Erik Truffaz - The Walk of the Giant Turtle

French trumpeter Erik Truffaz has been a mover and shaker on the European creative improvisational scene since the mid-'90s. With the release of The Mask (a compilation of three previously released recordings: Out of a Dream, The Dawn, and Bending New Corners), Revisité (a DJ dance remix of The Mask), and 2002's forward-sounding Mantis, Truffaz became one of the most popular electronic jazz trumpeters to hit North America since Norwegian trumpeter Nils Petter Molvaer charged forth with Khmer and Solid Ether. With the release of The Walk of the Giant Turtle, Truffaz and his quartet continue to make their mark as an improvisationally rich, high-energy groove experience. The two-part dance track "Scody" features the trumpeter coolly blowing around fluid trance grooves that flow as a mellow confluence of drum'n'bass rhythms and muted electric trumpet. The rock-fueled backgrounds of Truffaz and bassist Marcello Giuliani provide the impetus for "King B," "Next Door," and "Seven Skies," while such lyrical beauties as "Wilfried" and the captivating title tune provide contrasting musical entertainment that respects your intelligence and appeals to your curiosity even though this set is not that cerebral. With traditional styles set aside, this ten-track collection is rife with serious chops, electric jazz infused with modern dance rhythms, ambient pop, and gripping rock/jazz fusion performances that you are sure to enjoy. So kick back or get out on the dance floor -- it's your pick.



Track listing:

APE | MP3 |TIME



[01]. Scody Part I | 642kbps | 218kbps| 3:48



[02]. Scody Part II | 775kbps | 239kbps| 4:23



[03]. King B | 956kbps | 254kbps| 5:28



[04]. Flamingos | 718kbps | 229kbps| 7:08



[05]. Turiddu | 753kbps | 238kbps| 4:27



[06]. Next Door | 924kbps | 263kbps| 5:52



[07]. Belle ee nuit | 701kbps | 215kbps| 6:08



[08]. Wilfried | 736kbps | 224kbps| 4:29



[09]. Seven Skies | 904kbps | 257kbps| 6:48



[10]. The Walk of the Giant Turtle | 604kbps | 219kbps| 4:51



==> AVG and Total Time 780kbps 236kbps|53:27.186



Including Covers (front, back, CD, booklet)

EAC ripped with accurateRip

MP3: Lame 3.98.2 -V0 -->

Tradicion musical en Espana, La - Seleccion de romances sefardies de Marruecos

Tradicion musical en Espana, La - Seleccion de romances sefardies de Marruecos

Research and production: SUSANA WEICH-Shahak

This is a selection from among the ballads recorded in my surveys among Sephardic Jewish communities from Morocco in Tetuan, Tangier, Alcazarquivir, Larache and Asilah. As selection, intended to provide a representative sample of the wide repertoire romancístico so far retained in the oral tradition of Sephardic Jews of North Morocco ...

The romances are named and are sorted according to that proposed by the teacher Samuel Armistead in his catalog, index, The Judeo-Spanish Ballads in the Archivo Menendez Pidal (3 vols.,

Madrid, 1978), ie according to their subject categories, beginning with the romance of epic themes, followed by the Carolingians, historical, biblical, classical, captives and prisoners, themes of love and faithful wife unhappy, seductive women, affairs, issues of teasing and tricks, animals and miscellaneous. Adds two romances (the last two of the selection) of items not listed by Armistead. Occasionally I add to the titles of

romances, other names by which certain known romances.

TRACK LISTINGS



01. Las Quejas De Jimena (Sultana Bengio)

02. Rey Fernando + Sancho Y Urraca (Elvira Alfasi)

03. El Nacimiento De Montesnos (Alicia Bendayan)

04. Rosaflorida Y Montesinos (Mary Salama Ben-Mergui)

05. Isabel De Liar + Juan Lorenzo (Mary Salama Ben-Mergui)

06. El Sacrificio De Isaac (Marcel Cohen)

07. El JucioDe Slomon (Rina Benabu)

08. Tarquino Y Lucrecia (Henriette Benchimol)

09. Virgilio (Fortuna Zagury)

10. Las Hermanas, Reina Y Cautiva (Marcel Cohen)

11. Por Que No Cantais La Bella+ La Princesa Y El Segador (Alicia Bendayan)

12. Diego Leon (Rachel Levy)

13. La Mujer Enganada (Mary Salama Ben-Mergui)

14. Gerineldo (Moises Abitbul)

15. Desilusion (Alicia Bendayan)

16. El Marido Disfrazado (Fortuna Zagury)

17. Don Gato (Flora Bengio)

18. La Infantina (Alicia Bendayan)

19. La Buena Hua (Alicia Bendayan)

20. El Polo + La Infanta Parida ( Benchimol Henriette)

21. Don Munoz De Albar (Fortuna Zagury)

22. El Conde Forzador (Alicia Bendayan)



APE tracks (EAC Rip): 280 MB | MP3 - 320 kbs: 185 MB | Booklet Scans



Archives have 5% of the information for restoration



APE

Part 1 | Part 2 | Part 3



OR MP3 320 kbps

Part 1 | Part 2 | Part 3

Ray Conniff - La Gran Coleccion 60º Aniversario

Joseph Raymond Conniff (November 6, 1916 – October 12, 2002) was an American musician. He was born in Attleboro, Massachusetts, and learned to play the trombone from his father. He studied music arranging from a course book.

After serving in the U.S. Army in World War II (where he worked under Walter Schumann), he was hired by Mitch Miller, then head of A & R at Columbia Records, as their home arranger, working with several artists including Rosemary Clooney, Marty Robbins, Frankie Laine, Johnny Mathis, Guy Mitchell and Johnnie Ray. He wrote a top 10 arrangement for Don Cherry's "Band of Gold" in 1955, a single that sold more than a million copies.



Between 1957 and 1968, he had 28 albums in the American Top 40, the most famous one being Somewhere My Love (1966). He topped the album list in Britain in 1969 with His Orchestra, His Chorus, His Singers, His Sound, an album which was originally published to promote his European tour (Germany, Austria, Switzerland) in 1969. He also was the first American popular artist to record in Russia—in 1974 he recorded Ray Conniff in Moscow with the help of a local choir. His later albums like Exclusivamente Latino, Amor Amor and Latinisimo made him very popular in Latin-American countries, even more so after performing in the Viña del Mar International Song Festival. In Brazil and Chile he was treated like a young pop superstar in the 1980s and 1990s when he was in his 70s and 80s. He even played live with his orchestra and eight-person chorus in large football stadiums as well as in Viña del Mar.

Ray Conniff was a quiet, modest sympathetic artist. He always worked in the background so that in the fifties there were rumours that this man didn't even exist and that his name was as fake as his orchestral sound was sensational. Nevertheless he sold about 70 million albums worldwide and continued recording and performing until his death in 2002.

He died in Escondido, California, and is interred in the Westwood Village Memorial Park Cemetery in Los Angeles, California. His grave marker bears a musical score with the first four notes of "Somewhere My Love."

In 2004, a memorial two-CD compilation set, The Essential Ray Conniff, was released, featuring many rare and previously unreleased tracks. The Singles Collection, Vol. 1 was released on the Collectables label in 2005 and The Singles Collection, Vol. 2 was released in 2007. These collections also feature rare singles and previously unissued tracks.

Ray's music is also featured prominently in the movie, There's Something About Mary.





Track List

CD 1

01- Besame Mucho

02- El Continental

03- Tico-Tico

04- Sentimientos [Feelings]

05- Solo Tu [Only You]

06- Jovenes e Inquietos [Young And Foolish]

07- Ojos Espanoles [Spanish Eyes]

08- Adios A Jamaica [Jamaica Farewell]

09- Marea Baja [Ebb Tide]

10- Paloma Blanca

11- El Condor Pasa

12- Vereda Tropical

13- Gracias Por El Recuerdo [Thanks For The Memory]

14- Aquellos Ojos Verdes [Those Green Eyes]

15- El Amor Es Una Cosa Esplendorosa [Love Is A Many Splendored Thing]



CD 2

01- El Mar [La Mer]

02- Brasil [Brazil]

03- Frenesi

04- Un Extrano En El Paraiso [Stranger In Paradise]

05- La Pobre Gente De Paris [The Poor People Of Paris]

06- Lullaby Of Bordland

07- New York, New York

08- Gotas De Lluvia En Mi Cabeza [Raindrops Keep Faliing On My Head]

09- Al Sur De La Frontera [South Of The Border]

10- Don't Cry For Me Argentina

11- La Chica Mas Bonita Del Mundo [The Most Beautiful Girl]

12- Carino [Honey]

13- Digalo Con Musica [Say It With Music]

14- Los Blancos Riscos De Dover [The White Cliffs Of Dover]

15- Los Rrecuerdos Estan Hechos De Esto [Memories Are Made Of This]



Part 1

Part 2

Mohamed Abdel Wahab Collection

Mohammed Abdel Wahab

Also transliterated Mohammed Abd el-Wahaab (1907 - May 3, 1991)[1] was a prominent 20th century Egyptian singer and composer. He composed 10 songs for Umm Kulthum He was the first Egyptian singer to move from silent-era acting to singing. He died in 1991and is still considered one of the four "greats" of Arab music, along with Umm

Kulthum, Farid al-Atrash, and Abdel Halim Hafez.[2] He composed the "Ya Beladi", the National anthem of the Kingdom of Libya (1951-1969).



Biography



Born in Bab El-Shaariyah area of Cairo, Egypt (where his statue stands), Abdel Wahab played oud before the Prince of Poets, Ahmed Shawqi. Abdel Wahab acted in several movies.



Adel Wahab's contribution as composer goes beyond that of a mere singer. Abdel Wahab, the composer, stands alone as a pivotal genius of the modern Oriental or Arabic music.



Contribution to Arab music



Egyptian singer & composer Mohammed Abdel Wahab Statue at Bab El-Sharyia square, CairoDespite the fact that Abdel Wahab composed many songs and musical pieces in classic Arab music, he was always criticized for his orientation to Western music. In fact, his introduced the Western rhythms to Arab songs in a way appropriate to the known forms of Arab songs. For example, he introduced in 1941 in his song Al Gondol the Waltz rhythm, and in 1957, he introduced the rock and roll rhythm in Abdel Halim Hafez’s song Ya Albi Ya Khali.



Abdel Wahab played oud before the Prince of Poets, Ahmed Shawqi. Abdel Wahab acted in several movies. He composed 10 songs for Umm Kulthum .He was the first Egyptian singer to move from silent-era acting to singing. He died in the year of 1991 and was born in the yea of 1907. He dead of heart failure.



Legacy



His personal belongings were put in his museum in the Music institute in Cairo.

A statue was erected in Bab El-Sheriya square (where he grew up) to keep his memory.

As a memorial and honor for him, Omar Khayrat, Egyptian composer, had rearranged some of Abdel Wahab's music and released them in an Album called Wahabiat





Collection-1



Track List

01. Ya Wabour Oly

02. El Nile Nagashe

03. Yady El Na'eem

04. Ana Antonio

05. Maskeen We Haly A'adam

06. Lahn El Bortokal

07. Tal Intezary

08. Nadany Alby

09. El Hawa Well Shabab

10. Sa'ebt A'alek

11. Ya Law'ety



HERE



Collection-2

Track List

01.Emta El Zaman

02.Ely Inkatab Ala El Gebeen

03.Lama Inta Nawy

04.O'gebt Bee

05.Ya Na'eman

06.Amana Ya Liel

07.Talafatet

08.El Zolm Dah Kan Leeh

09.Balak Maa Mean

10.Shagany Nohak



HERE



Collection-3

Track List

01.Ya Doni Ya Gharamy

02.Ya Nasea Wadee

03.Mean Azebak

04.Ya Garet El Wadi

05.Radet El Rouh

06.Ma Ahla El Habib

07.Kol Ely Hab

08.Hagrany Leeh

09.Ely Yheb El Gamal

10.El Naby Habebak



HERE

Shegundo Galarza - Galarza 66

Date of Birth : 1924, Basque Country, Spain
Date of Death : January 2003, Lisbon, Portugal
Birth Name : Shegundo Ramon Galarza Arece
Since 1949 until his death, he lived in Portugal, where he was a well respected orchestra conductor and pianist. A lot of people in Portugal remember him from many editions of the "Festival RTP da Canção".

Listado:

[01]. Yo soy aquel
[02]. En la calle donde vives
[03]. Yo quiero samba
[04]. El tango del beso
[05]. Mambo improvisso
[06]. Tammy
[07]. Ven esta noche
[08]. Ayer
[09]. El trapero
[10]. La Rosita
[11]. Desde Santurce a Bilbao
[12]. Yo que no vivo sin ti

| MP3 256 kps - 58 MB | 1966 | Covers

HERE

Chine - Turkestan Chinois / Xinjiang - Musiques Ouïgoures

Chine - Turkestan Chinois / Xinjiang - Musiques Ouïgoures

TRACK LISTINGS



Volume 1 - Muqam Classique Et Traditions Populaires Des Ouïgoures



1.1 Baš Muqam De Čarigah 6:42

Recorded By - Jean During , Sabine Trebinjac

Voice, Oud [Satar] - Mämät Turdi



1.2 Dastan De Rak 17:17

Oud [Satar] - Mämät Turdi

Recorded By - Jean During , Sabine Trebinjac

Voice, Oud [Tanbur] - Sämsidin



1.3 Baš Muqam De Ošaq 4:32

Oud [Tanbur] - Yusanjan Jami

Recorded By - Jean During , Sabine Trebinjac



1.4 Čong Näghmä De Čabbiyat 13:07

Drums [Dap] - Ömär Tokhte

Oud [Tanbur] - Mämät Äli

Recorded By - Jean During , Sabine Trebinjac

Viol [Ghijäk] - Abliz

Voice, Cimbalom [Čang] - Abdurehim Niyaz



1.5 Premier Dastan Et Märghul Of Özhal 8:23

Oud [Satar] - Mämät Turdi

Recorded By - Jean During , Sabine Trebinjac

Voice, Oud [Tanbur] - Sämsidin



1.6 Özhal, Päšro Märghul 3:26

Drums [Dap] - Qavul

Oud [Dutar] - Nortay

Oud [Rawap] - Davut Avut

Recorded By - Sabine Trebinjac

Viol [Ghijäk] - Dolqun

Voice - Tunisa Salaydin , Äli



1.7 Premier Dastan Et Märghul De Mušaviräk 7:35

Drums [Dap] - Ömär Tokhte

Oud [Tanbur] - Mämät Äli

Recorded By - Jean During , Sabine Trebinjac

Voice, Cimbalom [Čang] - Abdurehim Niyaz

Voice, Viol [Ghijäk] - Abliz



1.8 2ème Dastan Märghul De Nava 1:55

Drums [Dap] - Qavul

Oud [Dutar] - Nortay

Oud [Rawap] - Davut Avut

Recorded By - Sabine Trebinjac

Viol [Ghijäk] - Dolqun

Voice - Tunisa Salaydin , Äli



1.9 3ème Dastan Märghul De Nava 2:58

Drums [Dap] - Qavul

Oud [Dutar] - Nortay

Oud [Rawap] - Davut Avut

Recorded By - Sabine Trebinjac

Viol [Ghijäk] - Dolqun

Voice - Tunisa Salaydin , Äli



1.10 Sänäm 5:00

Drums [Dap] - Qavul

Oud [Dutar] - Nortay

Oud [Rawap] - Davut Avut

Recorded By - Sabine Trebinjac

Viol [Ghijäk] - Dolqun

Voice - Tunisa Salaydin , Äli



Volume 2 - Première Parte: Répertoire Des Dolan



2.1 Bom Bayawan 5:47

Oud [Rawap] - Mämät Turdi

Recorded By - Jean During , Sabine Trebinjac

Viol [Ghijäk] - Osman Qader

Voice, Drums [Dap] - Abdurehim Abdurasul , Rahim Qader , Ömär Osman

Zither [Qalun] - Äli Mämät



2.2 Appangzida Barat Way 4:04

Oud [Rawap Dolan] - Mämät Turdi

Recorded By - Jean During , Sabine Trebinjac



2.3 Dogamät 5:46

Oud [Rawap] - Mämät Turdi

Recorded By - Jean During , Sabine Trebinjac

Viol [Ghijäk] - Osman Qader

Voice, Drums [Dap] - Abdurehim Abdurasul , Rahim Qader , Ömär Osman



2.4 Baš Muqam De Čöl Bayawan 2:42

Recorded By - Jean During , Sabine Trebinjac

Viol [Ghijäk Dolan] - Avut Iziz



2.5 Sirilma De Zil Bayawan 5:23

Recorded By - Jean During , Sabine Trebinjac

Zither [Qalun] - Mämät Turdi



2.6 Khuš Saz 1:31

Oud [Rawap] - Avut Iziz

Oud [Tanbur] - Sämsidin

Recorded By - Jean During , Sabine Trebinjac



Volume 2 - Deuxième Parte: Chansons Ouïgoures



2.7 Asmanda Ay Barmu? 4:30

Recorded By - Sabine Trebinjac

Voice, Oud [Dutar] - Risalät Khapiz



2.8 Qädrimgä Yetär Sänmu? 2:40

Recorded By - Sabine Trebinjac

Viol [Ghijäk] - Iminjan Hosuy

Voice, Oud [Dutar] - Osman Yunus



2.9 Serlima 2:36

Recorded By - Sabine Trebinjac

Voice, Oud [Dutar] - Aysamgul



2.10 Janan Qiz 3:07

Recorded By - Sabine Trebinjac

Voice, Oud [Dutar] - Aysamgul



2.11 Chanson De Kashgar 2:41

Recorded By - Jean During , Sabine Trebinjac

Voice, Oud [Rawap] - Tusunjan



2.12 Ayaräy 2:07

Recorded By - Sabine Trebinjac

Voice, Oud [Dutar] - Ghäppär Äkhmät



2.13 Ôssek 4:51

Recorded By - Jean During , Sabine Trebinjac

Viol [Ghijäk] - Sir Äli Hasim



2.14 Sapiraq Nakhšisi 3:47

Recorded By - Sabine Trebinjac

Voice, Oud [Dutar] - Patäm



2.15 Köngül Ösmäydu Bu Sähärdä 3:55

Recorded By - Sabine Trebinjac

Voice, Oud [Dutar] - Patäm



2.16 Qäšqär Qizi 2:20

Drums [Dap] - Qavul

Oud [Dutar] - Nortay

Oud [Rawap] - Davut Avut

Recorded By - Sabine Trebinjac

Viol [Ghijäk] - Dolqun

Voice - Tunisa Salaydin



2.17 Asmanda Ay Barmu? 2:43

Oud [Dutar] - Musajan Rozi

Recorded By - Jean During , Sabine Trebinjac



2.18 Mušaviräk 7:07

Drums [Dap] - Wällä

Oud [Dutar] - Äkhät , Ämärjan

Oud [Satar] - Abdu Kadir

Recorded By - Sabine Trebinjac

Voice, Oud [Tanbur] - Mangläskhan



2.19 Tumuz Isiq Khät Yisip Köydi Pišanäm 2:56

Recorded By - Sabine Trebinjac

Voice, Oud [Rawap] - Mämät Usun



2.20 Ačilidi Gülüm 2:33

Recorded By - Sabine Trebinjac

Voice, Oud [Rawap] - Mämät Usun



2.21 Laylang 0:58



Recorded By - Sabine Trebinjac

Voice - Mämät Awla Mämät



Credits to "Sinan"





FLAC (EAC Rip): 740 MB | MP3 - 320 kbs: 360 MB | Booklet Scans



Archives have 5% of the information for restoration



FLAC

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9



OR MP3 320 kbps



Part1 | Part2 | Part3 | Part4

Astor Piazzolla - 20 Greatest Hits

Astor Pantaleón Piazzolla (March 11, 1921 – July 4, 1992) was an Argentine tango composer and bandoneón player. His oeuvre revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. An excellent bandoneonist, he regularly performed his own compositions with different ensembles.

Tracks 1, 2, 3, 4, 5, 8, 9, 10, 11, 12, 20:
Astor Piazzolla y su quinteto

Tracks 6, 7:
Duo de bandoneones:
Anibal Troilo/Astor Piazzolla

Tracks 13, 14:
Vocals: Hector de Rosas

Tracks 15, 16, 17:
Vocals: Amelita Baltar

Tracks 18, 19:
Vocals: Roberto Goyeneche

[01]. Adiós Nonino [4:11]
[02]. Contrabajeando [3:29]
[03]. Lo Que Vendrá [4:25]
[04]. Nonino [2:51]
[05]. Guitarrazo [4:08]
[06]. Volver [3:59]
[07]. El Motivo [2:58]
[08]. Prepárense [3:20]
[09]. Tierrita [3:02]
[10]. Chique [3:34]
[11]. Triunfal [3:34]
[12]. Quejas de Bandoneón [3:11]
[13]. Sur [3:01]
[14]. Malena [2:58]
[15]. El Gordo Triste [3:38]
[16]. La Primera Palabra [3:41]
[17]. Las Ciudades [4:35]
[18]. Balada Para un Loco [4:26]
[19]. Chiquilin de Bachin [3:18]
[20]. Verano Porteño [3:50]

Parte 1
Parte 2

Fairuz - Ya Tara Nessina

Born and educated in Beirut, Fairuz (Fairouz, Fayrouz) began her musical career as a chorus member at the Lebanese Radio Station. In the late 1950s her talent as a singer became fully acknowledged. Met with unprecedented enthusiasm, Fayrouz's early songs featured the singer's distinct vocal timbre and lyrics expressing romantic love and nostalgia for village life. They meshed with a delicate orchestral blend in which certain Arab instruments figured prominently but which also subtly incorporated European instruments and European popular dance rythms.

She also sometimes sang adaptations of Arab folk tunes. By the early 1960s Fayrouz was already one of the main attractions of the annual Baalbeck Festivals and a celebrity not only in Lebanon but throughout the Arab world.

During most of her singing career, Fayrouz was part of a three-member team which included the two Rahbani brothers. Generally, her lyrics were written by Mansour Rahbani, and the tunes were composed and arranged by his brother 'Assi, Fayrouz's late husband. Fayrouz's songs owe a great deal to the musical and poetic genius of these two Lebanese artists. In recent years they have also reflected the composing talent of Ziad Rahbani, Fayrouz's son. In addition, they testify to Fayrouz's broad musical background, which traditions of Arab music.

Fayrouz has performed in many US cities including Washington DC, New York and most recently Las Vegas.

Quoted from "Fayrouz: Legend and Legacy"

Track List

[01].Ya Oud
[02].Samra Ya Omm Oyoun Wusa'
[03].Ya Um El-Oyoun Kahla
[04].Sarlo Zaman El-Hilou
[05].Ba'd El-Layali 6.Ya Tara Nseena
[07].Sama'na
[08].Bokra Byiji Neesan
[09].Reeh Al-Shimali
[10].Ya Rob'ina
[11].'Al Yadi Al Yadi
[12].Ma Ahla Al-Raj'a Bakeer
[13].Ya Rbou' Bladi
[14].Oummi Nida' El-Hanan
[15].Kurmalak
[16].Maghrour Albi

Download Here

Don Swan - Latino

Latino is no closer to serious Latin than Don Swan's previous three albums, but there is a new maturity and confidence here. Even though "Razz-Berry Mambo" may be lacking in maturity, and "Linda Mujer" begins with a rock beat, overall the group of star West Coast jazz men is sounding more like a touring orchestra than a studio contrivance. The whistling and harp seem to be gone in favor of more post-"Cherry Pink" trumpet theatrics. Latino also raises the bar slightly in its lurid jacket art. (A thumbnail can be seen, and "El Cumbanchero" heard, on the Liberty sampler, Stereo: the Visual Sound LST-100). The model, conga drum, and soft focus are still there, but the fishnet stockings and all else are gone. Even stripped down to the essentials, Latino still reeks of Hollywood cheese. ~ Tony Wilds, All Music Guide

Side One:

[01]. El Cumbanchero

[02]. Chatita

[03]. La Paloma

[04]. Miami Beach Rumba

[05]. Once Ocheta Y Uno

[06]. Razz-Berry Mambo



Side Two:

[01]. Linda Mujer

[02]. Betita

[03]. Hokey Joe

[04]. Gracias

[05]. A San Antonio Me Voy

[06]. Cha Cha in Alaska



| MP3 - 320 kbps | 65 MB | 1959 | Instrumental | lougyl.com |

Djelimady Tounkara - Solon Kôno

Djelimady Tounkara, lead guitarist for the Super Rail Band of Bamako, Mali, is a master musician, a pioneer in transforming ancient Manding griot music onto guitar, and one of the most powerful electric guitarists in Africa. Djelimady Tounkara is a Malian musician and one of the foremost guitarists in Africa. Born in the culturally rich town of Kita, east of the Malian capital, Bamako, Djelimady grew up surrounded with traditional music played by members of his family. The Tounkaras are Griots, musicians and historians by birth. Djelimady played djembe drum and xalam, a banjo-like lute, as a boy. When he moved to Mali’s capital, Bamako, during the 1960s, he had actually planned to work as a tailor. But music proved a stronger calling.

Track listing:



APE |MP3 |TIME



[01]. Fanta Bourama |812kbps |260kbps |5:47

[02]. Ikadigné |871kbps |265kbps |4:43

[03]. Solon Kôno |852kbps |261kbps |4:01

[04]. Bolondola |809kbps |253kbps |5:45

[05]. M'Bématoma |799kbps |254kbps |5:49

[06]. Téguindo |827kbps |268kbps |5:52

[07]. Adama |688kbps |249kbps |3:57

[08]. Kanougnogon |797kbps |261kbps |4:51

[09]. Sarankégni |788kbps |247kbps |8:08

[10]. Téyé |694kbps |245kbps |4:34



Including Covers (front, back, CD, booklet)

EAC ripped with accurateRip

Kroke - Ten Pieces to Save the World

The Polish trio of Tomasz Kukurba (viola; violin; voice; wind instruments; whistling; piano; percussion; mouth percussion), Jerzy Bawol (accordion), Tomasz Lato (double bass) present music on this 2003 recording that may not save the world, but will certainly make it a more interesting place to visit!


Tomasz Kukurba: viola; violin; voice; wind instruments; whistling; piano; percussion; mouth percussion

Jerzy Bawol: accordion

Tomasz Lato: double bass

Guest musicians: Jacek Królik: guitar solo (1); Slawomir Berny: percussion (1, 3)


* 1. Sun (Kukurba) 6:06

* 2. Desert (Kukurba/Bawol/Lato) 5:33

* 3. Childhood (Bawol) 3:28

* 4. Cave (Kukurba/Bawol/Grela/Lato) 6:32

* 5. Usual happiness (Kukurba) 5:45

* 6. Take it easy (Kukurba/Lato/Bawol/Grela) 5:35

* 7. Mountains (Bawol/Kukurba/Grela) 4:53

* 8. Dream (Lato) 2:59

* 9. Light in the darkness - T4.2 (Kukurba/Bawol/Lato/Grela) 6:58

* 10. Hope (Kukurba) 3:14


Download

Gandalf - Der Prophet

This album is a musical adaptation from the book "Der Prophet" with lyrics by Khalil Gibran,translated from English to German by Giovanni and Ditte Bandini.





Track List

01 Prelude (Instrumental)

02 Die Ankunft Des Schiffes

03 Von Der Liebe

04 Von Den Kindern

05 Vom Geben

06 Von Der Arbeit

07 Von Der Freude Und Vom Leid

08 Von Der Vernunft Und Von Der Leidenschaft

09 Vom Schmerz

10 Die Jahreszeiten Des Herzens (Instrumental)

11 Von Der Selbsterkenntnis

12 Vom Gebet

13 Von Der Religion

14 Vom Tod

15 Der Abschied



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[JVC World Sounds] Japan - Gagaku, Court Music of Japan

This CD presents the Japanese court music called gagaku. This very particular type of music came to Japan from China and Korea, between the fifth and the ninth centuries. Today, the orchestra is mainly composed of percussions, koto, shinobue (a small bamboo transverse flute), sho (a mouth organ), and hichiriki (a double-reed type of oboe). At the beginning, the first version of the shakuhachi was part of the orchestra, as well as singers. After its introduction, it was adapted to suit the Japanese spirit of the time. Pieces were composed for the ensemble, influenced by the indigenous music of the time. Some ethnomusicologists have been suggesting that this music is performed almost exactly as it was a thousand years ago, making it somehow the longest untouched musical tradition in the world. Since its beginning, gagaku has been performed almost exclusively at the imperial court, and on very rare occasions outside it. This is still pretty much the case today. There still exists only two or three gagaku orchestras in Japan today, the main one being the Emperor one. A fascinating out-of-the-ordinary music! ~ Bruno Deschênes, All Music Guide



Tokyo Gakuso formed in 1978 to preserve and advance gagaku, the oldest of Japan's performing arts, dating back over a thousand years. Since its inception, Tokyo Gakuso has performed many new compositions along with pieces from the classical repertoire that have been rarely heard. Founding music director Tadamaro Ono led the group until his death in 1994, when his nephew, Tadaaki Ono, succeeded him. Celestial Harmonies released an album by Tokyo Gakuso in 2002 -- Gaguku: Gems From Foreign Lands -- which followed an earlier release, Gagaku & Beyond (2000). ~ Jason Birchmeier, All Music Guide



(01) [Tokyo Gakuso] Manzairaku 1 Derute (Togaku)

(02) [Tokyo Gakuso] Manzairaku 2 Tokyoku (Togaku)

(03) [Tokyo Gakuso] Manzairaku 3 Irite (Togaku)

(04) [Tokyo Gakuso] Ranryoo (King of Lanling) 1 Ko Ranjo (Togaku)

(05) [Tokyo Gakuso] Ranryoo (King of Lanling) 2 Ryo Ou Ranjo (Togaku)

(06) [Tokyo Gakuso] Ranryoo (King of Lanling) 3 Sadacho Netori (Togaku)

(07) [Tokyo Gakuso] Ranryoo (King of Lanling) 4 Tokyoku (Togaku)

(08) [Tokyo Gakuso] Nasori 1 Koma Ko Ranjo (Komagaku)

(09) [Tokyo Gakuso] Nasori 2 Tokyoku Ha (Komagaku)

(10) [Tokyo Gakuso] Nasori 3 Tokyoku Kyu (Komagaku)



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Son de la Frontera - (live)

Son De La Frontera's radical ambition on this album is simultaneously to look forwards and backwards—forward to Andalusian retentions in modern Latin American music, back to flamenco's own birth in Moorish music ("Moorish" in a flamenco context being a description as approximate as Jelly Roll Morton's "Spanish tinge," encompassing a diversity of North African and Levantine styles). The roots flamenco quintet succeeds brilliantly and thrillingly, particularly in its rediscovery of flamenco's deepest Gypsy roots in ancient North Indian and Afghani musics. Blood-related melodic and rhythmic infusions from Cuban, Mexican, Colombian, Moroccan, Egyptian, and Lebanese folk styles help fuel the band's internationalism, but what really delivers the Latin American and Moorish double whammy is leader Raul Rodriguez's use of a Cuban tres instead of a flamenco guitar. This small guitar-like instrument has three sets of double metal strings, and Rodriguez plays it sometimes like an oud (tracks 1-4), sometimes like a sarod ("Cambiaron Los Tiempos"), sometimes like a mandolin ("Tangos De Mi Novia")—and sometimes even like a Cuban tres ("Buleria De Las Flores"). In these various double or drone-string guises, the percussive, rapid-firing instrument dominates every track except Paco De Amparo's lyrical guitar feature, "Recuerdo." The centerpiece of the album is the intense, nine-minute workout "Cambiaron Los Tiempos," a primal raga duet between Rodriguez's tres-as-sarod and Pepe Torres' handclaps-and-footstamps-as-tablas. Close your eyes and you could be somewhere on Pakistan's northwest frontier, listening to the village Ali Akbar Khan and dodging the drone warplanes. On a lighter note, "Tango De Mi Novia," in which Rodriguez bizarrely and delightfully takes bluegrass mandolin down Mexico way, is also remarkable. Son De La Frontera will likely outrage conservative elements of the flamenco world, not least because the musicians' average age is about 35, making them practically teenagers in flamenco terms. But you should never listen to neo-cons. Flamenco was born out of the more or less random accretion of folk musics collected en route from India, via the Middle East, the Balkans and North Africa, to Spain—and what goes round comes round. --Chris May, allaboutjazz.com

Mojo Magazine, December 2005 "The best new group I've heard this year, in any genre." - Jackson Browne

Track listing:

[01]. Bulería Negra Del Gastor | 261kbps 4:47

[02]. Como El Agua Entre Las Piedras | 251kbps 5:05

[03]. Bulería Del Corazón | 255kbps 6:27

[04]. Arabesco | 242kbps 5:39

[05]. Cambiaron Los Tiempos | 245kbps 9:02

[06]. Recuerdo | 245kbps 3:59

[07]. Tangos De Mi Novia | 257kbps 4:49

[08]. Bulería De Las Flores | 264kbps 5:17

World Music Library - Iran - Music of Iran, I

This dazzling recording includes various classical and semiclassical forms, ensemble and solo, vocal and instrumental, in a wide range of dastgahs, recorded in Tokyo in 1989. The iffy English-language notes don't tell one anything about the 12-person group qua group, though the musicians are named and there's a certain amount of general and recording-specific information. ~ John Storm Roberts, Original Music, All Music Guide



This is the first recording to introduce the post revolutionary music of Iran, a style adding the western taste onto practices of Iranian traditional music. An exquisite ensemble performance of traditional instruments and Avaz, a style of vocals.



Music Of Iran I! Japanese Import Pressing! Personnel: Avaz: Alireza Eftekhari; Santur: Mohammad Jalil Andelibi; Kamanche: Davud Genjei, Hadi Montazeri; Tar: Mansur Yunosi Sinaki, Abbas Miyandehi; Ud: Hoseyn Behruzniya; Setar: Behnam Vadani; Ney: Behzad Foruhari; Gheychak: Ardashir Fakhimi; Tombak: Mahmud Farahmand; & Daff: Kambiz Ganjei.



01. Dastgah-e Mahur "Sere-e 'Eshq" - "The Secret of Love" - of Sa'adi [20:22];

02. Dastgah-e Mahur "Sere-e 'Eshq" - "The Secret of Love" - of Sa'adi and Tasnìf / [6:39];

03. Dastgah-e Mahur: Tasnif "Mahd-e Honar" by Javad Azar [6:51]; &

04. Dastgah-e Mahur [18:37].





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Bashir Abel Al - The Art of the Arabian Flute

The title is a misnomer: the word "nay" is Persian and the instrument seems to have originated in ancient Egypt, which was not Arabic. But never mind. The nay is a beautiful flute blown obliquely across the end with a few holes covered by the fingers, a bit like a recorder. It has an impressive range, a breathy tone, and is capable of pleasing effects like trills. In the Middle East the nay is sometimes part of an orchestra, as in Ney Nava by Iranian composer Hossein Alizadeh, and sometimes a solo instrument, accompanied at most by percussion. On this album, the nay is accompanied by synthesizers. It is accompanied "sensitively," according to the cover, and for once this is true. The synth is very much in the background, maybe a little too much. It sometimes provides a quasi-bass part (Arabic music does not use harmony, remember) as well as atmospheric shimmers and sometimes voices. It sometimes sounds less like music and more like a manipulation of the acoustics. There is also some subtle sequencing going on. The pieces tend to sound a bit alike, but Abdel Al never descends into noodling. Recommended only for lovers of the Middle Eastern flute. The track at the end, "Laglin Nabbi," features percussion for its first 90 seconds and that part at least is more listenable as a result.

HERE

Ahmed Mukhtar & Sattar Al-Saadi - Rythms Of Baghdad

Ahmed Mukhtar and Sattar Al-Saadi live outside Iraq-a reflection on the situation in their home country but have collected traditional music from older style Baghdad ancestral musical lines.
Ahmed performs on the Oud (pear shaped, short lute, and Sattar is a percussionist, using the tabla, riqq, khishba, tar and other drums, and also plays the nay (Arab reed flute).
http://www.amukhtar.com
1. Souq Baghdadi
2. Mantasf-Al-Lil
3. Raqsat Albedoi
4. Raqsat Al Shara
5. Khashabah
6. Espania
7. Baghdad Al Kadima
8. Raksat Al Janoub
9. Nada'a Al Bahr
10. Horse Dance
11. Fingers and Sambales [Riqq Solo]
12. Kasor [Khishba Solo]
13. Sufi Rhythm [Tar Solo].
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Turquía - Popular And Classical Turkish Music

Música popular y clásica de Turquía

TRACK LISTINGS



(01) Kanuni SEBUH. Kurdilihicaz longa (instr.)

(02) a) Hicaz macami taksimi (instr.)

(02) B) Hicaz macami taksimi (instr.)

(03) Trakia karsilamassi (instr., cura baglama)

(04) Kumizi bugday ('El trigo trojo') voz, 4 saz

(05) Santuri ETHEM EFENDI. Sehnaz longa (instr., kanun, bendir, Oud, ney)

(06) Burbet Havasi (Eylen durnam eylen) canto de los nomadas Yoruk)

(07) Ben giderim batuma ('Voy a Batum')

(08) SADETTIN KAYNAK. Hicaz sarki (Benin yarim gelisindidn bellidir)

(09) Yavuz geliyor yavuz ('Viene Yavuz')

(10) Sekeroglan ('El nino tierno') cancion de Ankara, arr. para cura baglama

(11) Oldumu aysem oldumu (canto de los nomadas Yoruk)

(12) Kanuni Haci ARIF BEN. Sultani yegah peshrevi (instr.)

(13) A kusum ('Oh mi cordero')

(14) Kanuni Haci ARIF BEN. Saltani Yegah san semaisi (instr.)

(15) Silifke Sallamasi (voz, cura baglama & divan saz)

(16) ARIF SAMI TOKER. Hicaz sarki (Ciksam su daglarin yucelerine) voz, kanun, ney, bendir, Oud

(17) Gokte yilldiz aymisum ('La estrella en el cielo') canto, 4 saz

(18) Su daglarin yuksegine erseler (Canto tradicional, viela kabak-kemani)



Credits to "sinan"



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



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Yma Sumac: Fuego del Ande (1959)

For those who can't get enough of the bizarre Exotica of Yma Sumac there's FUEGO DEL ANDE. Originally released in 1959 on Capital Records, this is the last of Sumac's string of popular fifties releases. At a time when world music was filtered through a Hollywood dreamscape, Sumac, and her musical director Moises Vivanco, paid tribute to their heritage with this offering of extremely over-the-top renditions of traditional South American Folk songs. Vivanco's odd and immense orchestral arrangements include a quartet of electric guitars and a full Latin rhythm section. Soaring over all this is Sumac's super human five-octave voice, which must be heard to be believed. Allegedly descended from Incan royalty, Sumac is surely one of Pop music's great curiosities.



FUEGO DEL ANDES explores different South American rhythms such as Huayano, which on the track "Mi Palomita" sounds very much like the boogie woogie of "The Munsters Theme," Peruvian Polka, and Creole Waltzes. The best tracks here are "Virgenes Del Sol" which Sumac delivers in her trademark glass shattering vocalese, and "Gallito Ciego" another huayano boogie woogie. Though not Sumac's best recording, this is certainly a worthwhile relic of fifties Exotica. ~ www.cduniverse.com

TRACK LISTING:



1 - La Molina :: Mill Song, The



2 - Flor De Canela :: Cinnamon Flower



3 - Gallito Caliente :: Hot Rooster, The



4 - La Pampa Y La Puna :: Plains And The Mountains, The



5 - Dale Que Dale (The Workers Song)



6 - Llora Corazon :: Crying Heart



7 - Huachina (Enchanted Lake)



8 - La Perla De Chira :: Pearl, The



9 - Mi Palomita :: My Pigeon



10 - Virgenes Del Sol :: Virgins Of The Sun



11 - Gallito Ciego :: One-Eyed Rooster



12 - Clamor (I Won't Forget You)







FLAC 231MB |

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MP3 160kbps 49MB |

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Yma Sumac: Legend og the Jivaro (1957)

According to the liner notes, Sumac and her composer-husband, Moises Vivanco, went into the headhunting territory of the Jivaros, tape recorder in hand, to accumulate source material for this album. Whether you believe that or not, what they came up with once it had been run through the studio was one of her chintzier products. If it's folk music, it's been heavily modified for North American audiences, with period '50s pop production, mainstream Latin pop influences, and occasional spurts of quasi-rock'n'roll guitar. ~ Richie Unterberger, All Music Guide

TRACK LISTING:



1 - Jivaro - 2:54



2 - Esjollo: Whip Dance - 1:52



3 - Yawar (Blood Festival) - 2:30



4 - Shou Condor (Giant Condor) - 2:46



5 - Sauma (Magic) - 3:41



6 - Nina (Fire Arrow Dance) - 2:14



7 - Sansa (Victory Song) - 2:48



8 - Hampi (Medicine) - 3:06



9 - Sumac Soratena (Beautiful Jungle Girl) - 1:52



10 - Aullay [Lullaby] - 3:41



11 - Batanga-Hailli: Festival - 1:35



12 - Wanka (The Seven Winds) - 3:10







FLAC 157MB | Part 1 | Part 2



MP3 128kbps 32MB | Here



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Yma Sumac: Mambo (1954)

Capitol got on top of two '50s fads at once by issuing an album of Sumac tackling mambo. Yma (characteristically) held nothing back, and the result was one of her more enjoyable LPs, with respectably swinging mambo grooves crafted by Billy May. "Five Bottles Mambo" is one of her most astonishing vocal workouts, dropping into guttural growls that are downright bestial, and making one wonder how exactly they got away with that in the conservative milieu of the 1950s. ~ Richie Unterberger, All Music Guide

TRACK LISTING:



1 - Bo Mambo



2 - Taki Rari



3 - Gopher



4 - Chicken Talk



5 - Goomba Boomba



6 - Malambo No. 1



7 - Five Bottle Mambo



8 - Indian Carnival



9 - Cha Cha Gitano



10 - Jungla



11 - Carnavalito



12 - Clamor (I Won't Forget You)







FLAC 175MB | Part 1 | Part 2



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Okay Temiz & Floridis & Skopelitis - Our Trip So Far

Floros Floridis flute, alto sax, soprano sax, clarinette Bb, bass clarinette

Nicky Skopelitis electric guitar, electric 12 string guitar

Okay Temiz drums, cembe, electric berimbao, guica, electronical pyramid







01. Nar Cicegi (Temiz) 4:18

02. Pitch Black (Skopelitis) 5:23

03. The Ever Sound (Floridis, Skopelitis, Temiz) 2:51

04. Happy Elephant (Floridis) 8:29

05. Stars (Floridis, Skopelitis, Temiz) 2:00

06. Kulla Baba (Temiz) 3:48

07. Night Falls (Floridis, Skopelitis) 6:11

08. Greetings From Overseas (Floridis, Skopelitis, Temiz) 3:48

09. The Light Blue Above (Skopelitis) 7:57

10. Gringos (Floridis, Skopelitis, Temiz) 3:57

A Turk percussionist, a Greek on reeds and a Greek-American on guitars can only mean one thing: Ebullient originality. OUR TRIP SO FAR is brimming with the sounds of the East, the West, and… the heart. Its uniqueness, however, doesn´t lie in its cultural diversity, it´s in the way these three instrumentalists experiment. Thus we have the traditional Greek 9/8 motif dressed in bold drums and daring reeds. Complex rhythmic patterns are thrown at the listener who´s thrown out of his seat once the guitars and sax take lead. (…) Remember Coltrane´s Meditations or Davis´ Bitches Brew? Set yourself free and ´travel´ - one instrument at a time.
That´s the only way to get the complete jazz experience.




Maria Paravantes, Greek Beat, April 23, 2001

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Yma Sumac: Legend of the Sun Virgin (1952)

One of Sumac's most operatic and melodramatic outings, incantationally performed to approximate an Incan ritual. The cinematic string arrangements, though, are pure Hollywood. ~ Richie Unterberger, All Music Guide

TRACK LISTING:



1 - Karibe Taki



2 - Witallia! :: Fire In The Andes



3 - Lament



4 - Kon Tiki



5 - Montana



6 - Zana



7 - No Es Vida



8 - Kuyaway :: Inca Love Song



9 - Suray Surita



10 - Mamallay!



11 - Panarima



12 - Ccori Canastitay







FLAC 192MB | Part 1 | Part 2 | Part 3



MP3 160kbps 46MB | Here



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Yma Sumac: Voice of the Xtabay-Inca Taqui (1950-53)

A singer with an amazing four-octave range, Yma Sumac was said to have been a descendant of Inca kings, an Incan princess that was one of the Golden Virgins. Her offbeat stylings became a phenomenon of early-'50s pop music. While her album covers took advantage of her strange costumes and voluptuous figure, rumors abounded that she was, in actuality, a housewife named Amy Camus. It mattered little because there has been no one like her before or since in the annals of popular music.



According to the Sumac legend, she was the sixth child of an Indian mother and an Indian/Spanish father, who raised her as a Quechuan. She began performing in local festivals before her family moved to Lima, Peru. Once she was in Lima, she became a member of the Compania Peruana de Arte, which was a collective of nearly 50 Indian singers, musicians, and dancers. Sumac married Moises Vivanco, the leader of the Compania, in 1942. Four years later, Vivanco, Sumac, and her cousin Colita Rivero formed the Inca Taqui Trio and moved to New York. By the end of the decade, they were performing in nightclubs throughout New York and playing radio and television programs, most notably Arthur Godfrey's TV show. The Trio also became a fixture on the Borscht Belt circuit and the Catskills.



Sumac was signed as a solo artist to Capitol Records in 1950, releasing her first album, the 10" Voice of the Xtabay, the same year. Voice of the Xtabay was released without much publicity, but it slowly became a hit and Capitol began pushing Sumac with a massive marketing campaign. In 1951, she made her Broadway debut in the musical Flahooley, which featured three songs written by Vivanco; the musical's lifespan was quite brief and it completed its run by the end of the year. Nevertheless, Sumac's career was ascending at a rapid rate, as she continued to release hit records and played sell-out concerts across the country, including one at the Hollywood Bowl and another at Carnegie Hall. She also toured Europe and South America, as well as Las Vegas nightclubs. In 1954, she appeared in a movie called Secret of the Incas, which starred Charlton Heston.



By the end of the '50s, Sumac's audience had begun to decline and she was no longer as hip as she was in the first half of the decade. Sensing the erosion of her popularity, Sumac retired in the early '60s, without leaving any word or her location. She performed a handful of unannounced concerts in the mid-'70s, and in 1987 she played New York's Ballroom nightclub for a total of three weeks; she also had a stint in a Los Angeles club that same year. She followed these shows with occasional concert dates around the world.



Though Sumac did not perform frequently in the '90s, she experienced a popular revival, as a cult of alternative music fans discovered the exotica records of the '50s. The ongoing interest in exotica and Sumac led to the CD release of her catalog in 1996. ~ Stephen Thomas Erlewine & Cub Koda, All Music Guide

Sumac's first and most popular release, and also one of her least hokey or pop-oriented. That's not to say it's without its mass-appeal elements, especially in the arrangements, conducted by Les Baxter. Originally issued as a 10-inch LP, the latest CD reissue combines the eight tracks with the eight others contained on another of her early albums, Inca Taqui. ~ Richie Unterberger, All Music Guide

TRACK LISTING:



1 - Taita Inty :: Virgin Of The Sun God



2 - Ataypura :: High Andes



3 - Accla Taqui :: Chant Of The Chosen Maidens



4 - Tumpa :: Earthquake



5 - Choladas :: Dance Of The Moon Festival



6 - Wayra :: Dance Of The Winds



7 - Monos :: Monkeys



8 - Xtabay :: Lure Of The Unknown Love



9 - K'arawi :: Planting Song



10 - Cumbe-Maita :: Calls Of The Andes



11 - Wak'ai :: Cry



12 - Incacho :: Royal Anthem



13 - Chuncho :: Forest Creatures, The



14 - Llulla Mak'ta :: Andean Don Juan



15 - Malaya! :: My Destiny



16 - Ripui :: Farewell



FLAC 250MB | Part 1 | Part 2 | Part 3



MP3 160kbps 66MB | Here



Full scans included in both archives

Tatuaje y más Coplas 2

TRACK LISTINGS

[01]. Francisco Alegre
[02]. Suspiros de España
[03]. Limosna de amores
[04]. Callejuela sin salida
[05]. La Lirio
[06]. Triniá
[07]. La Zarzamora
[08]. Malagueña
[09]. Romance de la reina Mercedes
[10]. El beso
[11]. No te mires en el río
[12]. El emigrante
[13]. Dime que me quieres
[14]. Negra sombra
[15]. Capote de grana y oro
[16]. Carmen de España
[17]. ¡Ay! Malvaloca
[18]. Puente de plata
[19]. Tengo un te quiero
[20]. Con el catapún

| MP3 320 kbps - 148 MB | Flac - 299 MB | 2008 | Copla | Covers | Rapidshare |

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Snehasish Mozumder - Different Strokes

Snehasish Mozumder is among those few established musicians in India who has mastered the art of playing Mandolin, and has blended it perfectly into the style of Hindustani Indian Classical Music. Coming from a musically oriented family, he started his initial training at the age of four with Tabla and then Mandolin under the guidance of his grand father late Sri Bibhuty Ranjan Mozumder and then he took training under his father Sri Himangshu Mazumder and his uncle late Sri Ranjan Mozumder. Gradually he switched over to his cousin Sri Tejendra Narayan Majumdar who is a well-known sarode player of the country. He continued his study under late Acharya Ajoy Sinha Roy who was a beloved disciple of Baba Allauddin Khan Saheb, the founder of Maihar Gharana and he takes lesson of laykari under the guidance of Pandit Anil Palit who is a senior most disciple of Pandit Kishan Maharaj, Finally he came under the tutelage of Pandit Ajoy Chakraborty. Snehasish, has performed many major festivals in India like Sankat Mochan Utsav of Varanasi Swami Haridas Sangeet Sanmelan of Mumbai, Indian Habitat Centre of Delhi, Bhowanipur Sangeeet Sanmelan, GolPark Ramkrishna Mission of Kolkata and Saltlake Music Conference of Kolkata e.t.c., and also he has toured Europe , U.K. , and USA and made a very good name amongst the music lovers. He is the recipient of Surmani and Jadubhatta Awards.



1. Puria Dhaneshree Alap Jod and Geet on 11 Beats

2. Tilak Shyam Alap and Geet in Bilambeet Tintal and Drut Jhala on Tintal

3. Roti Priya-Alap Jod Geet on Tintal Madhyalaya



WV (EAC Rip): 220 MB | MP3 - 320 kbs: 165 MB | Covers



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Rachid Taha - Diwan

Algerian worldbeat artist Rachid Taha was born in the Gulf of Oran during the peak of the Independence War era; as a child, he relocated with his family to France, later finding employment as a dishwasher, cook and factory worker before landing a DJing gig at a small area club. Forming the group Carte de Sejour, Taha attempted to create a style of Arabic rock music heavily influenced by the Algerian rai sound. In 1990 he went solo, moving into dance music. Teaming with producer Steve Hillage, he debuted in 1995 with a self-titled effort, followed a year later by Ole Ole. Taha returned in 1998 with Diwan. His 2000 release, Made in Medina, was recorded in Paris, London, Marrakech and New Orleans, reflecting the wide range of cultural influences that helped shape the recording. ~ Jason Ankeny, All Music Guide



The sophomore release from Algerian singer Rachid Taha. This is a stunning album, as he moves through straightforward rai to blues, rock, and the full spectrum of worldbeat. The album starts out with a song about exile from home, followed by a musical history of rai, covering all of the basic steps in the development of Taha's chosen base-style. An Egyptian film song from the great Farid El Atrache continues the barrage of bouncing Middle Eastern and North African sounds. A more modern version of the ay-ay genre ensues, with fuzzed guitars looped throughout. Some urban Algerian blues and a bit of chaabi follow, on the topics of love and love lost. The album finishes with a stretch of slightly more serious songs, with a number based on the Algerian war for independence and the torture endured by its prisoners, a political song from a Moroccan group, a basic rai number in French pidgin, and a song from the frustrated youth of Algeria. This is something of a North African tour-de-force, as Taha moves from one style to another, always partially based in the rai tradition, but always expanding to other styles in the process. The songs can be backed by a simple flute, or by a group of rock guitars. Either way, the works are held together by the overriding compositions that Taha is dealing from. It's a great album for those that are already knowledgeable in rai for its new directions, and a nice album for newcomers as it displays the full breadth in a single disc. ~ Adam Greenberg, All Music Guide



TRACK LISTINGS



(01) [Rachid Taha] Ya Rayah

(02) [Rachid Taha] Ida

(03) [Rachid Taha] Habina

(04) [Rachid Taha] Bent Sahra

(05) [Rachid Taha] Ach Adani

(06) [Rachid Taha] El H'Mame

(07) [Rachid Taha] Enti Rahti

(08) [Rachid Taha] Menfi

(09) [Rachid Taha] Bani Al Insane

(10) [Rachid Taha] Malheureux Toujours

(11) [Rachid Taha] Aiya Aiya



APE (EAC Rip): 490 MB | MP3 - 320 kbs: 160 MB | Covers



Archives have 5% of the information for restoration

Tatuaje y más Coplas "1"

TRACK LISTINGS

[01]. Tatuaje
[02]. Ojos verdes
[03]. Con el alma en los labios
[04]. Te lo juro yo
[05]. La falsa monea
[06]. ¡Ay! Pena penita pena
[07]. La bien pagá
[08]. Y sin embargo te quiero
[09]. Rocío
[10]. María de la O
[11]. La Parrala
[12]. A tu vera
[13]. ¡Ay! Mari Cruz
[14]. Requiebro
[15]. El cordón de mi corpiño
[16]. El relicario
[17]. La Salvaora
[18]. La hija de Juan Simón
[19]. Con las bombas que tiran
[20]. La loba

|MP3 320 kbps - 155 MB | Flac -312 MB | 2008 | Copla | Covers |

Mp3 Parte 1 | Parte 2 | Parte 3

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The Soul Of Cape Verde

This 19-song compilation features a wide variety of artists from this small but influential island off the Senegalese coast. Opening with Cesaria Evora and an early tune, "Papa Joachim Paris," the album visits luminaries like Simentera, Paulino Vieira, and Tito Paris and introduces you to many less famous but deserving names. Real roots come from the Mindel Band with a raw violin and a perpetual groove. Luis Morais's band is jazzy and fun. Voz de Cabo Verde are sweet and homey. The album closes with a live, lush, yet ragged "Lundum" by Vieira and Celina Pereira, a perfect island tune of slight melody and lots of feeling. --Louis Gibson



TRACK LISTINGS



[01]. Papa Joachin Paris - Césaria Évora

[02]. Miss Perfumado

[03]. Falso Testemunho - Maria Alice Listen

[04]. Partida - Djosinha

[05]. Boas Festes - Louis Morais

[06]. Otilia/Otilio - Tito Paris

[07]. O Bernard - Ana Firmino, Travadinha

[08]. Pais de Mel - Teofilo Chantre

[09]. Situaçôes Triangulares - Bau

[10]. Fidjo Magoado - Chico Serra

[11]. Sina de Cabo Verde - Bana

[12]. Galo Bedjo - Titina

[13]. Cercode - Mindel Band

[14]. Dia C'tchuva Ben - Simentera

[15]. Carinha Di Bo Mae - Cabo Verde Show

[16]. Serpentina - Bana Listen

[17]. Cutch Cutch - Amandio Cabral

[18]. Saúde - Celina Pereira

[19]. Lundum - Celina Pereira, Paulino Vieira



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L'ensemble Aromates - Jardin de Myrtes: Mélodies andalouses du Moyen-Orient

L'ensemble Aromates / Michèle Claude
Jardin de Myrtes: Mélodies andalouses du Moyen-Orient

Arab-Andalousian poems performed by an ensemble of Middle Eastern string instruments fuses modern harmony with twelve traditional Arabic classical muwashsha songs. An eclectic group of singers and instrumentalists trained in a variety of schools, perform on traditional instruments.

Michèle Claude, a master of Middle Eastern string instruments, fuses modern harmony with twelve traditional Arabic classical muwashsha songs. The muwashsha (an Arabic word meaning 'ornamented') originated in Muslim Spain over a millennium ago and are comparable to the songs of the medieval European troubadours and trouvères. The fusion of modern harmony over the traditional basso ostinato of these strophic songs fuses tradition with modernity and virtuoso musicianship from an eclectic group of singers and instrumentalists trained in a variety of schools, performing on traditional instruments.

Musicians:
Isabelle Duval, flutes
Jean-Baptiste Frugier, violon
Jean-Lou Descamps, vièle à archet & violon alto
Françoise Enock, vièle à archet, colascionne & viole de gamba
Julien Blanchard, contrebasse
Feddy Eichelberger, épinette & organetto
Elisabeth Seitz, psaltry
Michèle Claude, zarb, daff, reqq, darbouka, castagnettes, bendir, tambour de basque, tambourello, grelots

with:
Massimo Moscardo, Baroque guitar & archiluth
Mazyar Izadpanah, Itranian ney
Mael Guezel, daff & zarb

01. Ouverture Nawa Athar
02. Jardin de Myrtes
03. Démarche voluptueuse - Epris d'une gazelle
04. Taille de rameau
05. Une nuit si longue
06. S'éloigner de moi
07. Epée tranchante
08. Ritournelles
09. Chanteur de taverne
10. Les bras d'une gazelle
11. Ivresse
12. Les yeux noirs
13. Minimaroc


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Manolo Sanlucar - Recital de Flamenco

Manuel Muñoz Alcón. Sanlúcar de Barrameda (Cadiz), 1943. Guitarist. His first teacher was his father, Isidro Sanlúcar, a baker and old style guitarist, who frequently came home with people who were fond of cante and playing; from his childhood he was exceptionally skilled to follow in his steps. His brothers also decided on the same vocation and, among them, Isidro. However, those who had the greatest influence on his beginnings, as he declared himself, were Niño Ricardo and Diego el del Gastor. The former due to his sensitivity, his fundamental contribution to the flamenco guitar, his playing that was so impregnated with feeling, and the latter for his really old air ... While he learned, he worked at the bakery with his father, until he was fourteen, when he began to act professionally in the company of Pepe Marchena. He was not yet thirty when he was considered at the height of his career, due to the publication in 1972 of his recorded anthology Mundo y formas de la guitarra flamenca.



He soon began to research, aware that the guitar had infinite possibilities that had hardly been explored. The most ambitious of his contributions to the art is his constant striving to integrate flamenco in symphonic music. Several works of the greatest interest which have placed his name among the great composers of our time, encourage this concern by the creator: Fantasía para guitarra y orquesta, Trebujena, Medea and Soleá - that toured the world as a ballet -, Tauromagia or Aljibe. Some of them were recorded. The guitarist explained his guiding intentions: "I wish the experts in universal music to understand that they may approach flamenco, so they do not consider it something tribal and topical, so they see a branch of music in flamenco that allows very profound musical analysis and has extraordinary poetic and musical quality". Going into the same problem, he declared on an nother occasion: "Flamenco is a philosophy, the way of thinking and feeling of a whole people and its historical tradition. That is why I feel the need to tell more things about flamenco with other sounds and I take to the orchestra and try to get the orchestra to play siguiriyas, but take note, not for the orchestra to accompany siguiriyas and a singer, but for the orchestra to take on the feeling of the flamenco and, as if it were a sole instrument, to tell that spirit and magic sound of flamenco". Manolo Sanlúcar also composed a sort of flamenco opera on an idea by Lebrijano, to be played on the stage, although it has not yet been produced: Ven y sígueme. He has performed in some films.



TRACK LISTINGS



[01]. Puertatierra (Alegrías)

[02]. Puerto de Málaga (Malagueñas)

[03]. Recuerdo de Javier Molina (Farruca)

[04]. Caminito de Alcalá (Soleares)

[05]. Patio Jerezano (Bulerías)

[06]. El Cañaveral (Guajira)

[07]. Llanto Minero (Tarantas)

[08]. Castellanas (Bulerías clasicas)

[09]. Los Caireles (Zapateado)

[10]. Pincelada (Tientos)



APE tracks (EAC Rip): 220 MB | MP3 - 320 kbs: 100 MB | Covers



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Carlos Paredes – Movimento Perpétuo

The Portuguese guitar is a 12-string instrument with double courses (string pairs) and a small body, similar in tone to the mandolin or Greek bouzouki. Its penetrating sound is championed by Carlos Paredes, a sensitive, even shy performer who balances tradition and spontaneous invention. His original approach was likened to the freshness of Ornette Coleman by bassist Charlie Haden, who is himself a minor cultural hero in Portugal. ~ Myles Boisen, All Music Guide



TRACK LISTINGS



(01) [Carlos Paredes] Movimento Perpétuo

(02) [Carlos Paredes] Variações Em Ré Menor

(03) [Carlos Paredes] Danças Portuguesas

(04) [Carlos Paredes] Variaçoes Em Mi Menor

(05) [Carlos Paredes] Fantasia Nº 2

(06) [Carlos Paredes] Valsa

(07) [Carlos Paredes] Variações Sob Uma Dança Popular

(08) [Carlos Paredes] Mudar De Vida - Tema

(09) [Carlos Paredes] Mudar De Vida - Música De Fundo

(10) [Carlos Paredes] António Marinheiro

(11) [Carlos Paredes] Canção



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Badi Assad - Solo

Badi Assad (São João da Boa Vista, December 23, 1966) is a Brazilian singer, songwriter and guitarist in the jazz and worldbeat genres.



She was born in the state of São Paulo, but grew up in Rio de Janeiro until she was twelve. Her father, Jorge Assad, of Lebanese descent, plays bandolim (mandolin), and her two older brothers are guitarists Sérgio Assad and Odair Assad of Duo Assad.



Assad studied classical guitar at the University of Rio de Janeiro and won the Young Instrumentalists Contest in Rio de Janeiro in 1984. In 1986 she joined the Guitar Orchestra of Rio de Janeiro, headed by guitar player Turíbio Santos as conductor. In 1987, she was named “Best Brazilian Guitarist of the International Villa Lobos Festival.” By 1987 she had played in Europe, Israel and Brazil with guitarist Françoise-Emmanuelle Denis under the name Duo Romantique. Assad, who sings in English and Portuguese, was voted Best Acoustic Fingerstyle Guitarist by the editors of Guitar Playerin 1995. Due to a motor disability she was unable to play between 1998 and 2001, but made a complete recovery and released a collaborative album with Jeff Young in 2002 called Nowhere. She has played and recorded with many notable artists of diverse instrumentation, including percussionist Cyro Baptista, guitarists Pat Metheny, Larry Coryell, and John Abercrombie, and didgeridoo artist Stephen Kent.



TRACK LISTINGS



(01) [Badi Assad] Num Pagode em Planaltina(Marco Pereira)

(02) [Badi Assad] Preldio e Toccatina(Sérgio Assad)

(03) [Badi Assad] A Bela e a Fera(Edu Lobo Chico Buarque de Holanda)

(04) [Badi Assad] Valseana(Sérgio Assad)

(05) [Badi Assad] Taimoimoê)(Marco Ferreira)

(06) [Badi Assad] When the Fire Burns Low)

(07) [Badi Assad] Fuoco - Libra Sonatine(Roland Dyens)

(08) [Badi Assad] Joana Francesa(Chico Buarque de Holanda)

(09) [Badi Assad] Vrap(Marcos Ferreira)

(10) [Badi Assad] Palhaço(Egberto Gismonti)

(11) [Badi Assad] Rua Harmonia(ulisses Rocha Silvano Michelino)

(12) [Badi Assad] Estudo #1-Assum preto(Heitor Villa-lobos-Luis Gonzaga)

(13) [Badi Assad] Homenagem a Radamés Gnattalli(Antonio Melo)

(14) [Badi Assad] Drume Negrita(Ernesto Grenet)



APE (EAC Rip): 220 MB | MP3 - 320 kbs: 140 MB | Scans



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Iran: Persian Classical Music

From the old Nonesuch Explorer series comes this album of classical Persian music, originally released in 1974 and re-released on CD in 1991. The album contains a number of nice virtuoso performances on the various instruments of the Persian classical repertoire. The ensemble leader Faramarz Payvar provides some outstanding work on the santur in most of the dastgah performances. Also, the zarb player Mohammad Esmai'li performs an amazing solo on his drum, nearly incorporating melody into the work with a single percussion instrument. The tar playing also stands out exceptionally in "Dastgah Chahargah," as Houshang Zarif pumps out an outstanding run on his lute. For a basic overview of Persian classical, this album does a pretty good job of showing off the major instruments and vocals, all with the dastgah framework. At the same time, it's mildly simplistic, as are many of the Explorer series albums. For a newcomer to Persian music, this wouldn't be a bad place to start for a basic overview, though those better acquainted with the basics might prefer a slightly more comprehensive compilation, such as Rounder's Iran installment of the Anthology of World Music. Review by Adam Greenberg - All Music Guide



1 - Dastgah Shur 10:18

2 - Dastgah Homayoun 7:37

3 - Dastgah Segah 4:51

4 - Zarb Solo 4:56

5 - Dastgah Chahargah 4:54

6 - Dastgah Mahour 13:02



MP3 - 160 kbs: 52 MB | No scans

Kenya & Tanzania: Witchcraft & Ritual Music

This album, an early portion of the Nonesuch Explorer Series, makes use of music from East Africa, primarily Kenya, with one track from Tanzania as well. Despite the title saying that witchcraft and ritual music is the focus here, there is little that would now be considered witchcraft-based, and for that manner, many of the pieces are of daily life and simple instrumental playing, without ritual involvement. Nonetheless, for its date, this is a relatively good recording, with a few tracks dealing with witch doctors attempting to heal patients (with accompaniment by drummers, dancers, and singers), a few wedding, funeral, and circumcision ceremonial songs, and various pieces of simple musical works -- marimba playing (but of course, in the East African style that is so similar to mbira playing), bung'o (horn) playing, harp-accompanied vocal pieces, and the like. The quality of the music is relatively good, though there are now more authentic pieces on the market, of course. Still, despite tiny bits of forgivable cultural ignorance, the album is a worthwhile soundbite into Kenyan traditional music. Review by Adam Greenberg - All Music Guide



01 - Ngoma Ra Mrongo 4:55

02 - Mwari Initiation 1:53

03 - Cocanut Pickers Song 3:08

04 - Matondoni Wedding 2:10

05 - Marimba 3:11

06 - Tuken Moral Songs 6:11

07 - Giriama Spirit Dance 2:20

08 - Kayamba Dance: Giriama Wedding 4:39

09 - Alto Bung'o Horn :44

10 - Akamba Witch Doctor 4:11

11 - Pokot Witch Doctor 3:09

12 - Pokot Dance 1:38

13 - Song of Dawn 1:45

14 - Lukuji 3:01

15 - Nyatiti 3:10

16 - Funeral Dance 2:32



MP3 - 160 kbs: 55 MB | Front and back cover

A. R. Rahman - Vande Mataram

"Vande Mataram" became a Sanskit rallying cry for freedom in the early 1900s, as Indians protested against the partitioning of Bengal and its use as the title for the first international release by Ar Rahman, one of India's most popular contemporary recordings artists, is appropriate. Vande Mataram was released to coincide with the fiftieth anniversary of India's independence from colonial Britain and it also was designed to introduce the western world, particularly the United States, the wonders of modern Indian music and culture. Rahman is a clever, skilled composer and for this record, he blends Indian music with worldbeat, new age and light dance music, creating an accessible amalgam that nevertheless sounds exotic. He's also enlisted Nusrat Fateh Ali Khan, David Byrne, Zakir Hussain, Talvin Singh, L. Shankar and Apache Indian as guest artists, which gives Vande Mataram a richer scope and a broader appeal. The end result is a vibrant, exciting album that has the potential to reach beyond the traditional world music fan. ~ Stephen Thomas Erlewine, All Music Guide



(01) [A. R. Rahman] Maa Tujhe Salaam

(02) [A. R. Rahman] Revival [Vande Mataram]

(03) [A. R. Rahman] Gurus of Peace

(04) [A. R. Rahman] Tauba Tauba

(05) [A. R. Rahman] Only You

(06) [A. R. Rahman] Missing [Vande Mataram]

(07) [A. R. Rahman] Thai Mannai Vanakkum [Tamil]



Credits

Nusrat Fateh Ali Khan (Vocals), Chris Ballin (Vocals (Background)), Yak Bondy (Programming), Chris Davis (Saxophone), Dominic Miller (Guitar (Acoustic)), Kate Stephenson (Vocals (Background)), Paul Wright (Engineer), Peter Lockett (Percussion), A.R. Rahman (Arranger), A.R. Rahman (Programming), A.R. Rahman (Vocals), A.R. Rahman (Vocals (Background)), A.R. Rahman (Producer), A.R. Rahman (Main Performer), Appa Rao (Shehnai), Mark Jaimes (Guitar), Veda (Rhythm), Joy Rose (Vocals (Background)), Ganesh (Violin), Rita Campbell (Vocals (Background)), Kalyani Menon (Vocals (Background))



FLAC (EAC Rip): 290 MB | MP3 - 320 kbs: 140 MB | Scans



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Azzddine& Bill Laswell - Massafat

Billed as Azzddine on the 2004 album Massafat (which is actually credited to Azzddine with Bill Laswell), Azzddine is Azzddine Ouhnine, a Moroccan oud player and composer based in Rabat. The Switzerland-based Barbarity label, which specializes in cross-cultural collaborations between African and European/American musicians, decided to produce a CD with him on the basis of a lo-fi recording of one of his live shows. On Massafat, Ouhnine's vocals, oud, and darbukka were combined with contributions by about a dozen other musicians on violins, keyboards, background singing, programming, and drums. The most noted of the additional players was bassist Bill Laswell, who contributed bass to eight of the 14 tracks, although he was initially asked just to play on one or two of the selections. The final product combines traditional Moroccan music with aspects of electronic dance music, rap, and dub reggae. ~ Richie Unterberger, All Music Guide



TRACK LISTINGS



(01) [Azzddine (with Bill Laswell)] Srir F'Al Houbb

(02) [Azzddine (with Bill Laswell)] Britou

(03) [Azzddine (with Bill Laswell)] Ana Ou Enta

(05) [Azzddine (with Bill Laswell)] Ah Ya Zamane

(06) [Azzddine (with Bill Laswell)] Fine

(07) [Azzddine (with Bill Laswell)] Al Mouktab

(08) [Azzddine (with Bill Laswell)] Droub Al Lil

(09) [Azzddine (with Bill Laswell)] Koun Shaqiqi

(10) [Azzddine (with Bill Laswell)] Goa Rozali

(11) [Azzddine (with Bill Laswell)] Rozali

(12) [Azzddine (with Bill Laswell)] Jina

(13) [Azzddine (with Bill Laswell)] Anta Fbali

(14) [Azzddine (with Bill Laswell)] Ya Nass



Flac (EAC Rip): 410 MB | MP3 - 320 kbs: 150 MB | Covers



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