stewart] Charge Account
(06) [Jon Hendricks] Stockholm Sweetin'
(07) [Jay McShann & His Sextet] I Want a Little Girl
(08) [Bing Crosby] The Song Is You
(09) [Buddy Rich] Between the Devil And The Deep Blue Sea
(10) [Chet Baker] The Touch of Your Lips
(11) [Jack Teagarden] T'ain't So Honey. T'ain't So
(12) [Louis Jordan] Is You Or Is You Ain't (Ma' Baby)
(13) [Artur Prysock and Count Basie] I Could Have Told You
(14) [Mel Torme] Too Close For Comfort
(15) [The Oscar Peterson Trio] Gravy Waltz
(16) [Count Basie] Evenin'
(17) [Fred Astaire] I'm Building Up To An Awful Letdown

Jazz Legends - Our Favourite Things


(01) [Billie Holyday] Please Don´t Talk About Me When I´m Gone
(02) [Betty Carter & Carmen Mcrae] Stolen Moments
(03) [Ella Fitzgerald] Squatty Roo
(04) [Dinah Washington] Crazy He Calls Me
(05) [Blossom Dearie] If I Were A Bell
(06) [Abbey Lincoln & Stan Getz] Up Jumped Spring
(07) [Ernestine Anderson] They Don´t Believe Me
(08) [Sarah Vaughn] Sometimes I´m Happy
(09) [Helen Merrill] You´re Lucky To Me
(10) [Anita O'day] I´ve Got The World On A String
(11) [Stan Getz & Astrid Gilberto] Only Trust Your Heart
(12) [Helen Humes] Blue And Sentimental
(13) [Betty Carter] My Favourite Things
(14) [Nina Simone] Don´t Explain
(15) [Shirley Horn] Just In Time
(16) [Morgana King] If You Could See Me Now

Jazz Legends - In The Wee Small Hours


(01) [Johnny Hodges] Passion Flower (Aka A Flower Is A Lovesome Thing)
(02) [Illinois Jacquet] It s The Talk Of The Town
(03) [Erroll Garner] I ll Never Smile Again
(04) [Toots Thielemans] Laura
(05) [Dizzy Gillespie] Chelsea Bridge
(06) [Coleman Hawkins & Ben Webster] Tangerine
(07) [Benny Carter] Street Scene
(08) [Wes Montgomery] It Was A Very Good Year
(09) [Lester Young With The Oscar Peterson Trio] I Can t Get Started
(10) [Bill Evans & Jim Hall] All Across The City
(11) [Roy Elridge] Willow Weep For Me
(12) [Lionel Hampton] The High And The Mighty
(13) [Gerry Mulligan Sextet] In The Wee Small Hours Of The Morning
(14) [Oscar Peterson] A Child Is Born
(15) [Stuff Smith] I Wrote My Song
(16) [Stan Getz] I Remember Clifford
(17) [Kenny Burrel] Were You There

Jazz | APE (EAC Rip) + CUE Files: 880 MB | MP3 - 320 kbs: 450 MB

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APE
Part1 | Part2 | Part3 | Part4 | Part5 | Part6 | Part7 | Part8 | Part9 | Part10

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Part1 | Part2 | Part3 | Part4 | Part5

Perfect Relaxation

CD1
[01]. Satie - Gymnopedies
[02]. Satie - Gymnopedies
[03]. Goldmark - Violinkonzert Nr. 1-Andante
[04]. Satie - Gnossiennes
[05]. Mozart - Konzert für Flِte und Harfe-Andanti
[06]. Thuille - Blنsersextett-Larghetto
[07]. Bruch - Violinkonzert-Adagio
[08]. Bach - Sonate Nr. 2-Andante
[09]. Pachelbel - Canon und Gigue D-Dur
[10]. Czerny - Grande Sonate-Adagio
[11]. Schubert - Rosamunde-Zwischenaktmusik

CD2
[01]. Mozart - Sinfonie Nr. 36 "Linzer"-Poco Adagi
[02]. Prokofieff - Sinfonie Nr. 1-Larghetto
[03]. Mozart - Klavierkonzert Nr. 26-Larghetto
[04]. Ravel - Ma mère l'Oye
[05]. Satei - Rêverie du Pauvre
[06]. Rodrigo - Concierto de Aranjuez-Adagio
[07]. Beethoven - Klavierkonzert Nr. 2-Adagio
[08]. Brahms - Violinsonate Nr. 3-Adagio
[09]. Tschaikowsky - Andante cantabile

MP3 VBR kbps including Full Covers

Part1
Part2

Miles Davis - The Legendary Prestige Quintet Sessions [Box Set]

What you get on Legendary Prestige Quintet Sessions is a rather unwieldy four-disc box set (in a longbox; remember those?) containing the complete recordings of the Miles Davis Quintet with Red Garland, Paul Chambers, John Coltrane, and Philly Joe Jones recorded for Prestige, and remastered and repackaged according to chronology rather than release dates from the albums Miles, Workin', Relaxin', Steamin', Miles Davis and the Modern Jazz Giants, and Cookin'. The fourth disc contains radio and television appearances which have never been released before. The first four tracks are from the Tonight Show in 1955, with Steve Allen as he gives two different spoken intros that are fine to hear once, but a drag after that (and one wonders what Miles must have thought of them), and result in two quintet performances, "Max Is Making Wax (Chance It)" by Oscar Pettiford and the standard "It Never Entered My Mind." The six cuts are from different live shows from radio broadcasts of live gigs at the Blue Note in Philadelphia in 1956 and the Café Bohemia in New York in 1958. There are two performances of "Walkin," one each of "Four," "Bye Bye Blackbird," and Dizzy Gillespie's "Two Bass Hit." In addition, the second portion of disc four is enhanced and contains Miles solo transcriptions that are suitable for printing, two of "Tune Up" (the original version and the one from the Blue Note gig), and "Four" (both the original studio version and one from Café Bohemia). There is also a transcription of the solo played during "Max Is Making Wax (Chance It)" from the Tonight Show. There is a longbox booklet with a solid essay by Bob Blumenthal and it's full of groovy black-and-white photos. Miles freaks -- and trumpet players, perhaps -- will have to have this, one supposes. But as real bonus material designed to get you to buy the original recordings over again, or unless you're an an audiophile, it's rather difficult to discern the upgraded quality of sound, and seems rather pointless. The high marks are for the music, not the box set itself. ~ Thom Jurek, All Music Guide

Track Listing
-------------
CD1
[01]. Stablemates
[02]. How Am I To Know?
[03]. Just Squeeze Me
[04]. There Is No Greater Love
[05]. The Theme
[06]. S'posin'
[07]. In Your Own Sweet Way
[08]. Diane
[09]. Trane's Blues
[10]. Something I Dreamed Last Night

CD2
[01]. It Could Happen To You
[02]. Woodyn' You
[03]. Ahmad's Blues
[04]. Surrey With The Fringe On Top
[05]. It Never Entered My Mind
[06]. When I Fall In Love
[07]. Salt Peanuts
[08]. Four
[09]. The Theme (take 1)
[10]. The Theme (take 2)
[11]. If I Were A Bell
[12]. Well, You Needn't

CD3
[01]. 'Round Midnight
[02]. Half Nelson
[03]. You're My Everything
[04]. I Could Write A Book
[05]. Oleo
[06]. Airegin
[07]. Tune Up
[08]. When Lights Are Low
[09]. Blues By Five
[10]. My Funny Valentine

CD4
[01]. Steve Allen Intro (11-17-55 The Tonight Show with Steve Allen)
[02]. Max Is Making Wax aka: Chance It (11-17-55 The Tonight Show with Steve Allen)
[03]. Steve Allen Intro 2 (11-17-55 The Tonight Show with Steve Allen)
[04]. It Never Entered My Mind (11-17-55 The Tonight Show with Steve Allen)
[05]. Tune Up (12-08-56 The Blue Note, Philadelphia, PA)
[06]. Walkin' (12-08-56 The Blue Note, Philadelphia, PA)
[07]. Four (5-17-58 Cafe Bohemia, New York, NY)
[08]. Bye Bye Blackbird (5-17-58 Cafe Bohemia, New York, NY)
[09]. Walkin' (5-17-58 Cafe Bohemia, New York, NY)
[10]. Two Bass Hit (5-17-58 Cafe Bohemia, New York, NY)

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6

Love Ballads: Late Night Jazz

Love Ballads: Late Night Jazz collects warm, romantic ballad material from a pretty strong array of artists, including Dave Brubeck, Oscar Peterson, George Shearing, Mel Tormé, Lionel Hampton, Joe Williams, Gerry Mulligan, and more. Although it's better to hear most of these artists' work in its original context, this sampler does an excellent job of creating its intended mood, and it's a pretty strong listen as well. ~ Steve Huey, All Music Guide

(01) [Jim Hall] Sazanami
(02) [Dave Brubeck] Lullaby
(03) [Mel Torme] A Lovely Way to spend an Evening
(04) [Gary Mulligan] My funny Valentine
(05) [Jeanie Bryson] Some Cats Know
(06) [Jacques Loussier] Gymnopedie No.1
(07) [Oscar Peterson] Love Ballade
(08) [Jeremy Davenport] I Thought About You
(09) [Andre Previn] Laura
(10) [Lionel Hampton] God Bless The Child
(11) [Ray Brown] But Beautiful
(12) [George Shearing] How Beautiful is Night
(13) [Joe Williams] Here's to Life

Jazz | APE (EAC Rip) + CUE Files: 340 MB | MP3 - 320 kbs: 170 MB

Archives have 5% of the information for restoration

APE
Part 1 | Part 2 | Part 3 | Part 4

MP3
Part 1 | Part 2

EL CABRERO-Fandangos Calañeses

EL CABRERO-Fandangos Calañeses

| Flac-178 MB | Mp3-68 MB | 2005 | Flamenco | Flameupload |

Listado:

01. Calaña, viva Calaña (Fandangos de Calaña)

02. Calaña ya no es Calaña (Fandangos de Calaña)

03. Labrador de tierras altas (Fandangos Viejos)

04. El canto de la perdiz (Fandangos de Alosno)

05. A las claritas del día (Fandangos Naturales)

06. Sé la hora por el sol (Fandangos de Huelva)

07. A mi me llaman Cabrero (Fandangos de Alosno)

08. Sus hermanos lo devoran (Fandangos)

09. Es la que me dió la vida (Fandangos por Palanca)

10. Andalucía, qué mal vives (Fandangos)



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New Voices

Credits to 'Apca'

Excelent choice of female jazz singers. Came with March 2008 issue of „Musica Jazz“ magazine.
[01]. Stacey Kent - This Can't Be Love [03:07]
[02]. Terez Montcalm - L.O.V.E. [03:45]
[03]. Roberta Gambarini - Smoke Gets In Your Eyes / All The Things You Are [05:50]
[04]Cristina Zavalloni - Trilha dos caranguejos [04:56]
[05]. Jamie Cullum - You And The Night And The Music [04:09]
[06]. Mina Agossi - Aloe [03:40]
[07]. Anne Ducros - Easy To Love [03:22]
[08]. Susi Hyldgaard - Baby. It's Cold Outside [03:56]
[09]. Ada Montellanico - L'alba di un incontro [05:45]
[10]. Nils Landgreen - Speak Low [04:35]
[11]. Stacey Kent - Dream Dancing [04:19]
[12]. Sara Lazarus - Taking A Chance On Love [04:10]
[13]. Carla Marcotulli - I'm Through With Love [04:09]
[14]. Silvana Deluigi - Sobre la tierra (Out Into The Fields) [02:50]
[15]. Rigmor Gustafsson - Always Something There To Remind Me [02:22]
[16]. Maria Joao - Fado [05:33]
[17]. Solveig Slettahjell - I Do [02:57]
[18]. Olivia Sellerio - Me gustan los estudiantes [04:55]


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Sundays Are For Jazz 1

This CD sampler from the Triloka label includes 12 mainstream jazz selections specifically picked as perfect background music for a quiet Sunday morning. Among the highlights are "I'll Keep Loving You" performed by Freddie Redd, "My Funny Valentine" by Ritchie Beirach, "Flamenco Sketches" by George Coleman, and "Summertime" by the Andy Laverne Quartet. ~ Al Campbell, All Music Guide

(01) [Summertime - Andy Laverne Quartet] Summertime - Andy Laverne Quartet
(02) [Flamenco Sketches - Richie Beirach & George Coleman] Flamenco Sketches - Richie Beirach & George Coleman
(03) [Three Graces - Jeff Beal Quartet] Three Graces - Jeff Beal Quartet
(04) [Sunday Song - Richie Beirach] Sunday Song - Richie Beirach
(05) [Lonely - Dave Kikoski] Lonely - Dave Kikoski
(06) [Some Other Time - Richie Beirach] Some Other Time - Richie Beirach
(07) [For B.C. - Richie Beirach and George Coleman] For B.C. - Richie Beirach and George Coleman
(08) [Someday My Prince will Come - Andy Laverne Quartet] Someday My Prince will Come - Andy Laverne Quartet
(09) [My Funny Valintine - Richie Beirach] My Funny Valintine - Richie Beirach
(10) [I'll Keep Loving You - Freddie Redd] I'll Keep Loving You - Freddie Redd
(11) [For Miles - Jeff Beal Quartet] For Miles - Jeff Beal Quartet
(12) [Presistant Dreams - Dave Kikoski] Presistant Dreams - Dave Kikoski

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Ganjineh Volume 1- 4 CD

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Miles Davis - Miles in the Clouds

[01].Move
[02].My Man's Gone Now
[03].Springville
[04].Here Come De Honey Man
[05].The Jitterbug Waltz
[06].It Ain't Necessarily So
[07].Miles Ahead
[08].My Ship
[09].New Rhumba
[10].Gone,gone,gone
[11].Gone
[12].Blues for Pablo
[13].Wild Man Blues
[14].The Duke
[15].I Don't Wanna Be Kissed (by Anyone But You)
[16].Bess, You is My Woman Now
[17].There's A Boat That's Leaving Soon for New York
[18].Poem for Brass
[19].Godchild

MP3 VBR kbps; including Full Covers

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Sara Lazarus with Bireli Lagrene's Gipsy Project - It's All Right With Me

Sara Lazarus is in no hurry. After the Delaware-born French emigré won first prize at the 1994 Thelonious Monk International Jazz Competition, she waited over a decade to record her debut, 2005’s Give Me the Simple Life. To the benefit of jazz listeners, she didn’t wait long to record a followup: It’s All Right With Me finds the singer once again taking her time and making every word count, as if to imbue each syllable with the deepest possible meaning. The result is a fresh take on classic songs that avoids overindulgent flashiness.

Like her debut, which covered the well-worn theme of love, It’s All Right With Me recalls the Frank Sinatra concept albums of yesteryear. Francis Albert Sinatra & Antonio Carlos Jobim (Warner Brothers, 1967) comes to mind, but instead of bossa nova, Lazarus has opted for gypsy-influenced jazz, finding ideal support in Bireli Lagrène's Gipsy Project.

Lagrène's group owes an inescapable debt to Django Reinhardt, but his mastery of Reinhardt's buoyant sound is crucial to the album's success. Lagrène, who joined Lazarus for three cuts on Give Me the Simple Life, is an impressive virtuoso guitarist who liberally embellishes his solos with arpeggiated lines, flourishes and fast runs. His chops-oriented methodology is the perfect counterpoint to Lazarus' simpler melodic approach.

This does not mean that a technical weakness accounts for Lazarus' straightforward style. "Down With Love" demonstrates that she can deliver an emotionally rich performance at a fast tempo without succumbing to superfluous scat-singing. Likewise, Lagrène's contributions are not merely decorative; for example, his solo on "In the Wee Small Hours of the Morning" is typically ornate, but also suffused with much feeling.

The inclusion of a French ballad ("Dans Mon Ile"), along with exquisite string arrangements on three tracks, add elegance and variety to an already lovely album. At her own pace, Sara Lazarus has embarked on an impressive recording career; if she has more albums in her like It's All Right With Me, she can take all the time she needs.

Track listing: Gypsy in My Soul; Taking a Chance On Love; What a Little Moonlight Can Do; Embraceable You; It's All Right With Me; Dans Mon Ile; Deed I Do; Down With Love; Jim; The Way You Look Tonight; In the Wee Small Hours of the Morning; Cheek to Cheek.

Personnel: Sara Lazarus: vocals; Bireli Lagrène: guitar; Hono Winterstein: guitar; Diego Imbert: double bass; Andre Ceccarelli: drums; Raymond Gimenes: arrangements.

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Tomatito - Guitarra gitana (Gypsy Guitar)

With this record, Tomatito achieved the greatest flamenco success in 1997. Laden with tangos and bulerías, and surrounded by great artists like Dieguito, Remedios Amaya, Raimundo Amador and Jorge Pardo, among others, it enjoyed a great reception, both by critics and in terms of sales. Tomatito presented this record on the most important stages in Spain and throughout the world.

Tomatitos's 'Guitarra gitana' (Gipsy Guitar) was the most successful flamenco album in Spain in 1997. Tomatito opens new paths in flamenco music in this album, with the help of Remedios Amaya, Raimundo Amador, Potito, Jorge Pardo...

1. Mundi Rumba
2. Amargo amanecer Tangos
3. Rincones de Lolés Bulerías
4. La Cuesta La Calí Minera
5. Al tío Juan Habichuela Soleá
6. A mi manera Tangos
7. La destemplá Bulerías
8. La Ardilla Alegrías
9. Montoya (Rondeña) Rondeña

Tomatito: guitar.
Guitar: Raimundo Amador, Juan Carmona & Paquete.
Voz: Dieguito, Remedios Amaya, Chonchi & Potito.
Percusión: Antonio Carmona & Ramón Porrinas.
Bajo: Antonio Ramos.
Violín: Bernardo Parrilla.
Flauta: Jorge Pardo.

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Sami Yusuf - Asma'u Allah 'H.Q'

Sami Yusuf's 'Asma'u Allah'. The words of the song are praising Allah, it is taken from the Quran where all the 99 Names (attributes) of God are mentioned, called Asma'U Husna.

Lyrics

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Warda - MAWAZINE festival Rhythms of the World '2009'

Warda Al Jazayria, nicknamed the “Rose of Algeria” has a repertoire enriched by over 300 songs, meticulously selected and performs all over the world. Warda was born in 1940 near Paris in Puteaux. Her career started quite early in 1951 as host and singer in the children program that Ahmed Achelaf produced on RTF.

In 1958, her family exiled to Beirut where Warda first performed on stage and met Mohammed Abdelwahab who became her godfather. In 1961, she represented Algeria with two songs that she sang next to Nagat Essaghira, Sabah, Shadia and Abdelhalim Hafez.

In 1972, she flew to Cairo where shortly afterwards she became one of the most renowned Arab singers. Most talented and famous composers offered her customized songs.Ever since, Warda has not stopped singing in the whole world winning gold records.

May 18, 2009 -- The Arab diva Warda Al Jazairia (The Rose of Algeria) performed, on Saturday evening in Rabat, a memorable recital in front of a large audience who came to attend the artist’s first participation in the 8th edition of the Mawazine Festival. On the occasion, the famous singer received a distinguished official and popular homage. On the instructions of King Mohammed VI, Mohammed Mouatassim, Adviser of the Sovereign, gave the Diva of Arab song the badge of honor: the Alaouite Ouissam of the Order of Commander. Mr. Mouatassim also awarded the artist a certificate of merit and recognition. Fans, belonging to different generations, reserved an enthusiastic welcoming for the diva who was greeted with applause and a true standing ovation. On her part, Warda performed, with grace, her best hits, mainly songs which won great success in the nineties of the last century: “Harramt Ahibbak” and “Batwanness Bik “awoke sweet memories.

Warda is one of the rare Arab singers who are capable of going beyond the linguistic and musical borders symbolizing a complementarity between the Maghreb and the Machreq. Warda was born the youngest of five children near Paris in Puteaux in 22 July 1940. Her father, Mohammed Ftouki was one of the first Algerian immigrants to France, ran a hotel for migrant workers at Boulogne-Billancourt and then became the owner of an Arabic music cabaret in the Quartier Latin called the Tam-Tam (named after the three initials of the three Maghreb countries, Tunisia, Algeria, and Morocco). Warda's mother was a Lebanese born in Beirut in a Muslim family of good social position called Yamout. She had taught Warda every Lebanese song of some importance. Thus the girl's liking for the Middle Eastern song had developed. Warda has always brought joy and pleasure, through her art, talent and magical voice, to her many fans and admirers across the Arab world and globally through more than 300 carefully chosen songs and with concerts booked all over the world.

DSRip | 2009 | 65 minutes | XviD 512 x 384 | Audio 128 Kbps | 760 MB |

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Liu Fang - The Sound of Silk (FLAC)

Liu Fang has an extraordinary focused, poised presence in her manner and her playing. In a lesser player this is just a trained formality; the body of material and techniques for her instruments is extremely highly developed, passed down through centuries. But Liu Fang’s total devotion to her playing has moved her beyond perfect execution to the creativity and flexibility that marks a true musician.

Liu Fang has an extraordinary focused, poised presence in her manner and her playing. In a lesser player this is just a trained formality; the body of material and techniques for her instruments is extremely highly developed, passed down through centuries. But Liu Fang’s total devotion to her playing has moved her beyond perfect execution to the creativity and flexibility that marks a true musician. Liu Fang, born and educated in Yunnan province of southwest China and now resident in Montreal, is best known as one of the world’s leading players of pipa, the dry-toned, teardrop-shaped Chinese four-string lute. Her occasional British performances have included a rain-soaked, noise-pollution afflicted one at Reading Womad a couple of years ago in which her concentration and undistracted excellence brought deserved acclaim from a dripping but entranced audience. Less known is her command of the less air-portable guzheng, the Chinese long-zither that is the parent to a family widespread in east and central Asia including the Japanese koto. Its strings – nowadays usually 20-25, each running over a movable bridge – are tuned to the appropriate mode, but in the tradition those notes are considered dead, meaningless, until animated by bends and vibrato achieved by the player pressing on the non-sounding lengths of the strings behind the bridges. Whereas in most of her recordings on the Philmultic label Liu Fang concentrates on pipa, for this elegantly packaged release on French label Accords Croisés three of the eleven tracks are guzheng solos, adding variety and giving a wider view of her musicianship. All the rest are pipa-led: four solo, two duets with Ballaké Sissoko’s kora, two with Henri Tournier on Indian bansuri transverse flute, and one with Algerian oud player Alla. She has an extraordinary focused, poised presence in her manner and her playing. In a lesser player this is just a trained formality; the body of material and techniques for her instruments is extremely highly developed, passed down through centuries. But Liu Fang’s total devotion to her playing has moved her beyond perfect execution to the creativity and flexibility that marks a true musician. The duets here are based on traditional themes but are improvising dialogues. For me those with the kora, one based on a Songhai melody from Mali, the other on a traditional tune from Kanding in southwest China, have the most direction, flow and balance between the players, whereas while the oud and bansuri enrich the tone-colour palette those pieces seem rather more tentative. The album has the sort of airy, reflective sound the instrumentation suggests, but there are bursts of wildness, particularly in the pipa solo The Dragon Boat, a modern piece composed in the 1960s by Lin Shicheng based on three folk tunes, in which Fang uses techniques of scratching, damping, aggressive rasqueado and fast tremolo (the latter involving an extraordinarily disciplined rippling of all five picking fingers).

1. High mountains and rippling waters (Guzheng solo, classical tradition) 2. Jasmine flowers (guzheng and bansuri) 3. The King Chu doffs his armour (pipa solo, classical tradition) 4. Primary meeting (pipa and kora) 5. The dragon boat (pipa solo) 6. Gold-embroidered tapestry (guzheng solo) 7. Kangding love-song (pipa and kora) 8. Autumn moon over the calm lake (guzheng solo) 9. Light wind in a cloud of falling snow-flakes (pipa and bansuri) 10. Autumn moon over the Han imperial palace (pipa solo) 11. A walk in the country of dreams (pipa and oud) Liu Fang: pipa, guzheng Alla: oud Ballake Sissoko: Kora Henri Tournier: Bansuri

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Subhankar Banerjee - The Tabla Series (FLAC)

Amongst his most celebrated performances have been those at the Fiftieth Anniversary celebrations of Pakistan and the Nobel Peace Prize Awards in Oslo.

At the age of five this musical wonder kid was placed under the tutelage of Shri Swapan Shiva, celebrated artiste and teacher of the Farukhabad Tabla Gharana. Since then he has been dedicating himself to the study of tabla, successfully absorbing material from maestros belonging to other Gharanas and traditions of tabla playing. He received awards in his early age from celebrities like Satyajit Ray, Pandit Ravi Shankar and the President of India in 1987. Training in vocal music from his childhood made him a competent singer as well as a sensitive and sympathetic tabla accompanist. In addition to being a reputed soloist, Subhankar is one of the most popular accompanists for many of the prominent musical celebrities of India including Pt. Hariprasad Chaurasia, Pt. Ravi Shankar and Pt. Shivkumar Sharma. Over the last twenty years he has maintained a highly demanding schedule, annually clocking up thousands of miles and reaching all corners of the globe. Amongst his most celebrated performances have been those at the Fiftieth Anniversary celebrations of Pakistan and the Nobel Peace Prize Awards in Oslo.

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Vijay Ghate - The Tabla Series (FLAC)

Vijay has been performing since the age of sixteen and has toured worldwide with most of India's prominent musicians. As an accompanist he is a favourite with many of India's leading players including Hariprasad Chaurasia, Shivkumar Sharma, Kala Ramnath and Shahid Parvez.

Vijay Ghate is considered to be one of the most outstanding tabla players in the modern era of North Indian music. Born in Jabalpur, Madhya Pradesh, Vijay showed an early inclination for rhythm which was fostered by his family. He moved to Mumbai to study with Pandit Suresh Talwalkar, an icon amongst tabla players of India, and one the most progressive and profound thinkers on tabla playing. Vijay has been performing since the age of sixteen and has toured worldwide with most of India's prominent musicians. As an accompanist he is a favourite with many of India's leading players including Hariprasad Chaurasia, Shivkumar Sharma, Kala Ramnath and Shahid Parvez. He is equally comfortable as a soloist as well as an accompanist to instrumentalists, vocalists and Kathak dancers, having a huge stock of repertoire, and a capacity to improvise and to play spontaneously according to the situation. As a soloist, he brings to the stage a distinctive vibrant energy which enhances both his creativity and technical acumen. For his solo repertoire Vijay draws on compositions and inspiration from all of the traditional six gharanas (major tabla schools) in his performance.

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Jiang Ting - Dance (FLAC)

As with Jiang Ting's first recording, Dance was recorded in the same Italian church situated on a mountain in the countryside near the medieval town of Lucca. However, unlike her first album, which was recorded at 96 kHz, this new release was recorded at 176.4 kHz with 24 bit resolution technology. For this new recording as well, she acquired a new Pipa which is richer in harmonics.

"Dance" is the second album by Chinese Pipa virtuoso Jiang Ting. More accessible than her solo debut on MA ("Voice of the Pipa" - M061A), the album includes some of the most famous music in contemporary Chinese culture, including a unique duet arrangement of "The Olive Tree", the 1970's movie theme known to virtually every modern Chinese. In this recording Jiang Ting also makes her singing debut, the lyrics as follows: Don't ask where I come from, my hometown is far away Why do you room, roam so far? For the little birds flying In the sky For the softly flowing streams In the mountains For the broad grasslands I roam, roam so far And for the olive tree, The olive tree in my dreams Don't ask where I come from, my hometown is far away Why do you roam, roam so far? For the olive tree in my dreams As with Jiang Ting's first recording, "Dance" was recorded in the same Italian church situated on a mountain in the countryside near the medieval town of Lucca. However, unlike her first album, which was recorded at 96 kHz, this new release was recorded at 176.4 kHz with 24 bit resolution technology. For this new recording as well, she acquired a new Pipa which is richer in harmonics. Finally, but just as important, is the guest appearance by Jia Pengfang, the famous Er Hu/Chinese violin player who lives & concertizes in Japan.

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Jiang Ting - The Voice of the Pipa (FLAC)

Voice of the Pipa is Jiang Ting`s first recording outside of China, where her debut was released in the late 1990`s. The project was recorded in a small church, “Chiesa di S. Colombano” in the mountains outside the beautiful city of Lucca, in the Toscana region of Italia.

With a history of more than 2000 years, the Chinese Pipa is one of that culture`s oldest and most elegant instruments. When first seen in China, (having arrived from India by way of the Silk Road sometime during the Han and Tang Dynasties), the Pipa, being a plucked instrument, was verbally described to sound like “pi~pa~pi~pa.”. Originally round, the Pipa was a highly regarded instrument of the court. Over the centuries however, with influence from Iran, the current pear shape evolved and the Pipa became more widely accepted and heard in entertainment and ritual genres outside the court. While the four strings, tuned A D E A, were originally made of silk, the modern 3 octave Pipa uses steel strings, allowing for more projection and volume. The number of frets has increased over the years, the most common Pipa now having 26 frets and 6 ledges. The frets are very deeply cut, allowing for the player to bend notes by depressing the strings, as opposed to bending them sideways as in western guitar performance. The modern player, almost always female, uses her nails, (now almost always artificial) in performance techniques that have evolved over the centuries to include 1) Backward and forward four finger tremolo strumming 2) Harmonics 3) Pizzicato 4) Fretted pitch bending The shallow body of the Pipa is made of hollowed out, varnished teak, while the soundboard is made of wutong wood (firmiana plantanifolia). There are two tuning pegs on each side of the neck, the top of which is almost always carved, depicting a flower, dragon head, phoenix tail, bat or other abstract design. In contemporary performance, the Pipa is perpendicularly placed on the left part of the seated performer`s lap, while the neck and head are positioned close to the performers left ear. More ancient practice dictates a more horizontal positioning of the instrument. Of Chinese heritage, Jiang Ting was born in Inner Mongolia in the beginning of the 1970`s. Her Pipa studies commenced when she was seven years old, her first teacher being her mother. At the age of ten, she went alone to Beijing to continue her studies, starting in the primary school associated with the Central State Conservatory. In 1996 she won first prize in the national Pipa performance contest, receiving her Conservatory graduation certificate in 1997. Since July 1997, Jiang Ting been living in Japan where she has performed with orchestras, on television and continues to concertise throughout the country. “Voice of the Pipa” is Jiang Ting`s first recording outside of China, where her debut was released in the late 1990`s. The project was recorded in a small church, “Chiesa di S. Colombano” in the mountains outside the beautiful city of Lucca, in the Toscana region of Italia. Explainations of the Pieces: "A Bride Beyond the Great Wall" (ancient traditional) This old piece is based on the famous story of Wang Zhaojun, a woman who lived during the Han dynasty who was sent to 'Sai-wai' (the northern frontier beyond the Great Wall) to marry for political reasons, with a king of the nomadic 'Xiongnu' tribe. Wang Zhaojun is famous as one of the 'Four Beauties' of ancient China and was also very good at playing the pipa. The story goes that she missed her family and played the pipa every night, longing for her hometown. The tune deeply expresses the loneliness she experienced during her life in cold 'Sai-wai.' "Pleading" - from "Ballad of Pipa" (composed by Wu Houyuan) A long epic poem, "Ballad of Pipa" is a masterpiece by Bai Juyi who lived during the Tang dynasty. This ancient tale depicts an old woman who was once famous for her pipa performance in the Emperor's Court, However, her status is diminished and she deplores her own existence while solemnly playing her pipa alone. Bai Juyi, who was in the depths of political despair, associated her music with her own life. Wu Houyuan was deeply impressed by this poem and composed "Pleading." Mr. Wu, an accomplished pipa player, was quite successful in utilizing the pipa's characteristic technique in this work. "The Spirit of Calligraphy" (composed by Chen yi) This is a modern pipa composition written in the late 20th century. Ms. Chen tries expressing the spirit of Chinese calligraphy thru completely different artistic measures - pipa music. 'Kai-shu,' a type of Chinese calligraphy, consists of eight ways of writing with the Calligrapher's brush holding, raising, suspending, subduing, softening, strengthening, unhurrying, and hurrying. Each of these writing "features" is expressed through various playing techniques of the pipa. "Caprice" (composed by Jiang Ting) Jiang Ting holds her pipa and just plays what crosses her mind naturally. "The Last Hero's Ballad" (ancient traditional) This piece describes the battle between 'Chu' and 'Han' in 202 B.C. At this battle, the unbeatable 'Chu' hero, Xiang Yu, was finally defeated by Liu Bang of the 'Han.' Xiang Yu bade farewell to his beloved Lady Yu and killed himself by the Wujiang River. The atmosphere is tragic throughout the piece, allowing one to vividly imagine the battle field through the many exotic sounds of the pipa. "Green Waist" Dance Music (composed by Yang Jieming) "Green Waist" is a famous dance piece of the Tang dynasty era with the numerous kinds of dance steps expressed through the pipa`s performance techniques.

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EL SEVILLANO- Juerga y bautizo-FLAC

EL SEVILLANO- Juerga y bautizo


|Flac|176 Mb|2006|Flamenco|Carátulas|Flameupload|



01. Juerga y bautizo
02. Muy lejos
03. La niña cojita
04. Por qué mentir
05. En memoria de Chacón
06. Este es mi caliz
07. Perlas del mar
08. Curro vega
09. sin ronear
10. Eso no puede ser

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Musighi-ye Dastgaahi-ye Iran

Type your summary here

1.Zelli(Avvaz-e Abu'ataa)
Rezaa-Gholi Mirzaa-Zelli (1906 – 1945), vocalist and master of Persian radif repertoire was one of the best masters of Persian vocal music. He studied Persian vocal music under the training of Abol-Hassan Eghbaal (one of the greatest masters of Persian vocal music) and Aaref Ghazvini (social activist and one of the greatest tasnif composers in Iran). Zelli played concerts and recorded some pieces of his voice accompanied by instrumentalists such as Moshir-Homaayun Shahrdaar (pianist), Abol-Hassan Sabaa (violin). He passed away at the age of 38.

2.Zarpanje

Yahyaa (Haarun) Zarpanje, Jewish tar player, was born in Tehran, Iran (Persia), about 1897. His father, Rabi’ was a singer and daayere (Persian frame drum) player. His brother, Musaa, was also tar player. Yahyaa started playing tar during his childhood with his brother, Musaa, and then he became the student of the very famous tar and setar player, Darvish Khaan and Aaghaa Hossein-Gholi, the greatest tar player and master of radif repertoire. He was called Yahyaa Kolang (Kolang literally means pick!) by Darvish Khaan because his tar plectrums were very strong and powerful. Yahyaa Zarpanje was very serious practicing tar and everyday he used to play for many hours. He made some trips to Esfahaan, Rasht and Shiraaz (some important cities of Iran) and performed some concerts there, and people loved his music. Fortunately, he recorded some of his tar pieces on gramophone disks. He passed away at the age of 35.

3 and 4 Haaig

Haaig is an Armenian Kamaanche player and in this recording Saashaa Taarkhaaniyaan has accompanied him with Armenian tar on the first side. It is guessed that this record was recorded in the 1930's.

5 and 6Ghamar

Ghamar-ol-Moluk Vaziri, the most famous vocalist of Persian art music, was born in 1905. In childhood she lost her mother while her father had died too, so her grandmother became her guardian. Her grandmother, Molla-Kheyr-on-Nessaa (titled to Eftekhaar-oz-Zaakerin), was singer of the Rozekhaani ceremonies (religious ceremony) and Ghamar accompanied her and participated in the ceremonies. This was her first acquaintance with the Persian vocal music of the Rozekhaani genre. Their house was in the Sangalaj district of Tehran.

When Ghamar's grandmother went to Karbalaa on pilgrimage of Emaam Hossein's shrine; she stayed at the house of her cousin (the wife of Majd-os-Sanaaye') where musical gatherings (Mahfel-e-Musighi) were held, and great masters of Persian music such as Darvish Khaan (very famous master of tar and setar), Rokn-ed-Din Khaan Mokhtaari (composer and master of violin), Haaji Khaan Eyn-od-Dole (very famous master of tonbak) and Shaah-zaadeh Hessaam-os-Saltane (multi-instrumentalist) were playing. Through this, she became more acquainted with Persian music and she was invited in a wedding ceremony where the great master of tar, Mortezaa Neydaavud was invited too.

When she sang in the wedding ceremonies privately, Ostaad Neydaavud played tar and asked her to sing again and she sang again and the Ostaad loved her voice and invited her to attend his class in order to learn the radif repertoire of Persian music. She went to his class and very soon she became one of the best singers of Iran. Their first concert was at the salon of the Grand Hotel about 1924. Then again their second concert was at the Palace Cinema located in the Laalezaar Street of Tehran.

So she became more famous and was acquainted with famous poets and writers of her time. Gradually she recorded many gramophone disks and performed many concerts with the tar of her master and colleague Ostaad Neydaavud and she became more and more famous. What money that Ghamar earned she shared among the poor people and when she passed away in August 5, 1959, she was poor.

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Many thanks to the dovesong foundation for making this master piece available to us.
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The Institut Du Monde Arabe Series [Re-Up]

The Institut du Monde Arabe (IMA) or Arab World Institute (AWI), in English, was established in 1980 in Paris, when 18 Arab countries concluded an agreement with France to establish the Institute to disseminate information about the Arab world and set in motion detailed research to cover Arabic and the Arab world’s cultural and spiritual values. The Institute also aims at promoting cooperation and cultural exchanges between France and the Arab world, particularly in the areas of science and technology, thus contributing to development of relations between the Arab world and Europe. Libya joined the agreement in 1984.

Egypte (Series)
Syrie (Series)
Iraq
Yemen (Series)
Liban
Morocco (Series)
Turquie
Sudan
Algeria
Bahrein
Kuwait

Credits to "King Firas, AmbroseBierce, goldfinger, salahudin ,R & Others..many thanks" =)

Jazz Moods - Jazz at Week's End

Jazz Moods - Jazz & The Sunday Times
Jazz Moods - Morning Cup of Jazz
Jazz Moods - Latin Romance
Jazz Moods - Jazz in the Afternoon
Jazz Moods - Jazz by the Fire
Jazz Moods - Cocktail Party
Jazz Moods - Feeling Sentimental
Jazz Moods - Jazz at Love's End
Jazz Moods - Jazz at Night's End

Concord Jazz was clever enough to realize that there are legions of jazz listeners that use the music as mood music, on occasion. Knowing this, the label compiled a whole series entitled Jazz Moods, designing each disc to fit a specific mood. With Jazz at Week's End, it's a collection of lightly swinging soul-jazz and cool jazz, ideal for relaxation. Some jazz purists may scoff at this idea, but they would likely be satisfied by the music itself, since the disc contains first-class performances from Ernestine Anderson, George Van Eps & Howard Alden, Marian McParland, Jeff Linsky, Hank Jons, Rosemary Clooney, Carol Sloane and Stan Getz, among others. They help make this a substantive collection, as well as one that is entertaining. But the highest compliment one can pay Jazz at Week's End is that it sounds like jazz that should be played at the end of the week. ~ Stephen Thomas Erlewine, All Music Guide

(01) [Ernestine Anderson] Sunny
(02) [Stan Getz] Easy Living
(03) [Hendrick Meurkens] A Summer In San Francisco
(04) [Marian Mcpartland] A Delicate Balance
(05) [Rosemary Clooney] Haven't Got A Worry
(06) [Laurindo Almeida-Carlos Barbosa-Lima-Charlie Byrd] Weekend Cruise To Catalina (07) [Hank Jones] Lazy Afternoon
(08) [Jeff Linsky] Pacifica
(09) [Carol Sloane] Sunday
(10) [George Van Eps & Howard Alden] Blue Skies
(11) [Ali Ryerson] Estate (Summer)

Jazz | APE (EAC Rip) + CUE Files: 310 MB | MP3 - 320 kbs: 140 MB | Covers

Archives have 5% of the information for restoration

APE
Part 1 | Part 2 | Part 3 | Part 4

MP3
Part 1 | Part 2