Jalal Zolfonun - Kord Bayat

Kord Bayat is like a trip back through time and space -- Zolofonun's mastery of the setar, an Iranian four-string long-necked lute, evokes the music and mystery of the courts of ancient Persia, complete with the backing sounds of the def (frame drum) and dombek (hourglass drum). ~ Jason Ankeny, All Music Guide.

Jalal Zolfonun was born in Abadeh, Iran, in 1937. He studied the violin at the Tehran School of Art. His album Kord Bayat, released on the Music of the World label, features Zolfonun playing the setar (a four-string long-necked lute). ~ John Bush, All Music Guide

TRACK LISTINGS

(01) [Jalal Zolfunun] Saba (Prelude)
(02) [Jalal Zolfunun] Saba (Main Section)
(03) [Jalal Zolfunun] Dobayti (Excerpt)
(04) [Jalal Zolfunun] Kord Bayat
(06) [Jalal Zolfunun] Dobayti(Main Section)
(07) [Jalal Zolfunun] Shur
(08) [Jalal Zolfunun] Layli (First Section)
(09) [Jalal Zolfunun] Layli (Second Section)
(10) [Jalal Zolfunun] Shahrashub
(11) [Jalal Zolfunun] Hud Hud
(12) [Jalal Zolfunun] Oshshaq

WV (EAC Rip): 220 MB | MP3 - 320 kbs: 110 MB | Covers

Archives have 5% of the information for restoration

Roots Of The Balkan - Music & Songs From Old Serbia

Renaissance Ensemble Serbia is the First Early Music Ensemble in the South-eastern Europe founded in 1968.

The Renaissance Ensemble from Belgrade began its life in the autumn of 1968, when they played early music scores on historical instruments that Dragan Mladjenovic Shakespeare had brought from Prague and Vienna. The founders of the Ensemble, Miomir Ristic, Ljubomir Dimitrijevic, and Dragan Mladjenovic Shakespeare (supported by two ladies Dusica Obradovic and Iskra Uzelac) gave their first concert on January 14, 1970 in the Gallery of Frescoes in Belgrade.

In its forty year long history the Renaissance Ensemble gave more than 3,000 concerts all around Europe (6 in France, 7 in Spain, Portugal, Finland, 6 in Italy, Cyprus, Greece, 3 in Bulgaria, 4 in Germany, Belgium, the Netherlands, Russia, Hungary, Czechoslovakia, Sweden), in the Middle East (Syria) and in North Africa (Algeria), and during the Adriatic summer tours (1982–88).

Many splendid commentaries of music critics witness the artistic success of the Renaissance Ensemble: For a long time now such cries of praise and enthusiasm have not been heard (Dubrovnik Summer Festival, August 1975). The cultural event of the season (Cyprus Weekly, December 1981). The audience capable to compare the top-ranking musicians who have very frequently performed here in Paris called out “encore” many times to Belgrade musicians (St Julian le Pauvre, Paris, April 1982). Successo vivissimo! (An enormous hit!) (La Stampa, Turin, December 1982). The audience did not want to leave the hall (Vjesnik, Zagreb, January 1984). Much applause for everything (Bonner Rundschau, April 1984). They are all apostles of Byzantine and Serbian music (Pannonian Early Music Festival in Hungary, August 1985). A top concert! (Dubrovnik Summer Festival, August 1986). Early Music Ambassadors: It is enough only to form a retrospective and to try to sum up the results of their activities. Then compliments such as “creative” and “successful” sound rather modest (Sarajevo Winter, February 1989). Renesans la estrella del Ferstival (The Renaissance Star of the Festival)(Sestao Summer Fest, July 1991). El concierto del anno! (The concert of the year!) (Gran Fiesta in Bilbao, El Correo Espannol, Bilbao, August 1991). Ovations to Renaissance! (Santa Maria del Mar Cathedral in Barcelona, December 1993). Splendid contact of the Renaissance Ensemble with the audience (Serbian Music Festival, St Petersburg, June 2000). Golden relief “To The Ensemble Renaissance in the Name of Universal Art”, Renaissance lit up the Mediterranean Festival (Bari, August 2000–2001. Carmina Burana of Renaissance artists Per-fekt-no! (Danas, March 29, 2008).

TRACK LISTINGS

(01) Easter Serbia - Igra i pesma 'Sitan biber' (Wedding dance & song)
(02) Easter Serbia - Nocna putnicka melodija (Night travel melody)
(03) Easter Serbia - Putnicka pesma 'Visoko drvo, lad nema' (Travel melody)
(04) Easter Serbia - Tri igre- Ostroljanka, Polomka, Cigancica (3 Dances)
(05) Kossovo & Metochia - 'Marijo, deli, bela kumrijo (Ah! Mary my Sweet Dove)
(06) Kossovo & Metochia - 'Crna zemljo, sestro' (Black Earth my Sister)
(07) Kossovo & Metochia - 'Oh, jabuko, zeleniko' (Hey You! Green Apple-Tree)
(08) Kossovo & Metochia - 'Izvor voda izvirase' (Spring Water)
(09) Kossovo & Metochia - 'Soko bira, gde ce naci mira'
(10) Kossovo & Metochia - 'Oj, mori vrbo, zelena (Hey You! Green Willow)
(11) Kossovo & Metochia - 'Svunoc mi sanak ne dodje'
(12) Kossovo & Metochia - 'Kisa pada, trava raste' (Come the Rain, Grow the Grass)
(13) Kossovo & Metochia - 'Gusta mi magla pandala' (The Dense Fog Came Down)
(14) Central Serbia - Cetiri igre- Stara setnja, Zavrzlama, Siljcici - Poljanka
(15) Central Serbia - Tri igre- Cigancica, Stara cranjanka, Zavrzlama (3 Dances)
(16) Central Serbia - Dve igre- Gajdica, Sareno oro (2 Dances)
(17) Central Serbia - Sedam igara iz Levca (7 dances from Levach)
(18) South Serbia - Pesma 'Sadila moma lojze' (The Maidin Puts the Grepevine in)
(19) South Serbia - Kasapsko kolo (Buthcher's Wheel Dance)
(20) South Serbia - Skomraska igra (Jugglers' Play)
(21) South Serbia - Devojacko kolo (Maidens Wheel Dance)


APE (EAC Rip): 320 MB | MP3 - 320 kbs: 170 MB | Booklet Scans

Archives have 5% of the information for restoration

Simon Shaheen & Vishwa Mohan Bhatt - Saltanah

Vishwa Mohan "V.M." Bhatt is one of India's most innovative musicians. The inventor of the Mohan Veena, a nineteen string modified archtop guitar with three melody strings, four drone strings and twelve sympathetic strings, Bhatt has created a sound that blends the western Hawaiian guitar with sitar, sarod and veena techniques. The first Indian musician to be awarded the "Musical Scientist award" in Banglore, India, Bhatt was praised by "Acoustic Guitar" magazine as "one of the greatest and mosty expressive slide players in the world". The "Edmonton Journal" referred to Bhatt as "an inspiration even to Western guitarists". A long time student of Ravi Shankar, Bhatt belongs to an elite group of musicians whose imeage traces back to Mughal emperor Akbar's court musician Tansen and his Hindu guru, Swarmi Haridas. In addition to six solo albums, Bhatt has recorded with Ry Cooder, Bela Fleck, Jerry Douglas, Taj Mahal and Arabian oudh player Simon Shaheen. Bhatt became the first Indian to collaborate with a Chinese musician when he toured with Erhu player Jei Bing Chen. Bhatt's collaboration with Ry Cooder, "A Meeting By The River" received a Grammy award in 1994. His collaboration with Bela Fleck and Jei Bing Chen, "Tabula Rosa", recorded in a Santa Barbara, California church in October 1994, was nominated for a Grammy. Tunes from "A Meeting By The River" and "Mumtaz Mahal", recorded with Taj Mahal, were featured on the soundtracks of films, "Two Days In The Valley" and the Oscar award-winning, "Dead Man Walking". Bhatt is a skilled composer. His composition, "Raga Ganga", was performed during celebration of India's fiftieth year of independance. ~ Craig Harris

A beautiful set of improvisations cross-labelled as Arabic Maqamat and Indian Ragas. Simon Shahheen, Vishnwa Mohan Bhatt, Ronu Majumdar, and Sangeeta Shankar play oud, violin, bansuri, and mohan vina. Very reflective, very beautiful.

TRACK LISTINGS

[01].Dawn (Rãg Kirwãni/Nahawand)
[02].Ghazãl (Rãg Vasant Mukhãri/Maqãm Hijãz)
[03].Saltanah (Rãg Bagashri/`Ajam Mu'addal)
[04].Mists (Rã Pahãri/Maqãm `Ajam)
[05].Dusk (Rãg Bhairavi/Maqãm Kurd)

Simon Shaheen / Vishwa Mohan Bhatt (Lebanon / India)

WV (EAC Rip): 310 MB | MP3 - 320 kbs: 160 MB | Covers

Archives have 5% of the information for restoration

Enrique Morente - Morente Suena La Alhambra

Enrique Morente is a prolific cantaor, discographically speaking. He isn't the type to sell a lot of copies, but he is an artist who has the respect and admiration of an audience that appreciates creation. Taking advantage of having worked on the documentary ‘Morente sueña La Alhambra’ for two years shoulder-to-shoulder with filmmaker José Sánchez-Montes, he has chosen different musical passages off the soundtrack and has turned them into an album, taking care of not just the cante but also the production.

The repertoire on this new album is like a dream for sensitive people. And the thing is that allowing yourself to be inspired by such a tremendous monument could mean no less. The poetry, water, unreal birds, dreamy ambiences... join hands in this work, which above all contains good cante flamenco.

There are examples of strict classicism such as ‘Taranto veneno’, with Juan Habichuela on guitar, and ‘Soleá de la ciencia’ with Tomatito. And eclectic compositions like ‘Generalife’, enhanced by the inspired work of guitarist Pat Metheny; ‘Donde habite el olvido’, produced by Isidro Muñoz and embellished by the crystal-clear voice of Estrella Morente; and the intense ballad ‘Chiquilín de bachín’ by Argentinean Astor Piazzola. Between one extreme and another, there are the liturgical opening martinetes sung in Latin, with the now ‘Morentian’ voice superpositions which at the same time take care of the rhythm.

Architecture blends in with poetry on this record. Turning verses into cantes always works for Enrique Morente, which carries his melodies to original destinations. He sings poems by María Zambrano, Luis Cernuda and San Juan de la Cruz, and even ‘proclaims’ a letter by Miguel de Cervantes directed to the Count of Lemos five days before his death. And this last song is like a prayer.

The instrumentation rounds off the album. Cañizares provides intelligent guitar for songs like ‘Chiquilín de bachín’, where he converses with Libertango Camerata. Alfredo Lagos offers additional proof of his versatility in the caña ‘La Alhambra lloraba’. Bandolero carries the weight of the compás. And why not consider Estrella Morente an instrument? What the Granada-born princess contributes aren't just simple choruses. She has intonations, tonalities, textures... which are the envy of violins, cellos and other songbirds.

TRACK INFORMATION
[01]. Marinete
[02]. Generalife
[03]. Seguirilla de Los Tiempos
[04]. Cristalina Fuente
[05]. Chiquilin de Bachin
[06]. Solea de La Ciencia
[07]. Alahambra Lloraba
[08]. Donde Habite el Olvido
[09]. Taranto Veneno
[10]. Ultima Carta


APE tracks (EAC Rip): 330 MB | MP3 - 320 kbs: 130 MB | Booklet Scans

Archives have 5% of the information for restoration

Miriam Makeba - Miriam Makeba

Miriam Makeba had just made a splash in New York nightclubs and earned a fistful of press only a few months earlier when RCA Victor Records snapped her up and recorded her first album in May 1960. Clearly, the label was hoping to repeat the success of her mentor, Harry Belafonte, whose Belafonte Folk Singers accompanied her on some tracks and who wrote a blurb for the album's back cover. Like Belafonte, she was a black singer with an exotic, folk-based repertoire who could translate her music into a sophisticated club act. In addition to the Belafonte troupe, which appeared on the calypso tune "The Naughty Little Flea," a song that sounded like a Belafonte number, the Chad Mitchell Trio joined her on "Mbube," aka the Weavers' "Wimoweh," and Charles Coleman was her duet partner on the comic Austrian tune "One More Dance." She also turned in an early version of "House of the Rising Sun." Such familiar material offset the songs sung in her native South African tongue of Xhosa. Makeba had an expressive voice and was extremely versatile, as the range of material indicates. But despite the critical raves, she may have been a bit too exotic to be commercial on her first album, which was not a big seller. RCA let her go to Kapp Records for her second album, but came calling again three years later. ~ William Ruhlmann, All Music Guide

TRACK INFORMATION

[01]. The Retreat Song (Jikele Maweni)
[02]. Suliram
[03]. The Click Song
[04]. Olilili
[05]. Lakutshn Ilanga
[06]. Mbube
[07]. The Naughty Little Flea
[08]. Where Does It Lead
[09]. Nomeva
[10]. Saduva
[11]. One More Dance
[12]. Iya Guduza

Miriam Makeba
with the Belafonte Singers
Perry Lopez, guitar
Charles Coleman (track 11)
The Chad Mitchel Trio (track 06)

recorded at Webster Hall, New York
recording engineer: Bob Simpson
produced by Bob Bollard
Album first published in 1960
LP RCA Camden CDS 1068 (1970)

Vinyl Rip 24bit 96kHz FLAC tracks [Credits to Arkanadia]: 600 MB | MP3 - 320 kbs: 80 MB | Covers

Archives have 5% of the information for restoration

Ali Akbar Khan - The 80 Minute Raga - 1969

Audiences in India sit motionless for hours, hypnotized and exalted by the limitless imagination and virtuosity of the unbelievable Ali Akbar Khan as he plays monumental performances of the great traditional ragas, Now, after the outstanding success of the Forty Minute Raga (CS-2008), another uniquely Indian performance, in the orignal uncut version, is available. In this two-record set of Rag Kanara Prakaar, India's greatest living musician, Ali Akbar Khan, evokes a musical intensity that transcends the normal concert experience.

Side-1 Rag Kanara Prakaar - Alap (Part 1)
Side-2 Rag Kanara Prakaar - Alap (Part 2)
Side-3 Rag Kanara Prakaar - Gat (Part 1)
Side-4 Rag Kanara Prakaar - Gat (Conclusion)

Vinyl Rip MP3 - 117 mb - Scans
Part1 | Part 2

Yash Chopra - The Golden Collection

Fortunately for us, this Golden Collection, preserves the music of one of the greatest romanticists of all times, Yash Chopra has always believed in the beauty and harmony of the man woman relationship. He has constantly articulated his emotional beliefs into musical idioms that transcend temporal values. And then when you listen to "Chal Kahin door nikal jayen" in Doosra Aadmi you realise how Yash Chopra's songs have taken us far beyond routine dimensions of musical experience.

Sleeve notes by Subbash K. Jha

Tracklist:

Disc 1
1. M. Rafi - Tu Hindu Bane Ga Na Musalman Bane Ga
2. Mahendra Kapoor - Tumhare Aankhein
3. Manna Dey - Ae Meri Zohra Jabeen
4. Asha Bhosle, Mahendra Kapoor - Zindagi Itefaq Hai
5. Kishore Kumar - Mere Dil Mein Aaj Kya Hai
6. Lata Mangeshkar - Jab Bhi Jee Chahe
7. Lata, Mukesh - Kabhi Kabhi Mere Dil Mein
8. Lata, Kishore, M. Rafi - Chal Kahin Door Nikal Jayen
9. Lata, Nitin, Mukesh - Aaja Re
10. Lata, M. Rafi - Bahor Mein Teri
11. Lata, Nitin, Mukesh - Tumhari Palkon Ki Chilmanon Mein
12. Asha Bhosle - Sab Ki Nigah Main Sawal Hai
13. Lata Mangeshkar - Tu Mere Sath Rage Ga
14. Lata Mangeshkar - Om Namab Shivaye
15. Lata Mangeshkar - Yeh Kahan Aa Gaye Hum

Disc 2
1. Lata, Kishore - Dekha Ek Khawab To
2. Lata, Kishore - Ham Chup Hain
3. Lata, Kishore - Badal Pe Chalke Aa
4. Lata Mangeshkar - Mitwa
5. Lata Mangeshkar - Choriyan Khanak Gayen
6. Lata Mangeshkar - Kabhi Mein Kahon
7. Lata Mangeshkar - Tu Sawan Mein Pyas Piya
8. Lata Mangeshkar - Yeh Raat Khushnaseeb Hai
9. Udit - Jaadu Teri Nazar
10. Lata Mangeshkar , Udit - Tu Mere Samne
11. Pamela Chopra, Manpreet Kaur - Ghar Aa Ja Pardesi
12. Lata Mangeshkar, Kumar Sanu - Tujhe Dekha To Yeh
13. Lata Mangeshkar, Udit - Dil to Pagal Hai

MP3 - 320kbps - 257 mb | Booklet Scans |

Part 1 | Part 2 | Part 3

Ustad Amjid Ali Khan-small collection

He was all of 6 years old, when Amjad Ali Khan gave his first recital of Sarod. It was the beginning of yet another glorious chapter in the history of Indian classical music. Taught by his father and guru, the great Haafiz Ali Khan of Gwalior, Amjad Ali Khan was born to the illustrious Bangash lineage rooted in the Senia Bangash School of music. Today he shoulders the sixth generation inheritance of this legendary lineage.
Source:http://www.sarod.com/

A little info about the collection: This is a simple collection of various music I found in various sites, blogs. It is approximate 1 GB and I am sure any fan of the dear maestro shall enjoy this :)

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• Guldasta-e-Raga_Collection-I.part1
• Guldasta-e-Raga_Collection-I.part2
• Golden Raaga Collection-II.part1
• Golden Raaga Collection-II.part2
• Music From The 13th_Century
• Raga Bageshwari
• Ragas Bilaskhani Todi Brindabani Sarang.part1
• Ragas Bilaskhani Todi Brindabani Sarang.part2
• Sarod Recitals.rar
• Sarod Trio.part1
• Sarod Trio.part2
• Other Part 1
• Other Part 2

L.Subramaniam - L.Subramaniam en Concert

One of the undisputed masters of Carnatic violin work, L. Subramaniam recorded this album live at a hotel in 1983. The album was originally released by Harmonia Mundi in 1985 and re-released by Ocora in 1989. The raga used in the concert was primarily "Raga Kalyani," though others were used in the customary South Indian concert ending. As in all South Indian classical concerts, there are three major portions of the concert: the Ragam, in which the raga is freely explored without rhythmic accompaniment (similar to the Hindusthani alap); the Tanam, where a small amount of rhythm is added; and the Pallavi, which itself has four main parts but is primarily the main exposition of the raga. The four major features of the Pallavi consist of the neraval (ornamentation on and experimentation with the pallavi proper); the tri-kalam, where the tempo of the pallavi line is varied to three stages; swara-kalpana (an improvised section along with the drummer); and the raga-malika ending (literally, garland of ragas -- multiple ragas are each given a short exposition, here "Raga Satyapriya," "Raga Desh," and "Raga Ramapriya," and then the pallavi is returned to). Subramaniam plays with a fair amount of virtuosity here, as can be expected, with good runs of powerful Carnatic playing abounding throughout the album. Fans of the Carnatic music styles would most likely be thrilled at the playing, as might fans of the Hindusthani tradition. Those unaccustomed to Indian classical music, though, might be put off by the extensive length of works in the genre.

[01]. Ragam
[02]. Tanam
[03]. Pallavi

FLAC tracks (EAC Rip): 260 MB | MP3 - 320 kbs: 130 MB | Booklet Scans

Archives have 3% of the information for restoration

Purvi Thaat - The Source Of All Ragas

Ustad Rashid Khan: Rampur Sahawan Grandson Of The Legendary Ustad Inayat Hussain Khan Sahib, He has been hailed as an assurance for the future of Indian Vocal Music by no less A Geniu Than Bhimsen Joshi with a fine blend of technicle virtuoslty, creative restrainst and rich voicehe aptly suits the honor. Pandit C.R Vyas: Agra, Gwalior And Kirana With an emphatic personal style that incorporates the best of the three Gharanas, he is a pleasure to listen to his performances are always absorbing spontaneous apporachable. Ustad Amjad Ali Khan: Gwalior Born into music very literally his name is synonymous with the instrument he playes with his consummate artistry Adn Unique style of playing Sarod, he imparts a rate listening experience to his audience

Tracklist:
1. Rage Puriya Dhanashree - Ustad Rashid Khan
Khyal In Madhya Lay Teental Tabla - Tanmoy Bose Harmoniun - Surinder Singh
2. Raga Vasant - Pt. C.R. Vyas
Khyal In Madhya Lay Teental Tabla - Omkar Gulwadi Harmonium - P. Walawalkar
3. Raga Shree - Ustad Amjad Ali Khan
Madhya Lay Gat In Jhaptal & Teental

121 MB | MP3 - 320 kbps | Scans
Part 1 | Part 2

Banda taurina - Los mejores pasobles taurinos vol. 2

**| Flac - 279 MB | MP3 - 113 MB | 2005 | Covers | lougyl.com |**

Listado :
[01]. Manolete
[02]. La Giralda
[03]. El Vito
[04]. Domingo Ortega
[05]. Viva el Rumbo
[06]. Belmonte
[07]. Bajo mi cielo andaluz
[08]. Cuna Cañi
[09]. Macarena
[10]. Campanera
[11]. Dauder
[12]. El Cordobés
[13]. Pozo estrecho
[14]. Torero Macarenas
[15]. Joaquin Pedro
[16]. Pepita Creus

Fleuve Jaune - Musique instrumental chinoise

Le groupe Fleuve Jaune (Huang he) est un des seuls ensembles hors de Chine à jouer le grand répertoire. Composé de personnalités fortes, professionnels confirmés, c'est un ensemble à géométrie variable, du solo à l'orchestre, du grave à l'aigu, de l'intime au puissant, à la mesure de l'immense Chine. La musique que joue le groupe Fleuve Jaune est à l'image majestueuse du grand fleuve, riche de multiples affluents, riche d'un terroir fertile, riche d'une tradition qui a su dompter les crues, traversant des contrées tantôt désertiques, tantôt riantes, pour se jeter dans l'océan de la musique universelle. Car telle est l'ambition de ces professionnels en exil: faire vivre une culture dont les racines sont immenses et dont les fleurs s'épanouissent au regard de quiconque a des oreilles pour entendre, assumant et transfigurant l'exotisme.

Fondé en 1984, le groupe Fleuve Jaune a pour vocation de rassembler les musiciens, chanteurs, danseurs et acrobates chinois vivant à Paris, sans distinction de nationalité. En 1986 il accompagne le Voyage en Chine intérieure de Gilberte Tsaï en Avignon. Le compositeur Chen Qigang fait appel à lui pour la musique du film Chine, ma douleur de Dai Shijie. En juin 1989, l'ensemble est au cœur du concert Chine, je n'oublie pas qui rassemble au Zénith, musiciens chinois et français épris de liberté. Un an plus tard, il organise à l'Arche de la Défense une grande fête populaire, dans la tradition de la Chine du nord. Il s'est produit également à Radio France, dans la grande salle de l'Unesco, au festival international des musiques traditionnelles de Rennes, au carnaval des enfants de Bordeaux et au festival de Ris-Orangis.

(01) [Fleuve Jaune] Gusu Xing (Jiang Xianwei) Journey to Suzhou - dizi & ensemble
(02) [Fleuve Jaune] Pingsha Luoyan (Guan Pinghu version) The wild geese land on the beach - qin, xiao, erhu, pipa
(03) [Fleuve Jaune] Pu'an Zhou (trad.) Incantantion of Pu'an - qin & qing, yanqing
(04) [Fleuve Jaune] Da lang tao sha (Abing) The wave sweeps the beach - pipa
(05) [Fleuve Jaune] Fei hua dian cui (trad.) Petals snowing on the grass - pipa
(06) [Fleuve Jaune] [BEYOND THE GREAT WALL - pipa & xiao] - 1. Qiu Si - Thoughts of Autumn
(07) [Fleuve Jaune] 2. Zhao Jun Yan - Laments of Zhao Jun
(08) [Fleuve Jaune] 3. Si Han - Regret of the Han
(09) [Fleuve Jaune] Nisang qu (trad. arr. Wu Suhua) The feather rainbow-colored robe - erhu, xiao
(10) [Fleuve Jaune] Hangong Qiuyue (trad.) Fall moon at the Han Palace - erhu & yangqin
(11) [Fleuve Jaune] Yue ye (Liu Tianhua) Night moon - erhu & zhonghu, zheng
(12) [Fleuve Jaune] Mumi Xinge (Jian Guangyi) The shepherd's new song - dizi & ensemble
(13) [Fleuve Jaune] Sizhu Diao (trad.) The purple bamboo - Ens.(erhu, pipa, zhongruan & daruan, yangqing, percussions)
(14) [Fleuve Jaune] Ying Zhong Niao (Liu Guanyue) Birds in the forest - dizi & ensemble
(15) [Fleuve Jaune] Jinse Kuang Wu (trad.) The golden serpent's dance - ensemble

FLAC tracks (EAC Rip): 340 MB | MP3 - 320 kbs: 170 MB | Covers

Archives have 3% of the information for restoration

FLAC
Part 1 | Part 2

OR MP3 320 kbs
Part 1 | Part 2

Samvel Yervinian

Samvel Yervinyan, born January 25, 1966 in Yerevan, Armenia is a musician and composer. He plays the violin. He began studying at the age of 7 in Spenderian Music School under the tutoring of Armen Minasian. In the competitions he participated, he won all the first place prizes in his age group. He played Henry Vietan's 2nd concert on his graduation day and received a standing ovation from all the faculty members. He continued his studies at Tchaikovsky’s Music Conservatory, under the guidance and tutoring of Maestro Edward Dayan. In the following years he became the professor's pride and strongest prospect for future concert violinist. At his graduation, he played several classical compositions including, Bach's Adagio and Fugue in G Minor, Mozart's violin concert No. 5 in A Major, Paganini's Caprice No. 21 in A Major, and Sarasarte's Gypsy Melodies. In 1993 Mr. Yervinyan earned his PhD from Yerevan State Musical Conservatory in Republic of Armenia. He has performed during the 2003 and 2004 Ethnicity world tours with Yanni, as well as the 2005 Yanni Live! tour. He appears on Yanni's live album and video, Yanni Live! The Concert Event.



Centaur - Imigailotz

Axiom Of Choice: Unfolding / Niya Yesh

Axiom of Choice are based in Los Angeles, but their music springs from the Persian classical music of Iran. "Valeh," a haunting track from their first album, Beyond Denial, was a popular selection on many world-music samplers a few years ago. Iranian born guitarist Ramin Torkian and singer Mamek Khadem were both trained as mathematicians, and that's where the group gets its name. The axiom of choice is a principle stating that the mathematician has the right to choose elements without explanation, and Torkian and Khadem have expanded this theory's freedom into their eclectic musical choices. Eschewing their more high-energy, Middle Eastern grooves in favor of languid moods, Axiom follow up on the sound of "Valeh" on Niya Yesh, which is Farsi for "gnosis." On a custom quarter-tone guitar, Torkian weaves a flamenco-Persian filigree while Khadem's voice creates a wraithlike wail of wordless vocalese on pieces such as "Chaos of Paradise" and "Greener Than God's Dream." "Rain Drops" is a gentle lullaby while "The Calling" is the only track that really kicks into rhythmic gear. Tambouras, cellos, frame drums, kamancheh (spike fiddle), Buddhist chants, and ney flutes create a global chamber music sound on Niya Yesh, all framing Khadem's voice, her dark timbres seeming to rise like heat off the floor of the Persian desert. --John Diliberto.

http://www.axiomofchoice.com

Unfolding - Niya Yesh

Dastan Ensemble & Homayoun Shajarian - Mayeh-ye Dashti & Mayeh-ye Isfahan

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Part 1
Part 2
Part 3

Narration of Masnavi of Rumi

Bare in mind that this is no musical collection. It is the narration of the poems of Rumi.
Also note it is not in English and the narration is done in Farsi.

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

Prayers On Tanbour

A breathe taking Tanbour performance. This CD is truly amazing as finally we can hear the women understanding of the Tanbour, and finally this amazing instrument of heart speak the emotions of a women. This killer combination of the instrument of emotions and the emotion of womens together will effect any one who can feel and sense. Superb

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The New Oriental Sounds

Produced in 2006 to first launch the collection, it features 13 tracks from bands and artists from Lebanon, Syria, Palestine, Jordan & Egypt

01. Melangerie by Marwan Abado from Circles – Palestine, 3:03
02. Nahawand by Sharkiat Fathy Salama, from Sultany – Egypt, 6:36
03. ‘Abir by Andre Msane, from Nassim Al-Shark – Lebanon, 4:36
04. Hal Asmar Ellon by Lena Chamamyan from Hal Asmar Ellon – Syria, 5:22
05. Nights at Naï by Sign of Thyme, from Like All People – Jordan, 4:33
06. Zayy El Moga by Masar from El Aysh Wel Melh – Egypt, 5:28
07. Arabia by Ziad Al Ahmadieh & Fun Jan Shaï from Beyond Traditions – Lebanon, 6:24
08. Hawdag by El Dor El Awal from Qarar Izala – Egypt, 8:19
09. ‘Oubour by Mohsen Subhi from Mawasem – Palestine, 2:16
10. Organza by Bassem Rizk from Echoes From The Past – Lebanon, 4:31
11. Khala Shakou by Macadi Nahas from Kan Ya Ma Kan – Jordan, 3:44
12. Ink by Hewar, from Hewar – Syria, 5:08
13. Sama’I Sultan Yakah by Riad Abdel-Gawad from El Tarab El Asseel – Egypt, 10:40

Total playing time: 70:40

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Antoine Farah & Oriental-Arabic Ensemble - Oriental Dream

01 - Sama'i In Hijazkar Mode
02 - Assakia (Water Spring)
03 - Sama'i In Shattarban Mode
04 - Darb Assayadi (Hunter's Way)
05 - Ghazal (Passion) Sama'i In Rast Mode
06 - Al Houlm (Dream)
07 - Sama'i In Ajam Oushayran Mode
08 - Al Masa' (Evening)
09 - Sama'i In Zinkoulahmode
10 - Shawk (Longing) Bashraf In Hijaz Mode

سماعي من مقام الحجاز كار/ أنطوان فرح 2.الساقية/ وليد غلمية 3.سماعي من مقام الشت عربان/ جميل الطنبوري 4.درب الصيادي/ أنطوان فرح 5."غزل" سماعي من مقام الراست/ وليد غلمية 6.الحلم/ بسام صالح 7.سماعي من مقام العجم شيران/ جورج فرح 8.المساء/ أندريه الحاج 9.سماعي من مقام الزينكولاه/ وليد أبو مرجال 10."شوق" بشرف من مقام الحجاز/ أنطوان فرح.
في مطلع الثمانيات، تسلل إلى آذاننا موسيقى جديدة، موسيقى "الهاردبيت" و"الهارد روك". فبادر بعض الملحنين الشباب إلى تقليد هذا النمط الصاخب، مقلدة النمط الغربي ليس بالإيقاع فحسب بل في الألحان والتوزيع أيضاً. ذلك ما حداني إلى التفكير في تكوين فرقة موسيقية صغيرة مهمتها تقديم حفلات موسيقية بحت أي دون غناء، تتضمن برامجها القوالب الموسيقية التقليدية كالبشرف والسماعي واللونغه، كذلك، الأنماط الموسيقية التراثية نظراً لجمالية ألحانها الشرقية وهدوء إيقاعاتها، خاصة وأن الجماهير العربية قد افتقدت منذ زمن طويل متعة الإستماع إلى الموسيقى البحتة، حتى أنه ساد في العقود الماضية مفهوم لدى الناس بأن الموسيقى هي لخدمة الكلمة ترافق الغناء فقط. وفي الختام يقال بأن الموسيقى هي موهبة وعلم ورياضيات وممارسة وعمل دؤوب... إلخ، كل ذلك صحيح، ولكن في نهاية المطاف أقول بأن الموسيقى هي في الأداء الجميل والإحساس المرهف.
أنطوان فرح

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Mohsen Sobhi - Mawasem

A compilation of Subhi's renowned oud pieces, accompanied by percussion, bass, cello and piano. Instrumental.
Mohsen Subhi grew up in Ramallah, Palestine, and currently living between the USA and Palestine He began studying music at the age of seven. He studied the oud (Middle Eastern plucked lute) with master oud player Hatem Al-Afghani. After coming to the United States he took courses at the Longe School of Music in Boston and the Berklee School of Music in Cambridge. He worked as the Music Director of the Palestinian National Music and Dance Troupe (El Funoun) and composed the music to their popular production “Zaghareed.”
Mohsen Subhi has a very personal way of playing the oud, due to his previous experience as a percussionist and his subtle assimilation of Indian, African and Mediterranean influences. The album has received popular and critical acclaim in Lebanon: “It is difficult not to fall helplessly in love with Mohsen Subhi’s bewitching album ‘Mawasem’. Subhi’s masterful oud playing is akin to a mystical art, making this CD breathtaking listening.”
Tracks: 1. 'Al bal 2. Nafetha (to a friend) 3. 'Oubour 4. Ta'ammol 5. Hewar 6. Irtijal 7. Takassim 8. Bila enwan 9. Zikrayat

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Oumeima El Khalil - 4 Albums

Born in Al Fakiha in 1966, Oumeima El Khalil started her career as a singer at twelve. She lived in an art-loving family; this is how she was discovered at an early age in the singing world.
El Khalil pursued her secondary studies in the Bekaa, and then moved to Beirut where she studied music theory and vocal techniques.
Meeting Marcel Khalifé at an early age was a good occasion for Oumeima to venture into the world of singing as it gave her the opportunity to sing as a solo in his "Al Mayadin" band where she showed a high level of professionalism in the domain.
The 12-year old girl had her own songs that she interpreted worldwide for over 27 years at high-level concerts in which Marcel Khalifé and his band participated.

Khalleeni Ghanneelak
1994

1. Ijtah
2. Idayk
3. Dima
4. Inta wil Ghenniyeh
5. Il Hilwa Dee
6. Al Kamanjat
7. Rah Sammeek
8. Ilet Bekteblak
9. Meenon Hinn

Oumeima
2000

1. Mazaj
2. La Tdik
3. Asfour
4. Ya Habibi
5. Nasma
6. Bo'di Illi Bahibbo
7. Marrat
8. Albi Il "Atshan
9. Al Hawaa'
10. Zourouni
11. Nasma
12. Ya Habibi 1940

Oumeima ya... Whirling like a derwish
2005

1. Ya Sidi
2. Daret El Kahwe
3. Ouhibouka Akthar
4. Ila Akhirihi
5. Leh (Why?)
6. Shab W Sabiye
7. Iyam
8. Laff (Instumental)
9. Mazaj

Collection

A Child - Asfour - I Love You More - Sleep little One - The Returnee (Vocal)
Aasfour (First version) - Children and the Wolf - Mirror Moon - Shodi Alike

Downloads
1 - 2 - 3 - 4

Enrico Macias - Hommage à Cheikh Raymond

Hommage a Cheikh Raymond - Algeria, France
Enrico Macias
Accompagne par Taoufik Bestandji et par l'ensemble Foundok

This hommage to Enrico Macias' father in law has been my musical discovery of the year. Not only is it a very touching, enlightning, delicate and marvelous journey into andaluso-arabic music, but its beauty also makes you dream of a time when both sides of the mediterrenean sea used to share their treasures instead of fighting, a time of tolerance, as it was also expressed in the beautiful Youssef Chahine's movie "Le Destin"... I can only hope such a magnificiency will contribute to a better understanding and opening to the arabic culture and people.

CD1
Nouba Zidane
[01]. Bacheraf Zidane
[02]. Istikhbar
[03]. Inqlab Zidane 1: Ya Bahi el Jamel (Merveille des merveilles)
[04]. Inqlab Zidane 2: Gharamek (Ammour chagrin)
[05]. Final-Khlac Zidane: Djamalouhou (Divine Beaute

Nouba cika
[06]. Istikhbar cika
[07]. Inqlab 1er:Qalbi Ebtala (Noir Desir)
[08]. Inqlab 2eme: Ya sahib el ouyoune (Les yeux fardes)
[09]. Inqlab 3eme: Men Ya'ti qalbou (Patience)
Les Quatrains
[10]. Ghzali wainou (ou-es tu ma gazelle)
[11]. Qoudam Darek (Demeure du coeur)

CD2
Varietes Orientales
[01]. Istikhbar mode Iraq
[02]. Ya bellarej (cicogne)
[03]. Haouzi Inqlab Dhil (douloureux silence)

Inqlab Dhil (feur d'amandiers)
[04]. Istikhbar Dhil
[05]. Inqlab Dhil/Modal
[06]. Waine enbatou (Nuit d'amour)

La Nouba Rahaoui
[07]. Istikhbar Rahaoui
[08]. Valse Bilah ya hamami (Le messager)
[09]. Quatrains wat'habini (M'aimes-tu?)
[10]. Final: Bettar ouel oud (Nouba)
[11]. Koum Tara
Duo Enrico Macias/Cheb Mamio

Musiciens concert Bourges et "Koum Tara":
Enrico Macias: guitare
Taoufik BESTANDJI Direction d'orchestre et artistique-Alto, luth, percussions et choeurs
Hamidou Abdi: flute (jouaq), hautbois (zourna) et choeurs
Lakehal Belhaddad: Cithare (Qanoun)
Zouheir Yahyaouia: darbouka
Nacer Bousaboua: tambourin

Musiciens concert Bourges:
Ahmed Aouabdia: luth (oud) et choeurs
Kamel Labaci: guitare flamenca et choeurs
Jose de Suza: violoncelle

Mucisiens "Koum Tara":
Brahim Djelloul: violon
Galiere Nicolas: violoncelle
Seguin Remy: alto
Tarbour Jean-Claude: violon
Jean-Claude Ghrenassia: Batterie, basse, arrangements cordes

Ape (EAC Rip): 660 MB | MP3 - 320 kbs: 260 MB | Covers

Archives have 5% of the information for restoration

Ape
Part 1 | Part 2 | Part 3 | Part 4

OR MP3 320 kbps
Part 1 | Part 2

CURRO MALENA (Con la guitarra de Monolo Sanlucar)

**|Mp3 320 kbps - 100 MB | Flac - 212 MB | 2005 | Flamenco | Covers | lougyl.com |**

Listado:

[01]. Alevantate Serrana (Bulerías)
[02]. Ya no siembro más pejuales (Tangos)
[03]. Cuando viene en busca mia (Soleá)
[04]. No sé qué tiene España (Bamberas)
[05]. El gitano cariñoso (Tanguillo)
[06]. Tiene mi corazón madre (Martinete)
[07]. Campanas del silencio (Seguiriyas)
[08]. Mis mulas van sonando (Coplas de Trilla)
[09]. El molinero del puente (Bulerías)
[10]. Embajadores (Caracoles)
[11]. Un día yo me aparté (Malagueña)
[12]. De noche cuando me acuesto (Petenera)

Romantic jazz

TRACK LISTINGS

[01]. Glenn Miller - In The Mood
[02]. Dave Brubeck - Take Five
[03]. Duke Ellington - Take The 'a Train
[04]. Glenn Miller - Moonlight Serenade
[05]. Wes Montgomery - Caravan
[06]. Stan Getz - Corcovado
[07]. Miles Davis - Summertime
[08]. George Benson - My Heart Is Dancing
[09]. Gary Mulligan - The Shadow Of Your Smile
[10]. John Coltrane - Naima
[11]. Ben Webster-Solitude
[12]. Jimmy Smith - Watermelon Man
[13]. Count Basie - April In Paris
[14]. Michel Petrucciani - Besame Mucho
[15]. Us 3 - Cantaloop
[16]. Jimmy Smith - Papa's Got Brand New Bag
[17]. Michel Petrucciani - Caravan
[18]. Louis Armstrong - Go Down Moses
[19]. Astrud Gilberto - The Girl From Ipanema
[20]. E Fitzgerald & L Armstrong - Summertime
[21]. Manhattan Trncefer - Offbeat Of Avenues
[22]. Nat King Cole & Natalie Cole - Unforgettable
[23]. Sarah Vaughan - Smoke Gets In Your Eyes
[24]. Dinah Washington - Mad About The Boy
[25]. Nat King Cole - Nature Boy
[26]. Diana Krall - I've Got You Under My Skin
[27]. Ninma Simone - Don't Explain
[28]. Peggy Lee - They Can't Take That Away From Me
[29] .Ella Fitzgerald - September Song
[30]. Cassandra Wilson - I've Grown Accustomed
[31]. New York Voices - Oh, Lady Be Good
[32]. Shirley Horn -I Got Lost In His Arms
[33]. Natalie Cole - A Song For You
[34]. Bobby Mcferrin - Sightless Bird
[35]. Dee Dee Bridgewater - Angel Eyes
[36]. Helen Merrill - Baby Ain't I Good To You
[37]. Dinah Washington - Unforgettable
[38]. Louis Armstrong - Hello, Dolly!
[39]. Nina Simone - My Baby Just Cares For Me .
[40]. Matt Bianco - Whose Side Are You On 9
[41]. Ray Charles - Baby Don't You Cry
[42]. Shirley Bassey - Goldfinger
[43]. Zachary Breaux - The Thrill Is Gone
[44]. Al Jarreau - Since I Feel For You
[45]. George Benson - Marvin Said
[46]. Notalie Cole - Don't Get Around Mush Anymore
[47]. Sarah Vaughan - Summertime
[48]. Stan Gets & Joad Gilberto - Garota De Ipanema
[49]. Frank Sinatra & Antonio Jobim - I Concentrate On You
[50] .Elle Fitzgerald - Mack The Knife
[51]. Shirley Horn - This Can't Be Love
[52]. Nat King Cole - Fascination .
[53]. Louis Armstrong - Cabaret
[54]. Peggy Lee - Fever
[55]. Ray Charles - Georgia On My Mind
[56]. Louis Prima & His Band - I Wanna Be LikeYou
[57]. Astrud Gilberto & Antonio Jobim - Agua De Beber
[58]. Fourplay - East 2 West
[59]. Paul Hardcastle - Rainforest
[60]. Denny Jiosa - Europa
[61]. Group 3 - Uncle Darrows
[62]. Bob James - Five O'clock Chateau
[63]. Denny Jiosa - II Dolce Per Due (Dessert For 2)
[64]. Shakatak – Driftin
[65]. Gregg Karukas - Your Sweet Smile
[66]. Joyce Cooling -Whenever The Rain Falls
[67]. Bill Sharpe - One Time
[68]. Mighty Bop - On The Moon
[69]. Will Downin – Is This Love
[70]. Jeff Kashiwa - Simple Truth
[71]. Peter White -Midnight In Manhattan
[72]. Randy Crawford - Give Me The Night
[73]. Gerald Albright - Creepin
[74]. Ronnie Jardan - After Hours
[75]. The Mighty Bop - Tell Me
[76]. Brian Culbertson - You'll Never Find
[77]. Norman Brown - Just Between Us
[78]. Steve Cole - It's Gonna Be Alright
[79]. Chuck Loeb - The Music Inside
[80]. The Mighty Bop - What Now My Love
[81]. Dave Koz - In The Name Of Love
[82]. Paul Taylor & Peter White - Come Morning
[83]. Spyro Gyra - The River Between
[84]. Nelson Rangell – Reasons

MP3 256(CBR) Kbit, no scans [580 MB]

Music of the land of Iran:Naghmehaye Iran Zamin

This collection of 8 various language that are used in Iran. This great collection well take you to one comprehensive experience of Iran and to an extend the old Persia as most of the music are closely linked to those of the Arabs, the Afghans and the Turkmen. It is a must have.

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1. CD1:Music of South of Iran, music of Jonub
2. CD2:Music of North eastern of Iran-Azari music
3. CD3:Musif of West of Iran-Chahar Mahal o Bakhtiari
4. CD4:Music of North of Iran-Music of Gilan
5. CD5:Music of East of Iran-Khorasan
6. CD6:Musif of North west-Kordi music
7. CD7:Music of South West-Music of Loristan
8. CD8:Music of South east-Sistan o Balochestan

Many thanks to our friends from the bidel blog for providing us this albums

Twais - Insan

Essam Rafea created the group in 2004. TWAIS Quartet, as the classical takht (oriental quartet) is composed of Oud, Qanoon, Nay, and Percussions. Twais was the first singer of the Islamic era who was praised for the beauty of his voice and his originality as he introduced Iqaa (beats) into singing in the 7th century. He was born in Al Madina Al Munawra (Currently in Saudi Arabia), and died in Sweida – Syria. It is this spirit of innovation and originality that the Quatret is aspiring and striving to represent. The project of the musicians is to search the roots of the Arab and Oriental Music with focus on the instrumental music and to include them in contemporary forms, using different musical schools and contemporary compositions, in an attempt to create a unique style of music. Twais performed so far in Germany (Achen) – France (Fontainebleau, Festival d’île de France, Marseille, Cité de la Musique)– Kuwait and in Syria (Damascus, Opera House, Hammam Fat'hi, Goethe Institut, and Aleppo). Always searching for new experiments and unexpected encounters, the group also participated in the last Album of the German Accordion player Manfred Leuchter, as well as in the album “Pelligrino” with the French Baroque music group, Musiques des Lumières XVIII-21 led by Jean-Christophe Frish. They launched their first album in 2008.

رباعي طويس طويس أول مغني في العصر الإسلامي، وقد اشتهر بجمال صوته وقوة ابتكاره، يرجع أصله إلى المدينة المنورة في الجزيرة العربية وهو الذي أدخل الإيقاع مع الغناء للمرة الأولى في القرن السابع الميلادي. فطويس يعني روح ابتكار وتجديد وجرأة، وهذا ما يسعى الرباعي لتحقيقه بمشروعه الموسيقي. أسس عصام رافع الرباعي عام 2004 بهدف البحث في جذور الموسيقا العربية والشرقية وخصوصاً الآلية منها لسبر أغوارها، وإخراجها بنهاية المطاف بأسلوب جديد ومعاصر، مستفيدين من تجارب المدارس الموسيقية المتعددة، ومحاولة خلق حالة موسيقية فريدة ضمن هذا التخت. والتخت هو أحد التشكيلات أو المجاميع الموسيقية في الموسيقا العربية والموسيقا الشرقية عموماً. أما رباعي طويس فهو مشكل من عود - قانون - ناي - إيقاع. أحيا الرباعي عدة حفلات داخل وخارج سوريا (ألمانيا - دمشق وحلب - الكويت - فرنسا) شارك الرباعي في الألبوم الأخير لعازف الأكورديون الألماني مانفرد لويشتر. ألبوم مع فرقة الأنوار الفرنسية بقيادة جان كريستون فريش صدر الألبوم الأول لطويس في 2008

Album

Ardeshir Kamkar & Matthaios Tsahouridis - Raz-e-negah

Bitrate: 56 kbps - Encoder: FhG MPEG-2 layer 3

Album - Ghateh Ritmik (.flv)

Paco de Lucia & Ramon de Algeciras - 12 Hits Para 2 Guitarras

In the year 1969, the brothers De Lucia & Alecira recorded two albums. This is one of them. Both recordings are based on an intelligent selection of popular pieces interpreted by two flamenco guitars.

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Al Dawr Al Masri - 5 CDs

قالب غنائي مصريّ المولد والنشأة والصنعة والتطور ظھر في القرن التاسع عشر وزھا وتطور في النصف الأول من القرن العشرين. يعد أھم فقرات الوصلة الغنائية التقليدية التي تبدأ بالدولاب ثم السماعي ثم الموشح ثم الدور

1 - 2 - 3 - 4 - 5

Mari Goubran

I could not find appropriate biography in english so you can translate it by Google, though it may looks weak
From asharq alawasat newspaper 19/06/2008

يصنف النقاد صوت ماري جبران بأنه من الأصوات القوية المعروفة بالسوبرانو، مع اتصافه بخصائص جمالية، توازي أم كلثوم، صوتاً وأداء، ويقال انه لو امتد بها العمر لكان لها شأن آخر. هذا ما جعلها تتربع على عرش مطربات عصرها، واعتبارها سيدة مطربات بلاد الشام، كما أنها أكدت موقعها في الغناء كصاحبة موهبة كبيرة، في زمن الحروب وانحطاط الفن، فرفعت من مستواه.

وحسب التقديرات، ولدت جبران في بيروت عام 1907، ونتيجة لظروف المجاعة والحرب الأولى هاجرت العائلة إلى دمشق، إلا أن أباها يوسف جبور، عاجله الموت تاركاً أسرته تواجه ظروفاً صعبة، دفعت والدة ماري لتلبية دعوة أختها الممثلة المشهورة حينها ماري جبران (الخالة) للعيش معها في القدس. وهكذا قدر للصغيرة ماري ذات العشر سنوات النشوء في وسط فني وهناك اكتشفت موهبتها باكرا، فأخذت تغني في المسرح وترقص برشاقة وتضرب الصنوج، وتعلمت العزف على العود فبرعت. ثم عملت مطربة في فرقة الممثل المصري «علي الكسار» التي كانت تتجول في يافا وحيفا وبعض مدن شرق الأردن، بعد انتهاء الموسم في القاهرة.

ذاع صيتها في القدس، وأقبل عليها المعجبون ولقبت بـ «ماري الصغيرة» تمييزاً لها عن خالتها ماري الكبيرة، إلا أن الأخيرة غارت من نجاحها، فأساءت معاملتها ودفعتها للعودة إلى دمشق بعد تسع سنوات، مكنت ماري من سلوك طريق الاحتراف.

في دمشق، عملت بملهى «قصر البلور» عدة شهور، ثم وبسبب الظروف المضطربة في سورية جراء الانتداب الفرنسي والثورة السورية الكبرى، انتقلت إلى بيروت وعملت في ملهى «كوكب الشرق». عندما هدأت الأوضاع عام 1927، عادت إلى دمشق لتعمل في ملهى «بسمار»، ثم غادرت إلى حلب واشتغلت في ملهى «الشهبندر». بعد سنة عادت مرة أخرى إلى دمشق، للعمل في ملهى بسمار، وكان يعج بالمعجبين بفنها، وبلغ أجرها الشهري أكثر من خمسين ليرة ذهبية.

في أوائل الثلاثينات، تعرفت على الفنانة المعروفة بديعة مصابني في سهرة خاصة بدمشق وعرضت عليها العمل في القاهرة، هناك فتنت الناس بجمالها وقوة صوتها لتغدو بين ليلة وضحاها قبلة الأنظار، فأطلقوا عليها اسم ماري الجميلة وماري الفاتنة. شهرتها السريعة ونجاحها أثارا غيرة مصابني، فأنهت التعاقد معها متذرعة بأوهى الأسباب. ورغم محاربة مصابني الشرسة لها، مكثت ماري في القاهرة تغني سبع سنوات ضمن ظروف جيدة، وعندما تركت القاهرة مقررة العودة إلى دمشق، لم تُعرف الأسباب الحقيقية لذلك. أواخر الثلاثينات عملت في ملهى العباسية بدمشق بمبلغ مائة وخمسين ليرة ذهبية شهرياً.

حتى هذا التاريخ، كانت ماري جبران تغني أعمال مشاهير الملحنين كأدوار سيد درويش وداود حسني وزكريا أحمد وأبو العلا محمد، من التي تؤديها سيدات الطرب آنذاك كفتحية أحمد وأم كلثوم ومنيرة المهدية ونادرة الشامية. كما وغرفت من ألحان محمد القصبجي ورياض السنباطي ومحمد عبد الوهاب في المونولوج والقصائد والطقاطيق، وبعض الأعمال التراثية الشامية في الموشحات والأدوار والأغاني الخفيفة. وكانت تستعذب من الغناء القديم الأدوار المشهورة (دع العذول ده من فكرك/في البعد ياما كنت أنوح/ياما انت وحشني) والموشحات (يامن لعبت به الشمول/ حبي دعاني/ منيتي عز اصطباري/ صحت وجداً).

اعتبرت من أكثر المطربات تميزاً لغنائها على أصول الوصلات التي تخصص فيها الرجال، كما غنت الموشح والليالي والموال والدور، بشكل سلسلة منتظمة وهو نظام الفصول الغنائي الذي كان سائداً قبل 100 عام. ويقول النقاد ان ابرز مواهب ماري الفنية أنها تستطيع بصوتها المرسل إنشاد الليالي بجولات تصويرية رائعة.

في دمشق اكتشفت ضرورة أن يكون لها أغانيها الخاصة. اتصلت بمشاهير المطربين من أمثال صابر الصفح ومحمد محسن ورفيق شكري وزكي محمد ونجيب السراج، لتبدأ معهم المرحلة الأخيرة في حياتها الفنية.

ارتاحت لألحان زكي محمد، فغنت من تأليفه عدداً كبيراً من القصائد والمونولوجات والأغاني العاطفية الدارجة. وأول لحن غنته له مفتتحة به حفلاتها الشهرية في عام 1937، مونولوج رومانسي ناعم بعنوان «الشباب» من نظم أحمد مأمون، ثم تتالت أعماله لها، وبخاصة القصائد التي حلقت بها، مثل «زنوبيا» من شعر زهير ميرزا. وقد غنتها عام 1949.

بلغت ماري قمة مجدها الفني في سورية، وكرمت بانتخابها نقيبة للموسيقيين سنة 1950. لكن ذلك جاء متأخرا جدا، وبعد أن لم يعد هناك فائدة من الشهرة في حياة بدأت باليتم والفقر والترحال وآلت إلى مرض الأم ومن ثم فقدان الابن الوحيد، لتنتهي بإصابتها بمرض عضال توفيت من جرائه عام 1956. واليوم ونحن نستعيد ذكراها من خلال مشروع دار الأسد، نزين حياتنا بصوتها العذب وفنها الفريد، دون أن ننسى أن كل آه انطلقت من حنجرتها نبعت من ألم جارح ومعاناة طويلة.

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Mohamad Abd AlKarim - Prince of bouzouk - 10 CDs

Following the post of 2CDs Best of Mohamad Abd AlKarim "see the link"
here the complet collection of his works documented by the Syrian Opera
Track 5 in CD 6 is recommended as one of his most beautiful oriental tango music

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10

Luis Delgado - Alquibla - Música Original De La Série De TVE

Luis Delgado has worked with all kinds of groups, like Iman (Andalusian rock), Atrium Musicae (antique music), Babia (East-West fusion), Finis Africae (ethnic fusion), C?lamus (Spanish medieval music), La Musga?a (traditional music), Spanish-Moroccan group "Ibn Baya" etc. Born July 16, 1956, in the Chamberi quarter of Madrid, Luis Delgado did his first concert at the age of 14 with the orchestra of La?des, Gaspar Sanz, whose director, D. Manuel Grand?o, taught him most of what he knows about music. Luis also took classes in Hindu, Iranian and Andalusian music, as well as in African percussion. The musical spectrum of this Spanish multi-instrumentalist, composer and producer ranges from ambient to different kinds of traditional and ethnic music, and even includes medieval and ancient music.

Luis Delgado has composed and produced various soundtracks for television programs. Outstanding is the soundtrack of Alquibla, a serial about the Arabian world, written by Juan Goytisolo and directed by Victoria Prego.

Sintonia
1 El Musem (1:52)

El Cairo, Diptico Urbano
2 Cairo Mokatam (1:39)
3 Al Muski (1:25)
4 Al Jalifa (2:30)
5 Mantis Religiosa (0:54)

Istanbul, La Ciudad Palimpsesto
6 Hgya Sophia (1:16)
7 El Bosforo (2:21)
8 Top Kapi Saraji (2:23)

El Espacio En La Ciudad Islámica
9 Cives Blancas (0:38)
10 Basora (1:30)
11 Kotubia (1:51)
12 Xmaa L'Fnaa (2:52)

Gaudí En Capadocia
13 Reflexión (3:00)

El Desierto, Realidad Y Espejismo
14 Beduinos (1:15)
15 El Tambor Del Sol (1:00)
16 El Baño Lustral (2:24)

Gaudí En Capadocia
17 Profecía (2:56)

Itinerario De Un Campeón
18 Kispit (1:06)

Ver Sin Ser Vista, La Mujer En El Islam
19 Mujeres Beduinas (1:30)
20 El Serrallo (2:00)

El Islam, Realidad Y Leyenda
21 Inquisición (0:15)
22 Meca (2:20)

Zagüias Y Cofradias Islámicas
23 Hadra (1:17)

Sintonía
24 El Musem (1:52)

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

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Part 1 | Part 2

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HERE

Maria De Barros - Dança Ma Mi: Dance With Me

Along with Cesaria Evora and Lura, Maria de Barros represents the West African island nation of Cape Verde. Her new CD follows her debut recording, Nha Mundo. Like her musical sisters, she sings her native land's mournful morna, the festive funana/ferro, and peppery coladeira rhythms and song genres. But where Evora and Luna are more tradition-bound, De Barros can mix things up, as evidenced by her salsa-fied number "Bo Ke Nha Boy," the samba-like syncopations of "Sol Di Manha," and her hypnotic version of the French Caribbean classic, "Caresse Moi." Her voice has a light and airy ring to it, which sounds good in her native, Afro-Portuguese Criuolo language – and complements the, synths, horns, accordion, percussion, and the ukulele-like cavaquinho. All told, de Barros, like her contemporaries, is poised to take her country's music to the future, without, it is hoped, forgetting its past. --Eugene Holley, Jr.

(01) [Maria de Barros] Amor Luz
(02) [Maria de Barros] Oh Menel
(03) [Maria de Barros] Bo Ke Nha Boy
(04) [Maria de Barros] Espaço Infinito
(05) [Maria de Barros] El Tambem J'dame
(06) [Maria de Barros] Caresse Moi
(07) [Maria de Barros] Pazinho Laxa
(08) [Maria de Barros] Um Tem Um Amor
(09) [Maria de Barros] Nos Tradiçon
(10) [Maria de Barros] Rosinha
(11) [Maria de Barros] Sol Di Manha
(12) [Maria de Barros] Oumai

Flac(EAC Rip): 400 MB | MP3 - 320 kbs: 210 MB | Scans

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

If you have thought about starting to listen to Indian Raga music and don't know where to start check this out. This recording has spiritual depth and feeling many other Raga recordings too often lack. The tracks are long and slow and make you feel like you are in some ancient religious temple or a high religious state. I weigh the other Shankar recordings to this.

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

EAC-APE [210 MB]

Part 1
Part 2
Part 3
OR

MP3 320 Kbps [100 MB]

HERE

Freddie King Live at the Sugarbowl september 1972

Runnig time: 1:06:12
Quality: 720*480 avi 1200kps

• http://rapidshare.com/files/278887453/Freddie_1972.part1.rar
• http://rapidshare.com/files/278900703/Freddie_1972.part2.rar
• http://rapidshare.com/files/278909422/Freddie_1972.part3.rar
• http://rapidshare.com/files/278929853/Freddie_1972.part4.rar
• http://rapidshare.com/files/278937218/Freddie_1972.part5.rar
• http://rapidshare.com/files/278945701/Freddie_1972.part6.rar
• http://rapidshare.com/files/278948195/Freddie_1972.part7.rar

Sufi

A great collection of some of recently popular Sufi songs. Enjoy

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Tomatito - Rosas del Amor

A 2001 reissue of an album originally released in Europe in 1987, Rosas del Amor is a legendary album in modern flamenco music; it wouldn't be far off to call it the Spanish folk guitar equivalent of Sgt. Pepper's Lonely Hearts Club Band. Rosas del Amor takes traditional flamenco music and injects liberal amounts of jazz influence, specifically the French gypsy-influenced jazz of Django Reinhardt and Stephane Grappelli. The resulting intermingling of styles works beautifully, as the two forms of music (not as far apart as one might initially think) blend harmoniously into a fully realized, richly textured whole. All eight tracks have since become classics in the modern flamenco canon, particularly the title track, a sensuous tango with all the romantic yearning of classic flamenco and the breathtaking virtuosity of gypsy jazz. Magnificent stuff. ~ Stewart Mason, All Music Guide

[01]. Dedicado a Camarón [Tango]
[02]. La Chanca [Bulería]
[03]. Rosas del Amor [Tango]
[04]. La Andonda
[05]. Puerta de Sevilla [Sevillana]
[06]. Barrio Santiago [Bulería]
[07]. Alejandría [Rumba]
[08]. Soledad [Soleá]

APE tracks (EAC Rip): 180 MB | MP3 - 320 kbs: 80 MB | Scans

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Toumani Diabaté - The Mandé Variations

A solo kora recital (his second, a follow-up to his 1988 debut recording Kaira) for Bamako's Toumani Diabaté seems like a snap, easily produced, and simply rendered. But the thought process prior to and during each piece speaks more on the background, orientation and experience that inspires him. Not all strictly a Mali or African dialect, he employs a variety of sources that directs this diverse program, which is far from simplistic or superficial. For instance, the beauteous ten and a half minute opener "Si Naani" uses an Egyptian tuning, is harp and Zen-like, cascading, expresses four Fula lineages, and goes from a love song to a griot tale. The thematic waltz "Elyne Road" -- inspired by producer Nick Gold's band UB40's version of the song "Kingston Town" -- uses a repeat line to improvise off of, much more than a simple pop or rock song form. "Ali Farka Toure" for the deceased world music master is a fast, no-frills improvisation with no wasted space as the musician who it is played for fully expressed in his music. "Kaounding Cissoko" for Baaba Maal's late kora accompanist is playful, minimalist, layered, sounds overdubbed even though it is not, and is the most intricate piece on the CD. An Arabic spoken word prayer introduces the reverent "Ismael Dreams," a slow "Djourou Kara Nany" (the Arabic name for Macedonian emperor Alexander the Great) is also measured but uses contrasting quick passages, and "El Nabiyouma" is playful and bouncy, utilizing rhythmic Spanish flamenco inferences, as well as those from carnatic India and Mauritania. Then there's "Cantelowes," inspired by a street in north London and borrowing the famous melody from the film The Good, The Bad & The Ugly as a vehicle for counterpoint linear and repeat direct basslines. As much as the relaxed fluidity and natural ability of Diabaté is clear, please do not assume this music is laid-back, lacks spark, verve or energy. An inspired, sparkling effort, The Mande Variations ranks as a top shelf, eminently listenable recording on many levels, and comes highly recommended. ~ Michael G. Nastos, All Music Guide

(01) [Toumani Diabaté] Si naani
(02) [Toumani Diabaté] Elyne Road
(03) [Toumani Diabaté] Ali Farka Toure
(04) [Toumani Diabaté] Kaounding Cissko
(05) [Toumani Diabaté] Ismael Drame
(06) [Toumani Diabaté] Djourou Kara Nany
(07) [Toumani Diabaté] El Nabiyouna
(08) [Toumani Diabaté] Cantelowes

Flac tracks(EAC Rip): 310 MB | MP3 - 320 kbs: 145 MB | Booklet Scans

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Vicente Amigo - Vivencias Imaginadas

Few Flamenco guitarists escape my ears. This musical form is so beautiful. As a resident mucisican and guest performer over the past several years with Eva Encinas' world class Festival Flamenco Internacional productions here in Albuquerque, I have had the honor and priviledge of performing with some of the very best, including Los Dos hermanos Jimenez, Chuscales, Paco Jimeno, Santiago Lara and many others.

The first time I heard this album I was absolutely blown away!! Not just because the compositions are fresh, brilliantly espressive and vibrant, but the arangements and performances by the accompanying artists are extraordinary in every respect. The cuts are masterfully performed and the emotion, passion and fire of this rare masterpiece traverse the entire spectrum of the feelings and emotion that ARE the very heart and soul of Flamenco. (One side note: to my disappointment, the trumpet player on Limon de Nata is not identified, but the what he/she plays on this track is brilliant and completely unique!!) Flamenco and jazz. It's what I've always believed should and can be done.

Vicente's firey expressivo and warm chordal textures pull you in as if you were right there in the studio performance.

To be sure, El Maestro, Vicente Amigo's performance on every cut is pure genius. The order of the compositions are arranged such that when you have listened to the entire CD, you feel as if you just experienced an incredible musical journey. And when it's over, you want to go there again...

1. Limon de Nata [Rumba]
2. Mandaito [Bulerias]
3. Ventanas al Alma [Minera]
4. Mensaje [Fandangos]
5. Querido Metheny - Vicente Amigo, Paco de Lucía
6. De Blanco y Oro [Tanguillo] - Vicente Amigo, Juan Serrano
7. Vivencias Imaginadas [Zapateado]
8. Sierra del Agua [Rondeña] - Vicente Amigo, Jesus & Brigida

Flac tracks(EAC Rip): 250 MB | MP3 - 320 kbs: 115 MB | Booklet Scans

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Youssou N'dour - Egypt

Youssou N'Dour's Egypt is a radical change of pace for the Senegalese singer/songwriter. Throughout his career, N'Dour has adapted his indigenous musical heritage to the pop sounds of world music. On Egypt, N'Dour and his quartet have created rhythmic and melodic arrangements for material from the Arabic world. Joining N'Dour's quartet for this recording is the renowned Fathy Salama Orchestra, a 14-piece traditional music ensemble. The material is traditional Sufi music, and N'Dour has applied, via the score's director, Hassan Khaleel, Senegalese rhythms and folk melodies to exist in concert with the time-honored originals. The effect is nothing less than startling. N'Dour goes deep into the heart of Senegalese Sufism, tracing the lines where terrains, spiritual practices, and of course musical ideas meet, meld, and change. Unlike his previous recordings, the organic and sacred character of this music seems to stand outside of time and space; it wails and warbles, croons and groans. It is the music of joy and reverence and, as it bridges the various aspects of Islamic cultural traditions, one hopes it can create, via the sheer beauty of its sound and the translation of its lyrics, a portrait of a world that is far different from the one portrayed by Western media constructs. ~ Thom Jurek, All Music Guide

(01) [Youssou N'Dour] Allah
(02) [Youssou N'Dour] Shukran Bamba
(03) [Youssou N'Dour] Mahdiyu Laye
(04) [Youssou N'Dour] Tijaniyya
(05) [Youssou N'Dour] Baay Niasse
(06) [Youssou N'Dour] Bamba The Poet
(07) [Youssou N'Dour] Cheikh Ibra Fall
(08) [Youssou N'Dour] Touba - Daru Salaam

APE(EAC Rip): 280 MB | MP3 - 320 kbs: 95 MB | CoverS

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