Le Mystère Des Voix Bulgares - Vol. 2

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Le Mystère des Voix Bulgares Vol. 1
A wonderful example of Bulgarian music, Le Mystere Des Voix Bulgares takes quality to the max. With a marvolous blend of voices and tone colors this music grabs you from the moment you put it in your cd player. I strongly suggest this album which is in many ways, too amazing to describe in words.

(01) [Kaval Sviri (The Flute Plays)]
(02) [Stani Mi, Maytcho (Get Up, My Daughter)]
(03) [Di-Li-Do]
(04) [More Zajeni Se Ghiouro (Ghiouro Marries)]
(05) [Tche Da Ti Kupim Bela Seitsa (I'm Going to Buy You Some White Silk)]
(06) [Ovdoviala Lissitchkata (The Fox Has Lost His Cubs)]
(07) [Messetchinko Lio (You, Little Moon)]
(08) [Ei Mori Roujke (You, Little Roujke)]
(09) [Dragana I Slavei (Dragana's Song)]
(10) [Atmadja Duma Strachilu (revolutionary song)]
(11) [Dve Tourlaski Pesen (Teasing)]
(12) [Trenke, Todorke]
(13) [Besrodna Nevesta (Young Childless Wife)]
(14) [Izpoved (Confession)]
(15) [Ghiore Dos (Teasing)]
(16) [Spis Li, Milke Le (If You Are Sleeping, Milke)]

APE(EAC Rip): 240 MB | MP3 - 320 kbs: 110 MB | Scans

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Miguel de los Reyes - Sevillanas con arte

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Cante: Miguel de los Reyes
Guitarra: José Manuel Roldán
Percusión: Juan Ruiz "Juani"
Bajo: Manolo Nieto
Violín: Alexis Lefevre
Chelo: José Manuel Cote "Toti"
Coros: Diana, Sandra y Hermanas Fernández

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Antoñita Peñuela-Lo mejor de la Copla

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| MP3 320 kbps (94 MB)| Flac (218 MB)| 2006 | Copla | Covers |


[01]. El Ganadero

[02]. La espabilá

[03]. Perla Preciosa

[04]. La agradecida

[05]. Bebí de tus labios

[06]. Cantaora

[07]. A la vera, vera

[08]. Con los bracitos en cruz

[09]. Cautiva

[10]. Camionero

[11]. Tarde de toros

[12]. Vaya un lío

[13]. Los que están fuera de España

[14]. El barrenero

H. Khorram & A.R. Ghorbani - Rosvaye Zamaneh

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Tabla Beat Science

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Quality: 720 x 576 avi



857 MB

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Lovász Irén:Belso Hang

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Quality: mp3 256 kps
Artist:Lovász Irén


Amjad Ali Khan and Sons (BBC live)

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In 1997, the BBC hosted a series of concerts to commemorate the 50th anniversary of India's independence from Britain. These concerts were hosted by Mark Tully, at the time the New Delhi station chief for the BBC. Included in the series are two performances that appear here: a vocal recital by Ajoy Chakraborty and this recital by Ustad Amjad Ali Khan and his two sons. Ustad Amjad Ali Khan has been in the forefront of sarod players for many years. Unlike his father, he has embraced the recording media and modern technology. His web page demonstrates his embrace of modern means of promoting classical music. He is joined by Shafaat Ahmed Khan on tablas. The first piece is in a raga he created to honor Mahatma Gandhi. For the piece he jokingly refers to as "Tigalbandi" (from jugalbandi, duet), he is joined by his sons Amaan Ali Bangash and Ayaan Ali Bangash. The final piece was an impromptu encore.

Hamed Nikpay-Gozar

Posted By MiOd On 12:01 AM 0 comments
At the forefront of experimental music, Hamed Nikpay’s passion for his innovative genre is embedded in his solid knowledge of fundamentals of Persian music, his ability to perform numerous Persian instruments masterfully, and his incisive interpretation and selection of Persian poetry for his songs. These artistic proclivities have enabled him to create musical paragons, which are gripping and much admired by enthusiasts of Persian and world music alike. He learned to sing at a very young age, studying under the tutorship of some of the Masters of classical Persian music. His love of Persian Music motivated him to learn and play many musical instruments revered in the Persian culture -- Tar & Setar, Tanbour, Oud, and Daf, which he plays expertly and soulfully. He has recorded two albums in Iran, performing as a fusion vocalist, and has produced two albums” Solo Passage”, and “All Is Calm” in US. Hamed has performed in numerous concerts before enthusiastic audiences throughout Iran, Asia, Europe and U.S. His mesmerizing voice has earned him the reputation of being 'One of Iran's Best Young Vocalists' among both American and Iranian audiences. He was one of the first and few artists who showed his solidarity with the Iranian men and women who have put their lives in the harms way for freedom and democracy. The song entitled “The Owner of this Land—Maaleke een Khaak” written and performed by him for this occasion, has received much popularity for its originality and its soulful rendition.

Ostad Elahi - Paths of Divine Love

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A well-known and respected theologian, Ostad demonstrated remarkable erudition in the subject of mysticism. Thoroughly versed in mystical trends and movementsand a foremost specialist of the Ahl-e Haqq—a mystical order in which his father was an eminent personality—what is perhaps most striking is how Ostad would combine his scholarly approach with a rigorous practice on the path of spiritual perfection. As a master musician, Ostad’s extraordinary skills were equaled only by the humility and depth of his character. Without ever seeking the admiration of his fellow musicians, his technical virtuosity and seemingly endless creativity essentially renewed and transcended the age-old tradition of the tanbour.Though music played an essential part in his life (he would devote several hours to it each day), he never considered music as a means of acquiring fame, but rather as a medium for meditation and a language for prayer.


Persian Sufi Music - Remember of Rumi.rar

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bitrate:128 kp3
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Inside Afghanistan Deden bhattacharya

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This is a great flokloric and instrumental collection of music from Afghanistan.This albums takes the listener to the heart of musical life of Afghanistan, the life of improvised musics, musics that are inspired by heart.


Hossein Alizadeh - Soroode Gol

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Hossein Alizadeh is one of Iran's leading classical composersand musicians. A virtuosic player of the six-stringed Persian tar, four-stringed Persian sehtar and eleven-stringed Azeri tar, Alizadeh has continued to extend the musical traditions of his homeland. In addition to composing orchestral pieces such as "Riders of the Plains of Hope," "Revolt," "Hey Nava," "Torkaman," "Raz-O-Niaz" and "Song of Compassion," Alizadeh has recorded the entire "Radif,"based on an interpretation by. Mirza Abullah. source:m Music Guide


Charukesi: raga

Posted By MiOd On 4:04 AM 0 comments

I was looking at various indian rags and I found a few wonderful audio files that I thought I share with you guys.

Charukesi (pronounced Chārukēsi, Devanagari चारुकेसि, tamil சாருகேசி) is a rāga in Carnatic music (musical scale of South Indian classical music). It is the 26th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.Charukesi is known to incite feelings of pathos and devotion in the listener. source:wiki

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Enjoy Chinese Classical Music [6CD Box Set]

Posted By MiOd On 11:10 PM 0 comments
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Chinese culture has a long history of unparalleled deep inside, on the basis of incubation of the Chinese classical music throughout the Teana is a long time. China Record Corporation, a large number of singing in the music library of classical music, selected from the Han, Wei and Six Dynasties, Tang, Song, Yuan, Ming and Qing six ancient music CD, into a few of today's classical music in China, "General History" .

。 This works after the first selection of the first, all the representatives of each dynasty for, and every domestic capital for today's concert of classical music for the famous ghost.。 Therefore, regardless of their classical music as a professional research were to listen to, or as a general appreciation of music lovers, this beautifully packaged gift collection can be installed are treasures.

Track Listing


CD1 - Pre-Qin, Han, Wei and Six Dynasties

[01]. Chu providers (乙bells and band)

[02]. Ai Ying (Xun and guqin)

[03]. water (guqin)

[04]. Yuan Q wave (乙bells and band)

[05]. (xun and band)

[06]. Audio track

[07]. Orchids 07 (guqin with bells)

[08]. Three Variations of Plum Flowers (guqin)

[09]. (guqin)

[10]. Guanglingsan (guqin)

[11]. Original hunting plan (bone whistle with the band)

CD2 - Tang

[01]. Chun-ying twitter (ensemble)

[02]. dump Cup Coral (string music)

[03]. Caesar Jinsha (ensemble)

[04]. Costume in the first sequence (ensemble)

[05]. Yang Guan Triassic (Koto Ensemble)


[07]. Lisao (Koto Solo)

[08]. After the court to spend 08 Yushu (song)

[09]. Wang Zhaojun (zheng ensemble)

[10]. Willow Spring (Ensemble)

[11]. Pan-Dragon (flute solo)

[12]. Jian-browser from pistachio (zheng solo)

[13]. liquor beard (Ensemble)

[14]. desert sentiment (wicker horn and orchestra)

[15]. Qin Destroys the Formations (Chimes Band teams with the song)

CD3 - Song

[01]. Xiaoxiang Shuiyun (Koto Solo)

[02]. Li Xi Mei Order(ensemble)

[03]. Heng Fa Tin Ying (word transfer songs)

[04]. Yumei the (ensemble)

[05]. Unfortunately, red (ensemble)

[06]. Yin drunk to Pieces (word transfer songs)

[07]. subtle fragrance (ensemble)

[08]. Shu-Ying (ensemble)

[09]. Nine 09 more.Chu tune (tune songs word)

[10]. pt stroke (ensemble)

[11]. strokes (ensemble)

[12]. Yangzhou slow (word transfer songs)

[13]. Changting resentment slow (ensemble)

[14]. The more business side of transfer (transfer songs words)

[15]. sulphureum Liu (ensemble)

[16]. Tsui House 16 Yin (word transfer songs)

[17]. miserable offenders (ensemble)

[18]. Yin autumn night (word transfer songs)

[19]. ancient resentment (ensemble)

[20]. Shek Wu Xian (ensemble)

CD4 - Million

[01]. Haiqing Helena Swan (pipa solo)

[02]. Ying Huang Yin (guqin. Xiao. Pipa)

[03]. Pomegranate

[04]. Naxi ancient music. Baisha fine music divertimento (the band and music)

[05]. sinus injustice moth (guqin. Xiao. Pipa)

[06]. "transfer Zhugongdiao Dong X. Lean on a railing of people wrapped around the" [the United States and China and the United States] [Dasheng music] (aria)

[07]. "Tianbao Samgukyusa Zhugongdiao tune.Ma Jian"(aria)

[08]. "Nine-palace Dacheng" [[nine children to] four to five to six switch (aria)

[09]. "Old Tongguan" (Yuan Dynasty)

[10]. "meta-do-lin Hiroki" [would like to double the] (singing earned)

[11]. "Thoughts in Autumn. From the feast Pavilion" (Yuan Dynasty)

[12]. "Tsui" (Yuan Dynasty)

[13]. "West title" [18 pictures] [Annabi Hu] (Yuan Dynasty)

[14]. "sinus injustice moth. Tsam moth" (opera aria)

CD5 - Ming

[01]. Dongting Jingren (guqin. Xiao. Erhu)

[02]. Yangchun (Koto Solo)

[03]. Fisherman's tune

[04]. Resentment (Koto Solo)

[05]. Along the score from Meditation (Koto Solo)

[06]. Perrin (guqin. Xiao. Pipa)

[07]. Chaoyuan song (Koto Solo)

[08]. (Koto Solo)

[09]. Nocturne op (Koto Solo)

[10]. "Pipa Ji" [filial son] (Southern opera aria)

[11]. "Sha mind. Playing Wai" (opera aria)

[12]. "Jade Hairpin.(opera aria)

[13]. Muqam Intermezzo first Dastaan (dance music)

CD6 - Clearance

[01]. Sea & Dragons (ensemble)

[02]. (Koto Solo)

[03]. Recalling the stage Phoenix

[04]. Autumn speech (two-pipe solo)

[05]. Pangyo

[06]. Bank Street Tetraena (string and wind ensemble)

[07]. Note 07 string cable. Voiceless series (ensemble)

[08]. Bury Me High (pipa solo)

[09]. Deep in the Night (Jinghu and Orchestra)

[10]. House of Flying Daggers (pipa solo)

[11]. Note 11 string cable. plate (ensemble)

APE (EAC Rip): 1.7 GB | MP3 - 320 kbs: 900 MB | Booklet Scans

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Favorite Chinese Instrumentals

Posted By MiOd On 10:37 PM 0 comments
Track Listing


[01]. Like Wave Against the Sand

[02]. Singing the Night Among Fishing Boats

[03]. Night (Percussion ensemble)

[04]. Love Song Of The Grassland (Tung hsiao with ensemble)

[05]. Ducks Quacking (Percussion ensemble)

[06]. Love at the Fair

[07]. The Fishing Song

[08]. Happy Reunion

[09]. Chinese Martial Art

[10]. The Flowing Stream

[11]. Spenpadei Folksong

[12]. Autumn Moon

[13]. Moonlight Over the Spring River

[14]. Variation on Yang City Tune

320 kbps including covers

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China Princess Orchestra

Posted By MiOd On 9:30 PM 0 comments
Ayumi Hamasaki Songs Meet Princess China Music Orchestra

Melodies of Ayumi songs are performed on traditional Chinese instruments with a touch of electronic mixing.

[01]. Voyage

[02]. Moments



[05]. Dearest

[06]. No way to say

[07]. vogue

[08]. Fly high

[09]. Boys & Girls

[10]. Ourselves

[11]. M

[12]. HANABI

[13]. Voyage ~Acoustic Version~

192 kbps including full scans


Beautiful Chinese Music

Posted By MiOd On 8:56 PM 0 comments
Shi Fu - The Pond Of Fairy Mother's Abode

You'll definitely love the diversity that this particular album presents – a mixture of cultures and musical styles combined together masterfully, with those grand arpeggios that move out into space, beautiful wooden and stringed instruments, the masterly combination of eastern traditional instruments fused into spatial music and definitely influenced by the world of western classical music..If you heard and loved Chinese Music before, you are in for a special treat with this particular album.

[01]. Moon [wood & stringed instruments]

[02]. Milky Way's Universe

[03]. Jin Wengygong's Bosom

[04]. The Day Falls To Pieces

[05]. Ask For Today's Liquor

[06]. Changed Sentiment

[07]. Yao Chi Shui Yin

[08]. The Immortal Spring Dance

[09]. Fairyland Of The Pink Clouds

Chinese Traditional & Western Classical Fusion ISTINGS

192 kbps including front cover, 1990.


Aires de Huelva

Posted By MiOd On 9:34 AM 0 comments
Aires de Huelva - VA Fandangos

[01]. Calaña ya no es Calaña [El Cabrero]

[02]. Olé viva Huelva [Perlita de Huelva]

[03]. Palos de Moguer [Fosforito]

[04]. El quince te lo dirá [Pepe Marchena]

[05]. Aunque rio entre las gente [Niña de la Puebla]

[06]. Calaña viva Calaña [El Cabrero]

[07]. Piropo a Huelva [Juenito Valderrama]

[08]. Mala cosa es el orgullo Curro Lucena]

[09]. Es la morena que quiero [Fosforito]

[10]. Dos penas [Perlita de Huelva]

[11]. Al oido te canté [Juenito Maravillas]

[12]. Cuando me muera [Manolo Limón]

[13]. Me sorprendió la tormeta [El Cabrero]

[14]. Llegan de Huelva a Sevilla [El Chozas]

|Flac - 180 MB | MP3 - 80 MB| 2005 | Flamenco | Covers |


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Parte 2

Le Mystère des Voix Bulgares Vol. 1

Posted By MiOd On 7:29 PM 0 comments
The Bulgarian State Radio and Television Female Vocal Choir / Le Mystère Des Voix Bulgares

Le Mystère des Voix Bulgares (translated as "The Mystery of Bulgarian Voices") is an album of Bulgarian folk songs performed by the Bulgarian State Radio & Television Female Vocal Choir (who later became better known by the album's title) released on the 4AD label in the UK, the Nonesuch label in the US and on the Philips label in other territories.

The first pressing of the album was the result of fifteen years of work by Swiss ethnomusicologist and producer Marcel Cellier and was originally released in 1975 on his small Disques Cellier label. Ivo Watts-Russell (founder of 4AD) was introduced to the choir from a third or fourth generation audio cassette lent to him by Peter Murphy, singer from the band Bauhaus. He became thoroughly entranced by the music, and tracked down and licensed the recordings from Cellier.

The Mysterious Voices of Bulgaria belong to The National Radio And Television Chorus, the premier women's choir popularized worldwide through the efforts of ethnomusicologist Marcel Cellier. His recordings, issued on various import labels before appearing on Nonesuch, made a big splash in western Europe and the US, cultivating vast new audiences for the group's dramatic adaptations of folk singing styles. Their spine-chilling harmonies, punctuated by whoops and quavers, are presented in full choral arrangements and smaller groups -- duos and trios -- with and without instrumental backing. ~ Myles Boisen, All Music Guide

[01]. "Pilentze Pee" [Pilentze Sings]
[02]. "Svatba" [The Wedding Procession]
[03]. "Kalimankou Denkou" [The Evening Gathering]
[04]. "Strati Na Angelaki Doumasche" [Haiduk Song]
[05]. "Polegnala E Pschenitza" [Harvest Song from Thrace]
[06]. "Messetschinko Lio Greïlivko" [Love Song from the Mountains]
[07]. "Breï Yvane" [Dancing Song]
[08]. "Erghen Diado" [Song of Schopsko] (Lionder)
[09]. "Sableyalo Mi Agontze" [The Bleating Lamb]
[10]. "Prïtourïtze Planinata" [Song from the Thracian Plain]
[11]. "Mir Stanke le" [Harvest Song from Thrace]
[12]. "Schopska Pesen [Diaphonic Chant]
[13]. "Polegnala E Todora" (Love Song)

Flac (EAC Rip): 210 MB | MP3 - 320 kbs: 90 MB | Scans

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Ali Farka Touré - The River

Posted By MiOd On 3:58 PM 0 comments
Toure's second release expands his adventuresome blues-based approach, with a harmonica, sax, and native violin beefing up the sound on several cuts.
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One of the most internationally successful West African musicians of the '90s, Ali Farka Touré was described as "the African John Lee Hooker" so many times that it probably began to grate on both Touré's and Hooker's nerves. There is a lot of truth to the comparison, however, and it isn't exactly an insult. The guitarist, who also played other instruments such as calabash and bongos, shared with Hooker (and similar American bluesmen like Lightnin' Hopkins) a predilection for low-pitched vocals and midtempo, foot-stomping rhythms, often playing with minimal accompaniment.

Touré's delivery was less abrasive than Hooker's, and the general tone of his material somewhat sweeter. Widespread success on the order of Hooker was somewhat elusive, though, as Touré sang in several languages, and only occasionally in English. As he once told Option, his are songs "about education, work, love, and society." If he and Hooker sounded quite similar, it's probably not by conscious design, but due to the fact that both drew inspiration from African rhythmic and musical traditions that extend back many generations.

Touré was approaching the age of 50 when he came to the attention of the burgeoning world music community in the West via a self-titled album in the late '80s. In the following years he toured often in North America and Europe, and recorded frequently, sometimes with contributions from Taj Mahal and members of the Chieftains. In 1990, Touré retreated from music entirely to devote himself to his rice farm, but was convinced by his producer to again pick up the guitar to record 1994's Talking Timbuktu, on which he was joined by Ry Cooder. It was his most well-received effort to date, earning him a Grammy for Best World Music Album, but it was also proof that not all Third World-First World collaborations have to dilute their non-Western elements to achieve wide acceptance. However, Touré found the success to be draining and again retreated to tend his farm.

He didn't release a record on American shores for five years afterward; he finally broke the silence in 1999 with Niafunké, which discarded the collaborative approach in favor of a return to his musical roots. Then, once again, Touré stepped away from the limelight. In 2005, perhaps partly to keep his name familiar to music lovers, Nonesuch issued (for the first time on compact disc) Red & Green, two albums Touré recorded in the early '80s, packaged together as a two-disc set. In the Heart of the Moon was also released in 2005. Touré died on March 7, 2006, from the bone cancer that he had been battling for years; however, he was able to complete one last album before passing. His final album, Savane was released posthumously in July 2006. ~ Richie Unterberger, All Music Guide

[01]. Heygana
[02]. Goydiotodam
[03]. Ai bine
[04]. Tangambara
[05]. Toungere
[06]. Jungou
[07]. Kenouna
[08]. Boyrei
[09]. Tamala
[10]. Lobo
[11]. Instrumental

FLAC tracks(EAC Rip): 360 MB | MP3 - 320 kbs: 160 MB | Covers

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Ustad Amjad Ali Khan - Moksha

Posted By MiOd On 10:38 AM 0 comments
"There is no essential difference between classical and popular music. Music is music. I want to communicate with the listener who finds Indian classical music remote." Amjad Ali Khan
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Moksha is something of an odd affair as far as Ustad Amjad Ali Khan's work is concerned. Though Khan -- the reigning master of the sarod -- is usually more of a traditionalist, this album has eight short tracks rather than one or two long ones. Here, he's pumping out short, fresh compositions based on a set of lesser-known ragas and/or folk music from Bengal. Despite the lack of the long contemplative alaps that are so great, the compositions are still worth hearing. What listeners do get to hear on the album is a set of sparser mood pieces that can still be expressive in their brevity, and a nice showcase of Khan's athleticism on the sarod. The sound moves from light, positive aesthetics through more reflective moods and back. Overall, it's a nice album for newcomers, but a little overly light for those already attuned to Indian classical music. ~ Adam Greenberg, All Music Guide

Moksha is a gem of an album. We have one of the most revered masters of the sarod -- a stringed instrument somewhat smaller than a sitar and derived from the Afghan rubab -- making his music greatly more accessible to audiences outside India not by fusing the music with rock or entertaining other combinations but by the simple expedience of playing shorter ragas (mostly around six or seven minutes long).

The result is pacy, immediate and compelling music driven by a wonderful tabla accompaniment supplied by Rashid Mustafa and defined by Amjad Ali Khan's staccato attack on the Sarod's neck -- for which he is famous. Amjad Ali Khan recalls that his father never played ragas for longer than 20 minutes to avoid repetition and he defends his use of shorter pieces as being complete in themselves.

Songlines memorably called Amjad Ali Khan, "One of the 20th century's greatest master of the sarod..." and the story of the instrument is impossible to retell without relating the history of this musician's family, who are largely responsible for the importation, development and popularity of the instrument in India today.

"This album gives the listener a variety of ragas, including some folk music from two beautiful states of India -- West Bengal and Himachal Pradesh," says Amjad Ali Khan of these eight original compositions. Interestingly, despite composing all the ragas, on two of the tracks, the sarod is played by one of his two sons, Amaan and Ayaan Ali Bangash.

The album ends with the title track, 'Moksha', named after the moment described in Hindu theology when the individual becomes free of the cycle of reincarnation and joins the Supreme Being. This relatively extended raga features the great sarod master singing for the first time on record and marks a fitting end to a series of pieces of music that effectively capture a wide and compelling range of emotions expressed through wonderful compositions.

(01). Sandhya
(02). Vignaraja
(03). Calcutta City
(04). Ebaadat
(05). Maa Durga
(06). Atma
(07). Himaalaya
(08). Mokasha

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Apee (EAC Rip): 430 MB | MP3 - 320 kbs: 190 MB | Booklet Scans

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Aziza Mustafa Zadeh - Jazziza

Posted By MiOd On 5:58 PM 0 comments
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The only female jazz pianist/composer/arranger who understands blending smoothness with rawness and delivers that with both vibrancy and subtlety. Listeners are completely hooked with the first count-off. You will not want to wriggle yourself free from the playful yet elegant offerings on this CD, led by Zadeh's awesome wide-range voice and grasp of dissonance.

[01]. "Lover Man" – 6:37
[02]. "Sunny Rain" – 6:09
[03]. "My Funny Valentine" – 7:46
[04]. "Scrapple from the Apple" – 1:19
[05]. "Character" – 5:57
[06]. "Nature Boy" – 5:55
[07]. "You've Changed" – 5:53
[08]. "Butterflies" – 1:32
[09]. "Black Orpheus" – 8:18
[10]. "How Insensitive" – 5:39
[11]. "Take Five" – 6:58
[12]. "I Can't Sleep" – 4:15


* Aziza Mustafa Zadeh - Grand piano and vocals
* Toots Thielemans - Harmonica
* Eduardo Contrera - Percussion
* Philip Catherine - Guitar

FLAC(EAC Rip): 420 MB | MP3 - 320 kbs: 220 MB | Scans

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Larry Coryell, Badi Assad, John Abercrombie - Three Guitars

Posted By MiOd On 9:57 AM 0 comments
featuring Larry Coryell, Badi Assad, and John Abercrombie
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Combine three guitar masters, each with a lifetime of impressive musical experiences, and you have the ideal ingredients for an eclectic, original trio known as Three Guitars. The group is comprised of Larry Coryell, from the famed '70s fusion group The Eleventh House; Brazil's Badi Assad, whose innovative sound includes mouth and body percussive techniques; and John Abercrombie, one of the most influential guitarists of the last 25 years. Down Beat Magazine gave their debut CD four stars, praising the trio's "graceful flights of acoustic virtuosity."
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Recorded at St. Peter's Church, Chelsea, New York on December 19-20, 2002.

Full performer name: John Abercrombie/Badi Assad/Larry Coryell.

Personnel: John Abercrombie (acoustic guitar); Badi Assad (vocals, ... Full Descriptioncopper flute, kalimba, nylon guitar); Larry Coryell (acoustic guitar).JazzTimes (10/03, p.85) - "...Plenty of high points. Coryell's bright and engaging tunes contrast nicely with Assad's tart pieces and Abercrombie's spacious, shadowy music..."

(01). Seu Jorge E Dona Ica
(02). New Lute Prelude
(03). Niew Lute Interlude
(04). Soundtrack
(05). After The Rain
(06). Descending Grace
(07). Metamorphosis
(08). No Flight Tonight
(09). Ralph's Piano Waltz
(10). Suspended Circles
(11). Exercise In Fourths
(12). Autumn Breeze
(13). Timeless

Ape tracks(EAC Rip): 280 MB | MP3 - 320 kbs: 145 MB | Scans

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Carlos Heredia - Gypsy Flamenco

Posted By MiOd On 7:50 PM 0 comments
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Renown in his community in Sevilla, Spain, Carlos Heredia is the consummate Flamenco guitarist and his ensemble of traditional musicians, including palmas and singers, invigorate the recording with a rich history. This is authentic flamenco - raw and intense.

"Heredia plays flamenco that blends the old and the new, his guitar work rife with emotion and fire" (Vintage Guitar)

[01]. No Quiero Verte [Don't Wanna See You]
[02]. Aires del Poligono [The Ambience of Poligono]
[03]. Raices [Roots]
[04]. Chachipen [Good Things]
[05]. Por Mi Gitana [For My Gypsy Woman]
[06]. De Volao [The Spur of the Moment]
[07]. Cruzando Fronteras [Crossing Borders]
[08]. Duende y Compas [Spirit and Rhythm]
[09]. Tres Mil [The Three Thousand]
[10]. Duquelas [Sorrows]

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Carmen Linares - La Luna en el Rio

Posted By MiOd On 1:19 PM 0 comments
Carmen Linares [Paco Cortés y Pedro Sierra]
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This is an example of "new flamenco." Linares, an important figure in the field, works with young new wave flamenco musicians to mix fairly traditional singing with contemporary approaches to playing style, and at times lyrics from major poets living and dead. ~ John Storm Roberts, All Music Guide

[01]. Bulerías "El Sol, La Rosa y el Niño"
[02]. Taranta y Cartagenera "Del Molinete"
[03]. Soleá Por Bulerías "La Luna en el Río"
[04]. Peteneras "Pasa Una Mujer Llorando"
[05]. Tarantos "La Hierbabuena Se Cría"
[06]. Romeras "La Clara"
[07]. Malagueñas "En Tí Pongo Mi Memoria"
[08]. Bulerías "A Mi Lucía"
[09]. Seguiriyas "Que Dolor en Mi Alma"
[10]. Fandangos "No Siembres en Tierra Mala"

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Estrella morente - Mujeres

Posted By MiOd On 7:37 AM 0 comments
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Estrella Morente is a remarkable young flamenco singer, and this disc, which effectively stands as a tribute to several Spanish singers, is a gorgeous piece of work. Her father, also a famed flamenco singer, has his fingerprints all over the disc. It's a daring record, taking pieces best known in other versions and having her perform them in a different style (and anyone who takes on "Ne Me Quitte Pas" likes a challenge). For someone still young, she has a remarkably mature voice that handles the material with real authority. At the same time, you feel she has yet to realize the full extent of her talent, which means she's going to be a true international figure in a few years. You may not know all those being feted here, but don't worry; simply enjoy Morente's glorious voice instead. ~ Chris Nickson, All Music Guide

[01]. La Joya
[02]. La Gazpachala Repompala Tia Concha
[03]. Zambra
[04]. Chavela, La Noche de Mi Amor
[05]. Vuelvo Al Sur
[06]. Yerma
[07]. Ay Mari Cruz
[08]. Volver
[09]. Nostalgia
[10]. La Perla de Cadiz
[11]. Carmen Linares
[12]. Pastora
[13]. Nina Simone, Nemequitepa

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VICENTE AMIGO - Ciudad de las ideas - video

Posted By MiOd On 4:39 AM 0 comments
Vicente Amigo has been called "the natural continuation of Paco De Lucia". A former child prodigy, Amigo has continued to evolve as a musician and vocalist. In a 1998 interview, Amigo explained, "I believe that flamenco has always been something for adults, not just for children. To understand flamenco, you need maturity. You can learn to play the guitar as a child, you understand the technique. Also, of the singing, you can more or less understand the technique. But, the essence of flamenco is something that requires maturity". Amigo involvement with music began at a very young age. At the age of five, he studied with influential flamenco guitarist Merenque De Cordoba. By the age of fifteen, Amigo was attracting attention as a protege of Paco Pena. Although he launched his professional career as a member of a band, Manolo Sanlucar, Amigo has performed most of his concerts as a soloist. Amigo has also accompanied numerous vocalists including El Pele and Luis De Cordoba and dancers including Javier La Torre and Israel Galvan. Amigo collaborated with singer Jose Merce on an album, "De Amanacer". While flamenco remains the foundation of his sound, Amigo has been equally inspired by the jazz of Stanley Jordan, John McLaughlin and Al DiMeola. ~ Craig Harris, All Music Guide


Vicente Amigo-Collection

Posted By MiOd On 11:51 PM 0 comments

Vicente Amigo has been called "the natural continuation of Paco De Lucia". A former child prodigy, Amigo has continued to evolve as a musician and vocalist. In a 1998 interview, Amigo explained, "I believe that flamenco has always been something for adults, not just for children. To understand flamenco, you need maturity. You can learn to play the guitar as a child, you understand the technique. Also, of the singing, you can more or less understand the technique. But, the essence of flamenco is something that requires maturity". Amigo involvement with music began at a very young age. At the age of five, he studied with influential flamenco guitarist Merenque De Cordoba. By the age of fifteen, Amigo was attracting attention as a protege of Paco Pena. Although he launched his professional career as a member of a band, Manolo Sanlucar, Amigo has performed most of his concerts as a soloist. Amigo has also accompanied numerous vocalists including El Pele and Luis De Cordoba and dancers including Javier La Torre and Israel Galvan. Amigo collaborated with singer Jose Merce on an album, "De Amanacer". While flamenco remains the foundation of his sound, Amigo has been equally inspired by the jazz of Stanley Jordan, John McLaughlin and Al DiMeola. ~ Craig Harris, All Music Guide


Gasparyan - Ask Me No Questions

Posted By MiOd On 10:05 PM 0 comments
Ask Me No Questions showcases self-taught duduk virtuoso Djivan Gasparyan performing folk songs and melodies from Armenian pagan and Christian traditions. The duduk is one of the oldest wind instruments in the world, a cylinder wooden flute dating back as far as 1200 B.C. Its one-octave range forces the player to constantly adjust his fingers and lips to compensate for its inherent limitations. Winner of four gold medals in the worldwide UNESCO competitions, Gasparyan demonstrates an astounding mastery of this technique with warm and soothing results.

Jivan Gasparyan is the most famous duduk player in the world. His music has been much loved and adored for many years in Armenia and recognized throughout the world. Jivan Gasparyan's music travels deep into the roots of Ancient Armenian folklore music. The Genocide of the 1915 and the earthquake of 1988 had a big impact on his repertoire with the release of "I will not be sad in this world" album in 1989. At the same time Gasparyan collaborates with Peter Gabriel and the result was the award-winning music to the famous "Last Temptation of Christ" movie. He also collaborated with artists such as Lionel Richie, Michael Brooks, "Kronos Quartet" and recorded a number of soundtracks for different movies like Atom Egoyan's "Calendar", "Storm and Sorrow".

His "Ask Me No Questions" album once again travels into the deep historical heritage of Armenia. His sad melodies endowed with a beautiful sound of duduk (sometimes without any other accompaniment) are deep, melancholic and touching. Gasparyan includes more folklore in "Song of Gyumri" and "Maidens of karabagh", at the same time his Komitas Suite is a tribute to Vardapet Komitas, the famous Armenian composer who went insane after seeing the atrocities of 1915 genocide carried out by the Ottoman empire.

(01) Intz mi Khuntrir (Ask Me No Questions)

(02) Siro Yerk - Sari Aghcheek (Love Song)

(03) Gumri bar (Dance of Gumri)

(04) Sarer Gaghachem (I beg you, Mountains)

(05) Komitas Suite

(06) Soorp Soorp (Holy, Holy)

(07) Groong (The Crane)

(08) Gumri yerk (Song of Gumri)

(09) Karabaghi aghcheekneroo (Maidens of Karabagh)

(10) Dzidzernag (The Swallow)

(11) Nachnataryan yerk (Pagan chant)

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Paco de Lucia - 12 Exitos Para Dos Guitarras Flamencas

Posted By MiOd On 6:17 PM 0 comments

Ricardo Modrego and Paco de Lucía recorded '12 Exitos para dos guitarras flamencas' in 1966. It consists of 12 tracks as well known as A tu vera, María de la O, Moliendo café, Tangos de la vieja rica, Sevillanas populares, Ojos verdes, La luna y el toro, La niña de Puerta Oscura, La cárcel de oro, No me digas que no and El emigrante.

[01]. Malagueña
[02]. A tu Vera
[03]. María de la O
[04]. Moliendo Café
[05]. Tangos de la Vieja Rica
[06]. Sevillanas Populares
[07]. Ojos Verdes
[08]. La Luna y el Toro
[09]. La Niña de la Puerta Oscura
[10]. La Cárcel de Oro
[11]. No me Digas que No
[12]. El Emigrante

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Ginesa Ortega - Flamenca

Posted By MiOd On 3:10 PM 0 comments
Ginesa Ortega: "This record sounds like today's flamenco and flamenco as it has always been"
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"Flamenca" is a significant return of Ginesa Ortega to her more flamenco roots. The singer offer a variety of eight different flamenco styles, from the seguiriya to the fandango and a cover of the bolero "Dos gardenias".

"Flamenca" is the fourth record by Ginesa Ortega, or the sixth, if we count "Luna entre mimbres" and "Suspiro gitano", two records that the Catalan cantaora (female flamenco singer) recorded when she was fifteen years old and were re-released in 1995 with the title "Rebeldía Gitana", which is difficult to find at present. The title itself already tells the story; this new record is a return to flamenco after fusion and forays into different genres. "Flamenca" is on the same wavelength as "Siento" (1997) and it is a response to the need to periodically return to her roots, to the cante grande (expression used to refer to the more traditional and solemn forms of flamenco singing). We also find essence in the record, which is contributed by Pepe Habichuela with his guitar.

The record's title is "Flamenca". Is it a declaration of intent, a warning, a notice, an invitation?

It is a very sincere title. The title arose before the record itself. First I had the very clear idea that the record should be flamenco, my soul was asking for it. Not to call it flamenco, I gave it the name flamenca because what one is, is a flamenca, not flamenco.

"Flamenca" is on the same wavelength as "Siento", but it features a certain evolution. After "Por los espejos del agua" (2002) my body and soul were asking for flamenco. This seems to be the rhythm, one record is [flamenco] and the next one isn't.

How did the record arise, and how was it shaped?

The recording work was easy, in the sense that during one evening in the studio we recorded four or five soleás and later, with Pepe Habichuela, we picked what we liked best.

However, the whole creative process for the record has been hard work. I came to Madrid last year (2004) looking for musicians who would like to participate in this work. It was the summer and it was a bit difficult to coordinate everything. I had a clear idea of who I wanted to cooperate, but they were not always available. It lasted until April of 2005, which is when I finished it off in Barcelona.

We recorded 14 or 15 themes, and from these, only 9 made the record. I don't know if I have been too demanding, but it did happen that some themes that I thought would be good finally did not suit the record, so that when it was already more or less done, we had to do some things over again.

In "Flamenca", apart from singing, composing the lyrics and some of the music, you are also the producer. What has the experience been like and what sound were you looking for?

In the previous records I was already supervising the production work, but when you produce yourself, it allows you to do what you want. It is a real luxury, because at present the 'marketing' campaigns are so strong for some artists and they are so directed, that I think that it is a privilege to take the reins of our own horse and to ride ourselves. The reality is that producing yourself makes the work heavier, because you are the one who feels the head aches and disappointments. However, the end product is pleasing, because it is what you want.

As for the sound, I don't believe that its sound is too modern. It can't be the case with something as simple as a guitar and a voice, especially if the guitar is Pepe Habichuela's one, in which case the essence must prevail. This is what arose, because the most important thing was to respect the clean, and essential, and masterful sound of Pepe's [guitar playing].

In the cases of José Manuel León or of Paquete, they have also sought their own sound. Event though I was the producer, all the musicians have had the chance to speak and vote. They left the studio knowing what they had left behind.

Possibly the sound of the record, being flamenco, could not have been anything else than today's flamenco and flamenco as it has always been, as I would say.

As a lyric writer, this is not the first time that you have written lyrics for a song, but it is the first time that you compose all the songs on a record…

I have always enjoyed writing, since I was very little. There are two dimensions, one of them is the flamenco dimension, and it is the one that can be heard in the record. To sing them, I always pick very simple lyrics, because I think it is what flamenco requires. There are cantaores who like to talk about computers and things like that, but I believe that flamenco lyrics must be simpler, plainer.

Then I have other lyrics that I never sing, which are more Surrealist.

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Pepe Habichuela and José Manuel León have taken part in your record. Tell us of their contribution and of their work on "Flamenca".

When I came to Madrid I called Pepe and he came, happily, to make a soleá, because it seemed to me that if he took part in a song, the record would be more than accomplished. Then he got enthusiastic and said to me: "come on, I'll accompany you on a fandango!”, “let’s see what a taranta sounds like!...". Thus, it was a pleasure.

And afterwards, most of the themes feature the accompaniment by José Manuel León, from the new school. It is a more recent school, with a different technique and sound, but it also needed to be featured, because if the new school and Pepe's one come together along the paths of music or of flamenco, it is something that should be welcomed.

Antonio Serrano also took part, contributing the harmonica playing on the bolero, the last track on the record. He has worked with all the greats in music. He lends a degree of sensibility to anything he does, the music he makes is very personal.

At some point, you have said that your flamenco is more Mediterranean than southern. Without delving into the issue of different schools, what does this mean?

I don't mean to say that there are two styles of flamenco, or three, or four, but rather that, in my case in particular, I have grown up in Barcelona, and I have never felt the Guadalquivir river on my skin (so to speak). This does not mean that there has not always been an enormous enthusiasm there, since before Carmen Amaya.

I think that we focus our career in a different way, but we are very serious about it. I started off in the peñas (flamenco enthusiasts' clubs), but before carving out a little niche for myself there, I could not go to my Barcelona neighbourhood to listen to a cantaor, as would be the case in Triana (a neighbourhood in Seville with a strong reputation in flamenco), and this meant that I would close myself in my room to listen to all the greatest [cantaores]: Caracol, Terremoto, Juan Talega, Tío Borrico, Tía Anica la Piriñaca, Terremoto, Fernanda, Bernarda, Chocolate… and I used to soak up these records.

Even though I also think that it is a cliché that in the south you can listen to cantaores singing in the style of the siguiriyas of Manuel Torre in any corner, it is true that those of us who are from the east have worked hard to learn, listen to and understand it in a different manner. This is all I mean when I say that my flamenco is more Mediterranean than southern.

[01].Al son del tirititrán
[02].Sueños (Cante de Levante)
[03].Na más lavá (Bulería)
[04].Ecos flamencos (Siguirilla)
[05].Las palabras sobran (Tangos)
[06].Azabache (Soleá por bulería)
[07].Antorcha del alba (Bulería)
[08].Buenos duendes (Fandangos)
[09].Dos gardenias (Bolero)

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Lakshmi Shankar - Les Heures Et Les Saisons

Posted By MiOd On 6:44 PM 0 comments
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Lakshmi Shankar is a Hindustani classical vocalist of the Patiala Gharana. She is known for her performances of khyal, thumri, and bhajans.

Born in 1926, Lakshmi started her career in dancing. In 1939, when Uday Shankar brought his dance troupe to Madras, (recently renamed Chennai), she joined the Almora Centre to learn Uday Shankar’s dance style based on the Indian classics, and became a part of his troupe. She later married Uday Shankar's brother, Rajendra (with nickname Raju).

During a period of illness, Lakshmi had to give up dancing, and already having had a background of Carnatic music, she undertook learning Hindustani classical music for many years under Ustad Abdul Rehman Khan. Later, she also trained with Ravi Shankar, the sitar maestro.

Lakshmi has shown her versatility and adaptability by composing music for Bharatanatyam for the leading dance company Shakti School of Bharatanatyam located in Los Angeles.

(01) [Lakshmi Shankar] Khyal. Raga Ahir Bhairav (tala Ektaal & Teentaal)

(02) [Lakshmi Shankar] Khyal. Raga Dhani (tala Jhaptaal, 10 temps)

(03) [Lakshmi Shankar] Holi. Raga Khafi

(04) [Lakshmi Shankar] Bhajan de Surdas, en brajbhasa, raga Megh

(05) [Lakshmi Shankar] Bhajan de Mira, en hindi, raga Bhairavi

(06) [Lakshmi Shankar] Bhajan de Jugalapriya, en sanskrit

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Mayte Martin - Muy Fragil

Posted By MiOd On 1:06 PM 0 comments
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The first work by the singer in her flamenco version, in which she reveals herself as a cantaora with personality, who differs from other flamenco performers. She refuses to be pigeon-holed as a flamenco artist and flirts with other kinds of music, but critics have recognised that she has an extensive control of flamenco singing (el cante). It is a record with a strong flamenco flavour, featuring the artist´s own themes, in which Joan Albert Amargós (arrangements) and Chicuelo (guitar) take part.

Mayte Martín (born in Barcelona, Spain, April 19, 1965). Flamenco cantaora (singer), bolero singer, and composer. She is widely recognized as one of the most important flamenco voices of her generation. She has also devoted part of her career to the Spanish American genre of bolero.

She started singing as a small child in her family environment, and at the age of 10 she won an amateur singing contest organized by a supermarket. After this, she started performing regularly as an amateur at the peñas flamencas in Barcelona and its outskirts, and became a professional at the age of 16. In the meantime, she acquired a solid knowledge of flamenco styles, mainly by listening intensively to recordings of flamenco cantaores like Juan Valderrama, Manolo Caracol, Camarón de la Isla, Lole Montoya and most of all, Pastora Pavón, also known as La Niña de los Peines. She also received some formal musical training, and practised her skills as a "cantaora de atrás" (singer for flamenco dance).

In 1987 she won the first prize or Lámpara Minera at the Concurso Nacional de La Unión (also known as Festival de las Minas). Two years later, she obtained the Antonio Chacón Prize (bestowed on the best malagueña at the Concurso Nacional de Arte Flamenco de Córdoba). At the same time, she started an international career after being chosen by Peter Gabriel to perform at Womad Festivals. In 1994, she recorded her first album, Muy Frágil, with guitarist Chicuelo and arrangements by Joan Albert Amargós (the later a regular contributor to other well-known flamenco musicians like Paco de Lucía and Camarón de la Isla). In 2000 she published her second flamenco recording, 'Querencia', which was nominated for the Latin Grammy Award to the Best Flamenco Album in 2001.

Although alreadhy well-established as a solo cantaora, she resumed her facet as a singer for dance when she met bailaora Belén Maya in 1996, with whom she has toured the world with the works Mayte Martín + Belén Maya (since 1996) and Flamenco de Cámara (since 2003), winning international critical acclaim.

In 1997, she received the Barcelona City Award, granted by the City Council, and the National Music Award in the category of "Best Flamenco Composer".

In 1993 she started touring with jazz pianist Tete Montoliu, a professional relationship that lasted until Montoliu's death in 1997. Together, they offered a personal view on boleros in their live recording 'Free Boleros', recorded in 1996. In her second bolero recording, 'Tiempo de Amar', (2002), Omara Portuondo appeared as a guest artist in some of the tracks.

In 2005 she celebrated her 30 years as a performing artist at the Palau de la Música Catalana, with a concert entitled 'Mis 30 años de amor al Arte', with which she is now touring Spain and other European countries. This concert, which covers both her facets as a flamenco and bolero singer, was recorded on DVD and will be published in December 2006.

Critics' reviews

"A born artist. [...] An important number of cantaores of the younger generation have been influence by her. Her image is closer to that of Camarón or José Mercé than that of a typical woman cantaora, and she sings flamenco with moving sweetness and deep knowledge of the essence." (José Miguel Gamboa and Pedro Calvo, Guía libre del flamenco, 2001)

"The best female flamenco voice of her generation, undoubtedly; the most complete 'cantaora'. She sings everything, and she sings everything well. At this rate, this 'cantaora' [...] will add her name to the great ones in history." (Ángel Álvarez Caballero, La discografía ideal del flamenco, 1995)

[01].Navega sola
[02].Plaza de los algibes
[03].Zafiro i luna
[06].Pastora Holiday

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Ravi Shankar At The Monterey International Pop Festival

Posted By MiOd On 3:22 PM 0 comments
This is part of Angel's The Ravi Shankar Collection.
"...this collection opens the door on a time of high creative excitement."
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The first time I heard this album I liked it. I had seen the Monterey movie and I connected with the performance, so when I saw this I snatched it up fairly quickly. Fantastic Record! Eventually I put it down and went about listening to other musicians, musicians such as John Coltrane, a musician I have loved for a very long time, and had read of the influence he found from Shankar's music. I would later return to this album and, WOW. Not only did I rediscover more than ever how great the record is, I saw the obvious influence he had on Coltrane (listen to Trane's work and tell me if you don't hear the drone). Raga Bhimpalasi is a very peaceful efficent way to start a record, it really gets you in the mood. The six minute tabla solo is a very fun way to continue. You can really tell the crowd is amazed by the talent they are witnessing. To close the "recital" they use Dhun (Dadra and Fast Teental), this is the highlight of the disc. This is one of the most impressive statements of music I have ever heard in my entire life. Here is this man from India, and from he and his colleagues flows this powerful energy. Shankar just seems to very easily control all this power, with little glances or quick words. You really feel as if you are apart of something special, because you are apart of something special. I have since bought other Shankar recordings and they are great, but I will always come back to this one, especially for Dhun. Come in with an open mind, and you will soon have something you will never be able to put down!

[01].Raga Bhimpalasi
[02].Tabla Solo in Ektal
[03].Dhun (Dadra and Fast Teental)

Ravi Shankar (sitar);
Kamala (tamboura);
Alla Rakha (tabla).

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El Lebrijano -Arte flamenco

Posted By MiOd On 9:37 AM 0 comments
El Lebrijano

| MP3-320 kbps-85 MB | Flac-205 MB | 2005 | Flamenco |

[01]. Los Presidiarios

[02]. Infeliz Rosa

[03]. Amante

[04]. Que Hermosa

[05]. Mi Miraste

[06]. Matita de Romero

[07]. Aunque te digo que no

[08]. La fuente Fria

[09]. La Casa la inquisicion

[10]. Alta la Frente

Parte 1 | Parte 2 | Parte 3


Posted By MiOd On 7:05 AM 0 comments
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Three years had to pass by before Tomatito released a new work. The brilliant guitarist once again shows that he remains loyal to his racial legacy, but also that he is capable of enriching his oeuvre with nuances that are drawn from Latin jazz, rock, blues or bossa-nova. Free, without any restrictions and with an unprecedented sensibility, Tomatito is captivating with his guitar, in the more sober palos (flamenco forms) and the more festive ones alike.

Tomatito may be setting some kind of benchmark standard for fame by association. The flamenco guitarist is known in Spain as the instrumental partner of the modern genre-defining singer Camarón during the '80s. In the current U.S. and Latin world music worlds, recognition comes for his Spain duet collaborations with pianist Michel Camilo. On the global pop scale, it arrives more indirectly for his being the father of the three singers who form las Ketchup. Aguadulce translates as "fresh water" but this is a short drink, clocking in at under 33 minutes. (More than a few flamenco artists appear not to have moved beyond LP-length CDs, something like the ten-track country CD syndrome). The opening "Al Mariyya" makes it patently obvious that it is flying fingers virtuoso display time, plus handclaps. That pretty much tells the story, with the uptempo bulerías style dominating the selections. A touch of percussion on "A Miles," his daughter Mari Ángeles Fernández Torres' vocal turn breaks up the instrumental run on "Dónde Está Tu Cariño?" and "Porque Tú lo Vales" is a solo excursion. Diego "El Cigala" drops in with two other guitars for a guest shot on the closing "Gallibando," but the track generating the most sparks is "En Casa del Herrero," with male vocalists Potito and Guadiana upping the intensity ante. This is deftly performed music fine for flamenco and acoustic guitar virtuoso fans, but not very involving for someone not already into either camp, or Tomatito as an artist himself. The big question: is anyone getting materially more music here than when Tomatito takes his guitar into an outside context, playing in an encounter of equals like, say, his collaboration with Michel Camilo? ~ Don Snowden, All Music Guide

[01].Al Mariyya
[02].A Miles [Soleá por Bulerias]
[03].¿Dónde Está Tu Cariño?
[04].Porque Tú lo Vales
[05].En Casa del Herrero
[06].Pa' Salinas

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Toumani Diabaté - Djelika

Posted By MiOd On 8:35 PM 0 comments
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The African kora, which is like a cross between a lute and a harp, is one of the world's most beautiful instruments. It isn't as sweet as a harp and, with some of the quick action of a lute or guitar, it is as much a "classical" instrument as it is a "folk" one. On Djelika, Diabate is accompanied by Keletigui Diabate on balafon, an instrument like the xylophone which usually acts as a rhythm section, and Basekou Kouyate on the ngoni, a small instrument thought to be the ancestor of the banjo whose sharp timbre provides a contrast with the kora. The songs are simply beautiful. The title cut is a jazzy piece that slyly quotes the soundtrack "The Good, the Bad, and the Ugly." Keletogui sits out on "Cheick Oumar Bah," a traditional song in honor of one of Mali's spiritual leaders. It is thoughtful and dignified. "Kandjoura," on the other hand, is just fun, fast, and whimsical. It sounds like it's based on an Afro-pop song. The three musicians, each a virtuoso on his instrument, do a wonderful job providing sonic variety to keep the ear intrigued. Djelika is true African art music and should be sought out not only by fans of "world music," but also by aficionados of jazz and Western classical music. ~ Kurt Keefner, All Music Guide

[01]. Djelika
[02]. Mankoman Djan
[03]. Cheikh Oumar Bah
[04]. Marielle
[05]. Kandjoura
[06]. Aminata Santoro
[07]. Tony Vander
[08]. Sankoun Djabi

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Zakir Hussain And The Rhythm Experience

Posted By MiOd On 4:41 PM 0 comments
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The tradition of Indian percussion has been revolutionalized by tabla player Zakir Hussain. The son of Ustad Allah Rakha, the long time collaborator of Ravi Shankar, Hussain has inherited his father's quest for bringing the music of India to the international stage. His recording credits include albums with George Harrison, Joe Henderson, Van Morrison, Jack Bruce, Tito Puente, Pharoah Saunders, Billy Cobham, the Hong Kong Symphony and the New Orleans Symphony. His work with Mickey Hart of The Grateful Dead have included performances and albums with the Diga Rhythm Band and Planet Drum. Hussain joined with British guitarist John McLaughlin and Indian violinist L. Shankar to form the east-meets-west supergroup, Shakti, in 1975. Although the group disbanded in 1978, they reunited to tour as Remember Shakti in 1998. Hussain has been equally successful as a bandleader. During the 1980s, he toured with Zakir Hussain's Rhythm Experience. His debut solo album, Making Music, released in 1987, was called "one of the most inspired East-West fusion albums ever recorded". In 1992, Hussain launched a record label, Monument Records, that focused on Indian music. A lengthy list of awards have been bestowed upon Hussain throughout his career. In 1988, he became the youngest percussionist to be awarded the title "Padma Shri" by the Indian government. Two years later, he recieved the Indo-Ameican award in tribute to his contributions to furthering relations between the United States and India. Planet Drum, an album co-produced with Hart in 1992, received a Grammy for "best world music album", a NARM Indie Best Seller award and won the Downbeat Critics Poll for "Best world music album". Still a youngster when he began to attract attention with his virtuosic playing, Hussain began his musical career at the age of seven and was touring by the age of twelve. In 1970, he made his American debut as accompanist for Ravi Shankar. Three years later, he became the leader of the Tal Vadya Rhythm Band. The group subsequently evolved into the Diga Rhythm Band. In 1976, the band collaborated on a self-titled album with Mickey Hart. Hussain has performed on the soundtracks of numerous films including Apocalypse Now!, In Custody and Little Buddha. At the 1983 Cannes Film Festival, he was nominated for an award as composer and music director of the film, Heat And Dust.

(01). Balinese Fantasy
(02). Lineage
(03). Nines Over Easy
(04). Rapanagatun
(05). Triveni
(06). Ryupak
(07). Def And Drum
(08). Rhythm Sonata In E Major

WV (EAC Rip): 220 MB | MP3 - 320 kbs: 120 MB | Booklet Scans

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Sarband - Cantico

Posted By MiOd On 4:36 PM 0 comments
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In the world of SARBAND, musicians from Bulgaria, Turkey, Lebanon, Iraq, Sweden, Great Britain, Italy and Germany perform together. The co-operation in the ensemble is no fashionable crossover session, but conceived as a continuous dialogue on equal terms. All artists unrestrictedly contribute their native traditions, their personal histories and their own creativity to the programmes. While today the religious, economic, cultural and political differences between the Orient and Occident are in the focus of attention, Sarband endeavour to show that music was always not only mere decoration, but an enlightened means of mutual respect and can still be that today: an example for understanding and acceptance, a model of peace. The ensemble takes its audience on a journey through space and time, through religions and cultures. It is a journey, on which you can leave behind the customary ways of thinking and the traditional concert experience. You can let programs defined by tolerance, openness and profoundness enchant you, programs, in which people and cultural eras are brought together:

Programmes with Early Music repertoire link European historically informed performance with the living traditions of the Mediterranean. Here SARBAND often like to devote themselves to the Ottoman Empire as a culturally developed, tolerant political unity of many different peoples and religions with a rich musical heritage. In co-operations with other ensembles (for example the King’s Singers, Concerto Köln, Mystère des Voix Bulgares), differences between cultures (Turkish and Viennese waltzes) and religions (Jewish, Christian and Muslim Psalm settings), between old and new (Machaut and Satie) are questioned, often in an ironical way. The various programmes of SARBAND offer - in different group sizes ranging from intimate, quiet ensembles to an orchestra - the most different meditative, thrilling, sometimes humorous atmospheres. All of them share the intention to show a possible peaceful coexistence of people and cultures and to make this sensually perceptible.

With this unique repertoire, Sarband have gained an international reputation, released more than twenty CDs and performed at many international festivals; mentioning only a few:

(01). Gloria in Cielo
(02). Hicâz Ilâhî
(03). Sancto Lorenzo, martyr d'amore
(04). Hüseyni Ilâhî
(05). O divina virgo
(06). Francesco LANDINI. Ecco La Primavera - Preghiam Jesu con lieta ciera
(07). Tre fontane
(08). Hicâz Ilâhî - Kaside - Hicâz Ilâhî
(09). Cantico delle Creature
(10). Ezân-i Muhammedi - Segâh Tekbir - Salât-i ümmiye

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Flac tracks (EAC Rip): 295 MB | MP3 - 320 kbs: 165 MB | Booklet Scans

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EL CABRERO - Luz de Luna

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EL CABRERO - Luz de Luna

| MP3 - 320 kbps 101 MB | Flac - 233 MB | 2006 | Flamenco |
[01]. Vidala del Nombrador-Luz de Luna
[02]. Por aquella ventana
[03]. El "pare" y el hijo
[04]. Al del campo lo desprecia
[05]. El monte por la ciudad
[06]. Los mineros se quejan
[07]. Que bien criao está el trigo
[08]. Caños de Puerta Puchena
[09]. Tengo escrito con mi sangre
[10]. El mulo que me lleva
[11]. A mi no contarme penas
[12]. A los muertos y a los vivos

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Vicente Amigo - Poeta

Posted By MiOd On 9:36 AM 0 comments
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Vicente Amigo has been called "the natural continuation of Paco De Lucia". A former child prodigy, Amigo has continued to evolve as a musician and vocalist. In a 1998 interview, Amigo explained, "I believe that flamenco has always been something for adults, not just for children. To understand flamenco, you need maturity. You can learn to play the guitar as a child, you understand the technique. Also, of the singing, you can more or less understand the technique. But, the essence of flamenco is something that requires maturity". Amigo involvement with music began at a very young age. At the age of five, he studied with influential flamenco guitarist Merenque De Cordoba. By the age of fifteen, Amigo was attracting attention as a protege of Paco Pena. Although he launched his professional career as a member of a band, Manolo Sanlucar, Amigo has performed most of his concerts as a soloist. Amigo has also accompanied numerous vocalists including El Pele and Luis De Cordoba and dancers including Javier La Torre and Israel Galvan. Amigo collaborated with singer Jose Merce on an album, "De Amanacer". While flamenco remains the foundation of his sound, Amigo has been equally inspired by the jazz of Stanley Jordan, John McLaughlin and Al DiMeola. ~ Craig Harris, All Music Guide

[01]. Preldio
[02]. Pleamar (Fragmento)
[03]. Poeta en el Puerto
[04]. Flor de la Noche
[05]. Poeta en la Mar
[06]. Pleamar (Fragmento)
[07]. Amor Dulce Muerte
[08]. Entre el Clavel y la Espada
[09]. Nada Pude Dormir
[10]. Marinera de Levante
[11]. Mar de Tu Sentir
[12]. Como Antes, Como Nunca, Como Siempre
[13]. Buscando el Aliento
[14]. Guajira Listen
[15]. Poeta en el Viento

FLAC tracks(EAC Rip): 250 MB | MP3 - 320 kbs: 120 MB | Booklet Scans

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The Badila Ensemble

Posted By MiOd On 7:20 AM 0 comments
TRANS-ORIENTAL SUFI GROOVE The Badila Ensemble was created by the french percussionist and keen traveller Bastien Lagatta. The Badila Ensemble, a sufi dancer and five musicians of Eastern and Western origins, brings together Indian and Arab-Persian musical traditions, taking us to the heart of the mystical soul. At the confluence of different cultures, the repertoire includes pieces from an early cultural heritage as well as more recent elements: a new mixture of old oriental blend. In february 2005, coming from France, Iran and India, the six artists of the Badila Ensemble travelled to Sana’a, Yemen, to record the "Love songs of the mystic riders" (released worldwide by ARION Music in 2006). Mame Khan Manghaniyar (Rajasthan, India), Ava Farhang, Javid Yahyazadeh and Sardar Mohamadjani (Iran) are among the most worthy trustrees of their generation of an ancestral poetical and spiritual heritage, of sacred nature, based on oral tradition. Bastien Lagatta and Robin Vassy (France) are percussionists, travellers, inspired by what they call the “melody of humanity”. All together, they aim at uniting people and bringing hope...Their music navigates from the roots of Orient to the free space of imagination. Six artists, six traditions, severals languages sung, spoken performed or whispered... and more than 20 instruments played, tied tightly in the veil of the dance. A celebration of festivity, joy and love. Welcome, ladies and gentlemen, to the Badila mystical journey!