John Zorn - Masada Chamber Ensembles - Bar Kokhba

Posted By MiOd On 12:37 PM 0 comments
Bar Kokhba encompasses the wealth of material John Zorn has composed with his eminent quartet Masada. The album is a collection of Masada songs that have been rearranged for chamber ensembles. For this effort, Zorn enlists some of New York's finest musicians: John Medeski, Marc Ribot, Anthony Coleman, and Erik Freedlander, among others. The compositions range from groups of four to solo performances by Ribot, Medeski, and Coleman. While some compositions retain their original structure and sound, some are expanded and probed by Zorn's arrangements, and resemble avant-garde classical music more than jazz. But this is the beauty of the album; the ensembles provide a forum for Zorn to expand his compositions. The album consistently impresses, and the highlights include "Gevurah," "Paran," and "Mochin." Zorn's genius as both songwriter and arranger are evidenced, and the recording sits well among the traditional Masada material. ~ Marc Gilman, All Music Guide

TRACK LISTING:

1. Gevurah - 6:55

2. Nezikin - 1:51

3. Mahshav - 4:33

4. Rokhev - 3:10

5. Abidan - 5:19

6. Sheloshim - 5:03

7. Hath-Arob - 2:25

8. Paran - 4:48

9. Mahlah - 7:48

10. Socoh - 4:07

11. Yechida - 8:24

12. Bikkurim - 3:25

13. Idalah-Abal - 5:04

14. Tannaim - 4:39

15. Nefesh - 3:33

16. Abidan - 3:13

17. Mo'ed - 4:59

18. Maskil - 4:41

19. Mishpatim - 6:46

20. Sansanah - 6:56

21. Shear-Jashub - 2:06

22. Mahshav - 4:50

23. Sheloshim - 6:45

24. Mochin - 13:11

25. Karaim - 3:39



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MP3 | 278MB | Part 1 | Part 2 | Part 3



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Classic Voices 2010

Posted By MiOd On 10:12 PM 0 comments
The definitive classical crossover album of the year, featuring the key tracks from the biggest names in classical music today. Artists include Andrea Bocelli, Katherine Jenkins, The Priests, The Fron Male Voice Choir, Hayley Westenra and many more.
Classic Voices 2010 presents iconic names and anthemic music in a three CD package, which includes the bonus disc Christmas Voices.
Track Listings
--------------
Disc: 1
[01]. Hallelujah - Katherine Jenkins
[02]. Abide With Me - The Fron Male Voice Choir
[03]. River Of Light (The Blue Danube) - Faryl Smith
[04]. Caruso - Luciano Pavarotti
[05]. Rule The World - Camilla Kerslake
[06]. Prayer In The Night - Amici Forever
[07]. Nessun Dorma - Russell Watson
[08]. The Flower Duet - All Angels
[09]. Mae Hen Wlad Fy Nhadau (Land Of My Fathers) - Only Men Aloud
[10]. Pie Jesu - Charlotte Church
[11]. Recondita Armonia -José Carreras
[12]. Shenandoah - Bryn Terfel
[13]. Land Of Hope And Glory - The Band Of The Coldstream Guards Feat. The Fron Male Voice Choir
[14]. Una Furtiva Lagrima - Jon Christos
[15]. La Fleur Que Tu M'avais Jetée - Plلcido Domingo
[16]. River Of Dreams - Hayley Westenra
[17]. Che Gelida Manina -Rolando Villazon
[18]. Who Wants To Live Forever - Jonathan Ansell
[19]. O Verona - Only Men Aloud
[20]. How Can I Keep From Singing -Faryl Smith

Disc: 2
[01]. In Amore Cosi Grande - Andrea Bocelli
[02]. Ave Maria - The Priests
[03]. Somewhere Far Away (Merry Christmas Mr Lawrence) - Faryl Smith
[04]. Time To Say Goodbye - Katherine Jenkins
[05]. La Donna - Mobile - Alfie Boe
[06]. The Lord Is My Shepherd - The Choirboys
[07]. Sempre Libera - Anna Netrebko
[08]. Nella Fantasia - Russell Watson
[09]. 'O Sole Mio - The Three Tenors
[10]. You Raise Me Up - Aled Jones
[11]. Lascia Ch'io Pianga - Danielle De Niese
[12]. In Paradisum - Blake
[13]. L'heure Exquise - Juliette Pochin
[14]. Eternal Source Of Light Divine - Elin Manahan-Thomas
[15]. My Love Is Like A Red Red Rose - Nicky Spence
[16]. O, Mio Babbino Caro - Kiri Te Kanawa
[17]. Going Home - Will Martin
[18]. Now We Are Free - Triniti
[19]. I Dreamed A Dream - Teatro
[20]. Jerusalem - G4

Disc: 3
[01]. O Holy Night - Katherine Jenkins
[02]. Have Yourself A Merry Little Christmas - Only Men Aloud
[03]. River - Hayley Westenra
[04]. Silent Night - All Angels
[05]. Away In A Manger - Aled Jones
[06]. Walking In The Air (Theme From 'The Snowman') - The Choirboys
[07]. Gesù Bambino - Luciano Pavarotti
[08]. Hark! The Herald Angels Sing - The Choirboys
[09]. O Come, All Ye Faithful - The Choir Of King's College, Cambridge
[10]. Agnus Dei -Lesley Garrett
[11]. White Christmas -Bryn Terfel
[12]. In The Bleak Midwinter - Aled Jones
[13]. The First Nowell - The Choir Of King's College, Cambridge
[14]. The Holly And The Ivy - The Choir Of Westminster Abbey
[15]. Ding Dong! Merrily On High - The Choirboys
[16]. Do You Hear What I Hear - Hayley Westenra And The Choirboys
[17]. Hallelujah Chorus - Andre Rieu
[18]. We Wish You A Merry Christmas - Howard Goodall

MP3 160 kbps including Full Covers, 2010

Part 1 | Part 2

Burhan Öçal & Pete Namlook - Sultan Osman

Posted By MiOd On 7:45 AM 0 comments
Born in 1953 in Kirklareli, a village in Thrace (the European territory of Turkey), the multi-instrumentalist and composer Burhan Oçal grew up in a musical family. From his father he learned a variety of percussion instruments, while his mother introduced him to religious vocal music. His main instruments are darbuka (a vase-shaped drum played with the fingers), kös (kettle drum), kudüm, and bendi; he also sings and plays saz, tanbur, and oud, in addition to composing. He moved to Zürich in 1977, but he soon moved back to the more exciting environment of Istanbul, where he enjoyed a deep network of connections with local musicians.

His percussive skills have been sought after by many players, in jazz and popular music (Sting invited him on-stage in Istanbul in 2000); but the most interesting parts of his production are his own projects: Jardin Ottoman (Harmonia Mundi, 1996) dedicated to Turkish classical music of the 17th century; the Oriental Ensemble which performs traditional Gypsy and Turkish folk music (Gypsy Rum, 1995). His series of Soundways focused on traditional repertoire and the wildly different duo with electronic musician Pete Namlook (Sultan Osman, 2000). The unprecedented alliance with harmolodic electric bass player Jamaaladeen Tacuma (a frequent visitor to Istanbul) gave birth to Groove Alla Turca (Doublemoon, 2000), an Oriental/funk/hip-hop band where Oçal's Oriental players meet a heavy jazz group, including ex-Charles Mingus trumpeter Jack Walrath and graced by the voice of Turkish/American rapper Sultana. The group created a sensation in jazz festivals and clubs all over the world. A spectacular virtuoso on the darbuka, from which he extracts an astonishing variety of sounds and rhythms, Oçal's wide vision includes stately Ottoman tunes and contemporary turntablists, which he's more than happy to put side by side in his projects, relishing the clash of atmospheres and the audience's puzzlement. ~ Francesco Martinelli, All Music Guide

Bir Çalgıyım Göğsüne Yaslanmış

1. Part I 4:58
2. Part II 8:35
3. Part III 5:46
4. Part IV 11:42
5. Part V 9:40
6. Part VI 1:03
7. Part VII

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Samir Sorour - Ashek El Sax -The Lover Of The Sax

Posted By MiOd On 11:27 PM 0 comments

Track List
01. Zay El Hawa
02. Gana El Hawa
03. Ya Waheshny
04. Asmar Ya Asmarany
05. Bits'al Leih A'laya
06. Sawaah

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Track List
01. Ala Hesby Wedad Albi
02. Awel Mara
03. Ana Hina
04. Leih Khalitny Ahebak
05. Qololo
06. Maksofa
07. El Hawa Hawaya
08. Oriental(Bounce Track)

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Track List
1.Mawood
2.Heya De Heya
3.Alhelwa We El Morah
4.Khosara
5.Tokhonoh
6.Ala Ad El Shouk

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Track List
01. Alf Lela Wlela
02. El Touba
03. Seret El Hob
04. Hayart Alby
05. Lamony El Nass
06. Baeid Anak

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Track List
01. El Wayl El Wayl
02. Enta Omry
03. Ana Bastanak
04. Esba'ny Ya Albi
05. Wehyatak Ya Habibi
06. Resala Min Taht El Maa

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Track List
1.Ya Khaly El Gnina
2.Kelmet E'tap
3.Slamat
4.Zaina
5.Lailat Hob
6.Amoot Fe Hobo Ana
7.Makadeir
8.Habiby We Enaya

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Nadaka - Living Colours

Posted By MiOd On 3:36 AM 0 comments

Nadaka - Guitar,Vocal & Tambura
Balasai - Flute & Vocal
Raghavendra - Violin
Sivaramakrishna - Sitar
Ganesh - Tabla
Ramakrishnan - Mridangam, Kanjira & Ghatam

Six Compositions based on traditional Ragas, judiciously divided and indexed in 18 distinct parts; all are equally remarkable in the way the texture of the music varies between density and light threads, meditation and affirmation, journey and arrival.

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Nadaka & The Basavaraj Brothers - Live in Paris

Posted By MiOd On 3:30 AM 0 comments

Nadaka - Guitar & Vocal
Balasai - Flute
Raghavendra - Violin
Sivaramakrishna - Sitar
Ganesh - Tabla & Ghatam
Kesavan - Mridangam & Kanjira

In this Album you will find Selected recordings of two auspicious musical nights in Paris; spontaneous, compelling and colorful, Music and Images, that carry some of the essence and beauty of traditional Indian music effectively translated to our modern world.

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Mercan Dede - Breath "Nesfes"

Posted By MiOd On 12:04 AM 0 comments
Mercan Dede believes that when you put digital, electronic sounds together with hand-made, human ones, you can create universal language, capable of uniting old and young, ancient and modern, East and West. This language of union finds its voice with Breath, the subtly powerful and startlingly seductive recording from the Turkish-born, Montreal-based “electrodervish.”



Guided by the Sufi philosophy of counterpoint—everything exists with its opposite—Mercan ornaments his electronic wizardry with ney (flute), kanoun (zither), clarinet and darbuka (hand drum). Mevlevi poetry, heart-rending solos, ascendant vocals and driving beats occur as naturally as our inhalations and exhalations.



Peaking at #1 on World Music Charts Europe, Breath propels the sometimes-uneasy marriage of folkloric and modern music into a harmonious state of serene intensity.

Guided by Sufi principles of balance and a love for both ancient and modern musics, Mercan Dede is among Turkey's most prominent musical exports. Respected by electronic and traditional music communities alike, Dede has a singular presence in world music. Having released over 100 singles under nine different names (Arkin Allen, Poundmaker, Blueman, etc.), Dede boasts an impressive discography, covering enormous stylistic territory. Born in a poor Turkish village in the '70s, Mercan was steeped in traditional music played on the ney (flute), darbukah (hand drum), and kanun (zither). Following his studies in Istanbul, Mercan relocated to Canada, where he began to DJ to pay the rent. As his mastery of the house music genre grew, so did his desire to incorporate elements of elements of other world music styles. Under the name Arkin Allen, Mercan gained significant recognition throughout the Western world as a tribal/house DJ. His debut as Mercan Dede came about in 1995. The disc Sufi Dreams was quickly noticed in his homeland. Dede was soon performing at clubs and festivals throughout Turkey. Subsequent releases Journeys of a Dervish (1999), Seyahatname (2001), and Nar (2002) featured a growing cast of musicians. As Dede traveled to different corners of the world to perform, he would incorporate national musicians who shared his vision of a sound that transcended culture and generation. His releases Water (2005) and Breath (2006) both topped BBC world music charts, making Dede the first Turkish musician to earn a number one record in England. Dede went from packing large clubs in Turkey to performing before tens of thousands. His 2007 release, 800, named to commemorate Rumi's 800th birthday, topped world music charts throughout Europe and North America.



(01). Hininga

(02). Dem

(03). Ghinawa

(04). Samana

(05). Napas

(06). Huo

(07). Zefir

(08). Engewal

(09). Breath

(10). Huxi

(11). Halitus

(12). Souffle

(13). Atman

(14). Behin

(15). Moya Alitu



WV (EAC Rip): 420 MB | MP3 - 320 kbs: 170 MB | Covers



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Inspire Of Relaxation Mood

Posted By MiOd On 7:45 PM 0 comments


TRACK LISTINGS



[01].Nothings Going Change My Love For You

[02].Caravan Of Love

[03].Eternal Flame

[04].Imagine

[05].All By Myself

[06].The Greatest Love Of All

[07].I Want To Know What Love Is

[08].Waiting For A Girl Like You

[09].What A Wonderful World

[10].Bright Eyes

[11].Unchained Melody

[12].Say You Say Me

[13].Woman In Love



MP3 VBR kbps including Covers,2007



HERE

Amanecer Ecuador - The Wolf Spirit

Posted By MiOd On 2:02 AM 0 comments


[01]. Amanecer

[02]. Life

[03]. The miracle of life

[04]. The last of the Mohicans

[05]. Intipa Churin

[06]. Beyond the trails of tears

[07]. Sweet lullaby

[08]. Llaky runa

[09]. Retourn to innocence

[10]. Qarwa yaku

[11]. Spirituality

[12]. Harmony

[13]. Munaq killa



|Mp3|320 kbps|151 Mb|-|Flac|453 Mb|2008|Etnic/Instrumental|Covers|


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Hossein Hamidi & Mehran Bardideh - Fars Folk Songs

Posted By MiOd On 4:14 PM 0 comments
Saeid Farajpouri, Kamanche

, Mohammad Firouzi, Oud, Setar

, Bahram Saed, Tar, Tarbass

, Navid Afghah, Tombak

, Mohammed Zarafshan, Karna

, Hossein Hamidi, Karna, Sorna, Neylabak, Ney, Naghareh



TRACK LISTINGS



[01]. Moghadameh Sabounati

[02]. Tasnif-e Sabounati

[03]. Hoy Nay Golom Meygoli

[04]. Reng-e Sabounati

[05]. Jowr Khazoun

[06]. Birvaghah

[07]. Oy Hamoumi

[08]. Bakthiari

[09]. Oy Hamoumi, Reng-e Hoshgele

[10]. Dassi Golom

[11]. Zang-e Shotor Jahromi

[12]. Hoy Bebar

[13]. Moghadameh & Tasnif Jahromi

[14]. Sahar Avazi

[15]. Rah-e Shiraz



Credits to "shajarian"



APE (EAC Rip): 350 MB | MP3 - 320 kbs: 140 MB | Booklet Scans



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Farid El Atrache - En Habitny Ahebek Akter

Posted By MiOd On 5:29 PM 0 comments


Track List

01.En Habitny Ahebak Akter

02 Lka'a El Aheba



Download HERE

BEST CLASSICS 100

Posted By MiOd On 10:41 AM 0 comments
CD 1 – UPLIFTING CLASSICS
CD 2 – RELAXING CLASSICS
CD 3 – VOCAL CLASSICS
CD 4 – GOLDEN CLASSICS
CD 5 – FAVOURITE CLASSICS
CD 6 – SPIRITUAL CLASSICS


An introduction to the world of classical music featuring 100 of the world’s best loved classical music recordings. These 6 CDs contain over seven hours of music and features composers like Mozart, Bizet, Verdi and Handel, performed by legends such as Yehudi Menuhin, Nigel Kennedy, Maria Callas and Dame Kiri Te Kanawa. Best Classics 100 is the perfect introduction to classical music.

BEST CLASSICS 100 offers an impressive assortment of well-known and beloved classical compositions grouped thematically across a six-disc set. The "Uplifting Classics" section promises excitement through a lineup that includes Beethoven's "Ode to Joy," Tchaikovsky's "1812" Overture, and Bach's Toccata in D Minor, among others. Elsewhere, "Relaxing Classics" presents serenely sublime works, notably Pachelbel's Canon in D Major, Albinoni's Adagio in G Minor, and the Andante movement of Mozart's "Elvira Madigan" Piano Concerto.

"Spiritual Classics" features masterpieces of faith and devotion, including Handel's "Hallelujah" Chorus and Franck's "Panis Angelicus," while Mascagni's Intermezzo from 'Cavalleria rusticana,' the "Fantasy" Overture from Tchaikovsky's 'Romeo and Juliet,' and Borodin's "Polovtsian Dances," along with many other crowd-pleasers, fall under the rubric of "Favourite Classics." The "Vocal Classics" segment overflows with beautiful arias, songs, and choruses magnificently sung by the likes of José Carreras, Maria Callas, Roberto Alagna, and Dame Janet Baker. It's no surprise that the performances are all of the highest quality imaginable, culled as they were from the vast EMI vaults. BEST CLASSICS 100 is a first-rate sampler loaded with well-chosen musical treasures.
TRACK LISTINGS

CD 1 – UPLIFTING CLASSICS 76.04

[01]. Solomon, HWV 67: Arrival of the Queen of Sheba
[02]. Concerto for Violin in E major, Op. 8 no 1/RV 269 "Primavera": Allegro
[03]. Toccata and Fugue in D minor, BWV 565: Toccata
[04]. Concerto for Horn no 4 in E flat major, K 495: 3rd movement, Rondo
[05]. Symphony no 5 in C minor, Op. 67: 1st movement, Allegro con brio
[06]. 1812 Overture, Op. 49: Finale
[07]. Symphony no 9 in D minor, Op. 125 "Choral": 4th movement, Finale - Ode
[08]. Concerto for Piano in A minor, Op. 16: 1st movement, Allegro molto moderato
[09]. Karelia Suite, Op. 11: no 3, Alla marcia
[10]. The Planets, Op. 32/H 125: Jupiter
[11]. Concerto for Piano no 1 in B flat minor, Op. 23: 1st movement, Allegro non troppo
[12]. Finlandia, Op. 26
[13]. Aida: Gloria all' Egitto
[14]. Romeo and Juliet Suite no 2, Op. 64b: Montagues and Capulets
[15]. Radetzky March, Op. 228
[16]. Pomp and Circumstance Marches (5), Op. 39: no 1 in D major
[17]. Concerto for Piano no 3 in D minor, Op. 30: 1st movement, Allegro ma non tanto
[18]. Symphony no 3 in C minor, Op. 78 "Organ": Maestoso/Allegro "Finale"

CD 2 – RELAXING CLASSICS 75.51

[01]. Suite for Orchestra no 3 in D major, BWV 1068: Air
[02]. Orfeo ed Euridice: Dance of the Blessed Spirits
[03]. Canon and Gigue for 3 Violins and Basso Continuo in D major: Canon
[04]. Concerto for Clarinet in A major, K 622: 2nd movement, Adagio
[05]. Goldberg Variations, BWV 988: Theme "Aria"
[06]. Adagio for Organ and Strings in G minor
[07]. Sonata for Piano no 14 in C sharp minor, Op. 27 no 2 "Moonlight": 1st movement, Adagio sostenuto
[08]. Concerto for Flute and Harp in C major, K 299 (297c): 2nd movement, Andantino
[09]. Concerto for Violin in E minor, Op. 64: 2nd movement, Andante
[10]. Concerto for Piano no 21 in C major, K 467: 2nd movement, Andante
[11]. Symphony no 9 in E minor, Op. 95/B 178 "From the New World": 2nd movement, Largo
[12]. Concerto for Violin no 1 in G minor, Op. 26: 2nd movement, Adagio
[13]. Variations on an Original Theme, Op. 36 "Enigma": Variation 9, Nimrod
[14]. Concierto de Aranjuez for Guitar: 2nd movement, Adagio
[15]. The lark ascending
[16]. Symphony no 5 in C sharp minor: 4th movement, Adagietto
[17]. Rhapsody on a theme of Paganini, Op. 43: Variation 18

CD 3 – VOCAL CLASSICS 79.23

[01]. Les pêcheurs de perles: Au fond du temple saint
[02]. Rusalka, Op 114/B 203: O moon high up "Song to the moon"
[03]. Lakmé: Viens, Mallikà...Sous le dôme épais "Flower Duet"
[04]. Carmen: La fleur que tu m'avais jetée "Flower song"
[05]. Orfeo ed Euridice: Che farò senza Euridice?
[06]. Norma: Casta diva
[07]. La Bohème: Che gelida manina
[08]. Gianni Schicchi: O mio babbino caro
[09]. Chants d'Auvergne: Volume 1 - no 2, Baïlèro
[10]. Madama Butterfly: Vogliatemi bene
[11]. Nabucco: Va, pensiero
[12]. Die lustige Witwe: Es lebt eine Vilja...Vilja, o Vilja
[13]. Serse, HWV 40: Ombra mai fu "Largo"
[14]. Ellens Gesang III, D 839/Op. 52 no 6 "Ave Maria"
[15]. Minuit, Chrétiens "O holy night"
[16]. Turandot: Nessun dorma!

CD 4 – GOLDEN CLASSICS 74.37

[01]. Le nozze di Figaro, K 492: Overture
[02]. Herz und Mund und Tat und Leben, BWV 147: Jesu bleibet meine Freude "Jesu, joy of man's desiring"
[03]. Concerto for Piano no 5 in E flat major, Op. 73 "Emperor": 1st movement, Allegro
[04]. Suite in D major: Prince of Denmark's March "Trumpet Voluntary"
[05]. Mors et vita: Judex
[06]. La scala di seta: Overture
[07]. Suite for Harpsichord in D minor, HWV 437: no 4, Sarabande with Variations
[08]. Nutcracker, Op. 71: no 13, Act 2 - Waltz of the Flowers
[09]. Lieutenant Kijé Suite, Op. 60: Troika
[10]. Fantasia on Greensleeves
[11]. Suite bergamasque: 3rd movement, Clair de Lune
[12]. Swan Lake, Op. 20: no 10, Act 2 - Scène, Allegro moderato
[13]. The Deer Hunter: Cavatina
[14]. Concerto for Piano no 1 in E minor, B 53/Op. 11: 2nd movement, Romanze
[15]. Titanic: My heart will go on
[16]. Time to say goodbye
[17]. An der schönen, blauen Donau, Op. 314

CD 5 – FAVOURITE CLASSICS 72.24

[01]. Cavalleria Rusticana: Intermezzo
[02]. Concerto for Piano no 2 in C minor, Op. 18: 2nd movement, Adagio
[03]. Peer Gynt, Op. 23: no 13, Act 4 Prelude - Morning
[04]. Gadfly, Op. 97: Romance
[05]. Adagio for Strings, Op. 11
[06]. Scheherazade, Op. 35: 2nd movement, The Kalender Prince
[07]. Thaïs: Meditation
[08]. Prince Igor: Polovtsian Dances
[09]. Spartacus Suite no 2: Adagio of Spartacus and Phrygia
[10]. Romeo and Juliet Overture
[11]. Symphony no 7 in A major, Op. 92: 2nd movement, Allegretto
[12]. Concerto for 2 Violins in D minor, BWV 1043: 2nd movement, Largo ma non tanto
[13]. Schindler's List: Main Theme
[14]. Nutcracker, Op. 71: no 12e, Act 2 - Dance of the Flutes "Toy Trumpets"
[15]. Symphony no 6 in F major, Op. 68 "Pastoral": 5th movement, Allegretto

CD 6 – SPIRITUAL CLASSICS 77.14

[01]. Coronation Anthems (4): no 1, HWV 258 "Zadok the priest"
[02]. Wachet auf, ruft uns die Stimme, BWV 140: no 4, Zion hört die Wächter singen, das Herz tut in ihr
[03]. Miserere mei Deus
[04]. German Mass in F major, D 872: Sanctus
[05]. Panis angelicus
[06]. L'enfance du Christ, Op. 25: L'adieu des bergers
[07]. Messe solennelle de Sainte Cécile: Sanctus
[08]. Requiem, Op. 48: In paradisum
[09]. Vesperae solennes de confessore, K 339: Laudate Dominum
[10]. Cantique de Jean Racine, Op. 11
[11]. Requiem Mass: Ingemisco
[12]. Ave verum corpus in D major, K 618
[13]. Messiah, HWV 56: I know that my redeemer liveth
[14]. The Creation, H 21 no 2: The heavens are telling
[15]. Requiem, Op. 48: Pie Jesu
[16]. Requiem in D minor, K 626: Lacrymosa
[17]. Messiah, HWV 56: Hallelujah!

EMI Classics, 2006 | 1 GB | MP3 CBR 320kbps

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1 | 2 | 3 | 4 | 5 | 6

100 Best Relaxing Classics

Posted By MiOd On 8:03 PM 0 comments
CD 1 – RELAXING BAROQUE
CD 2 – RELAXING MOZART & BEETHOVEN
CD 3 – RELAXING FILM CLASSICS
CD 4 – RELAXING ROMANTIC CLASSICS
CD 5 – RELAXING PIANO FAVOURITES
CD 6 – RELAXING CLASSICS OF MODERN TIMES
Sit back, relax and unwind to some of the most relaxing classical music performed by some of the finest artists. There’s over 7 hours of well-chosen music split across six CDs and featuring the world's best loved composers. Another winning collection.

Composers
Samuel Barber, A Claude Debussy, Anne Dudley, Edward Elgar, Edvard Grieg, Gustav Holst, James Horner, Karl Jenkins, John Lennon, Franz Liszt, Andrew Lloyd Webber, Pietro Mascagni, Sir Paul McCartney, Ennio Morricone, Stanley Myers, Thomas Newman, Michael Nyman, Carl Orff, Joaquin Rodrigo, John Rutter, Erik Satie, Dmitri Shostakovich, Stephen Sondheim, Jay Ungar, Ralph Vaughan Williams, Traditional, Wolfgang Amadeus Mozart, Sergei Rachmaninov, Johannes Brahms, Ludwig Van Beethoven, Antonio Vivaldi, Ralph Vaughan Williams, Joaquin Rodrigo, Johann Pachelbel, Franz Schubert, John Lennon, Robert Schumann, Johann Sebastian Bach, Antonín Dvorák, Gustav Mahler, Georges Bizet, Franz Liszt, Vincenzo Bellini, Ludwig van Bethoven, Francisco Tarrega, George Frideric Handel, Gabriel Faure, Jules Massenet, Jacques Offenbach, Max Bruch, G F Handel, Joseph Canteloube, Ludwig van Beethoven, Tomaso Giovanni Albinoni, Felix Mendelssohn, CAMILLE SAINT-SAENS, Christoph Willibald Gluck, John Williams, Samuel Barber, Wolfgang Amadeus Mozart, Antonio Vivaldi, Robert Schumann, Gabriel Fauré, Joaquín Rodrigo, Franz Liszt, George Frideric Handel, Gustav Mahler, Edvard Grieg, Jacques Offenbach, Jules Massenet, Johannes Brahms, Camille Saint-Saëns, Frédéric Franciszek Chopin, Traditional, Vincenzo Bellini, Franz Schubert, Ludwig van Beethoven, Antonín Dvorák, Gregorio Allegri, Felix Mendelssohn, Sergei Rachmaninov, Samuel Barber, Christoph Willibald Gluck, Georges Bizet, John Lennon, Ralph Vaughan Williams, Tomaso Giovanni Albinoni, Léo Delibes, Giovanni Battista Pergolesi, Francisco Tárrega, Johann Pachelbel, Joseph Canteloube

Flac (EAC Rip): 1.8 GB | MP3 - 320 kbs: 1 GB | Front Cover

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Martin Taylor - Spirit of Django [Gypsy]

Posted By MiOd On 12:59 PM 0 comments
Classical Guitar Magazine
"There is a touch of genius in Martin Taylor's playing."

Virtuoso guitarist Martin Taylor first came to prominence in the late 1970s through his collaborations with legendary violinist Stephane Grappelli. Now, he tours the world's concert halls with his dazzling live performances. Although inspired initially by Gypsy guitarist Django Reinhardt, it was to be piano players, most notably Art Tatum and Bill Evans, who caught his imagination and set him on the path of developing his own individual style of solo playing!
Since the death of Joe Pass in 1994, Martin Taylor has become one of the most highly regarded guitarists in jazz. He was given his first guitar by his father, Buck Taylor. Although he was inspired at first by Django Reinhardt, it was piano players like Art Tatum that drew his attention and helped him practice to develop his phenomenal solo technique. In the late '70s, Stephane Grappelli invited him to play in a series of concerts in France. The violinist was so impressed that he used Taylor often on tours and a variety of recording dates. Beginning in 1990, Taylor began recording a number of acclaimed CDs for the U.K. label Linn, distributed as Honest/Linn in the U.S., and also did an excellent duet date with David Grisman for the mandolin player's Acoustic Disc label. All that is missing from Taylor's current roster of recordings is a live date, though an excellent concert video is available. In 2000, he released his debut on an American label, Columbia, entitled Kiss and Tell. Stepping Stones on Linn followed that same fall. ~ Ken Dryden, All Music Guide

[01]. Chez Fernand
[02]. Minor Swing
[03]. Night and Day
[04]. Nuages
[05]. James
[06]. Double Top
[07]. Django's Dream
[08]. Swing '42
[09]. Oh, Lady Be Good
[10]. Honeysuckle Rose
[11]. Johnny and Mary

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Begona Olavide, Mudejar - Cartas Al Rey Moro

Posted By MiOd On 1:32 AM 0 comments
Begona Olavide & Murder - Cartas Al Rey Moro

Alt text

1. Apiádate de mi pequeño corazón - Take pity on my little heart

In order to trace the evolution of the arábigo-andaluz music (music from Muslim Spain) after the Reconquest, we need to look toward the Maghrib. The main figure of this repertoire is al-Ha'ik, who lived in Tetuan in the 18th century. In his work, Kunnas (Songbook) are collected the poems that formed the base of the nubas (seven hundred and twenty-one poems). which he catalogued in eleven large families that have come to be the eleven nubas of present times. Al-Ha'ik did not transcribe the music, but indicated which out of 24 possible modalities was required, giving a principal and a secondary mode for each one of the nubas. he also annotated the rhythmic formulas that constitute the framework of the different movements of the eleven nubas that are preserved.

Musical transcription with occidental annotation of the repertoire has, since 1930, allowed for a greater understanding of the mechanisms of the arabigo-andaluz musical legacy, but it has never been a substitute for oral transmission, as this music is filled with adornments and turns that are impossible to annotate. Apiádate de mi pequeño corazón is a sana (song) that belongs to the btaihi rhythm (a cycle of 8 beats, subdivided in 3-3-2) of the nuba al-ussaq (the beloved), the eleventh in the order of al-Ha'ik, based on a G major diatonic scale. It has been transcribed by Abdelkrim Rais and Mohamed Briouel.

رفقأ على قليبى   يا من أبلاه
الحب مزق قلبى   حتى أفناه 
أنت تعلم مابى   ربى أنت الله
ت/جار الرقيب على   وانكاونى العذال
لو كان يا  حبيبى قلبى يحمل

Take pity on my little heart
You who tortures it so.
Love has broken it
And left it to die.
You know how much it holds
Only you, Allah, you are my master.
Unjust was the Vigilante with me
Wounds they have opened, those who censure me.
Ay, my beloved, if my heart
Could only bear it.

2. De Antequera partió el moro - The Moor took leave of Antequera

Is a frontier ballad which narrates the fall of Antequera on the 28th of September. 1410.
It was famous because of the importance of the city, the fact that the governor (Alkarmen) held out for 5 months. and because of the size of the Moorish King's (Usuf III) army. Some 100 kilometers from Granada. Antequera was a key strongpoint within the Nasrid kingdom. It was called Singylia by Romans and renamed Antequera ( The Victorious. The Grandiose) by the Arabs. Don Fernando, infante of Castille and at that time regent for his nephew Juan II, was the victor in this battle and was thereafter called "Don Fernando el de Antequera".

The lively sentiment expressed in this ballad indicates that it was probably written immediately after the events it describes, although it is true that the texts to which we have access have been revised and rewritten and sometimes have an incoherent and even propagandistic ending. However that may be. the song begins:

The Moor took leave of Antequera
three hours before dawn
with letters in his hand
in which he asked for help

Menéndez Pidal explains two characteristics of these early ballads: an introduction with no preamble, which places us in the middle of the action, and an ending which cuts the narrative short at its most intense moment.

Little is known of the music to which this ballad was set. In1554. nearly 140 years after the fall of the Antequera, Miguel de Fuenllana published in Sevilla the "Libro de musica para vihuela intitulado Orphenica Lyra". in which he included one and a half verses of a wonderful untitled piece, and advised: Siguense los dos tonos de romances viejos compuestos a quatro. Y esta primero es de Morales (follow the two tonos of the early ballads composed for four voices. The first is by Morales.) The text of the song begins:

The Moor took leave of Antequera
from Antequera he did leave
he carried letters in his hand
letters with a message.

Fuenllana took this work from Cristobal Morales who lived a generation before him and who, like him, was a blind musician from Seville. But nothing by "el divino Morales", as he was called in his times. has reached us, which causes us to suppose that Fuenllana took the melody and the text from the oral tradition and developed it with a polyphony characteristic of the 16th century.

The idea of taking a popular song and arranging it according to the tastes of a specific social environment was not new, but it was in this period that printing enabled texts to be circulated. The texts of the ballads began to be written and published in sheets in an attempt to avoid alterations, but the music continued to be passed on orally, as it was easier to remember a melody than a historical text. So the written music that Fuenllana left us is of great importance.

The Moor took leave of Antequera
three hours before dawn.
with letters in his hand
in which he begged for help.
In blood they were written.
but not far want of ink.
The Moor that carried them
was one hundred and twenty years old
a horseman on a mare
for a stallion he wanted not.
Alone with a young page
who kept him company.
the mare was light of foot
and stood out from all the others:
through the fields of Archidona
in a loud voice he said:
-Oh. good king. if you knew
of my sad message.
you would tear out our hair
and those of your full beard!
-Welcome. Moor.
Welcome you are.
-May Allah keep you, my king.
and all your company.
-Tell me, what news do you bring me
of Antequera, my village?
-I'll tell you the news, good king.
if you grant me my life..
-Your life is granted
if in you there is no betrayal.
-never would Allah permit
such great villany!
but your highness must know
what you should have known already
that the village of Antequera
was in such great peril.
by the infante don Fernando
it was besieged
Good king, if you do not go its rescue
very soon it will be the lost.
The king. upon hearing that
shuddered with grief:
and suffering greatly
shed abundant tears
and tore out his hair
so great was his pain:
noone could console him.
for he did not permit it:
but upon recovering
in a loud voice he said
-My trumpeters, sound
your fine silver trumpets:
my horsemen, be assembled.
all those of my kingdom:
Go with my two brothers
to Archidona. my village
to the rescue of Antequera
key of my domain.
And with this command
a great Moorish troop was assembled:
when the battle was being waged
so many of ours wounded
for one-hundred and twenty dead
there were fifteen thousand Moors.

3. Los sospiros no sosiegan

4. ¿Qué me queréis, caballero? - What do you want of me, caballero?

This is an anonymous work from the Cancionero Musical de Palacio (C.M.P.). Francisco Salinas (1577) mentions this carol referring to it as a cantione usitatissima. Another version of it is found amoung the works of Fernandez de Heredia (Valencia, 1562).
What do you want of me,
caballero?
Married I am, husband I have.
Married I am, and content so to be
with a most honorable gentleman,
well bred and well disposed,
who I love more than I love
myself.
Married I am, husband I have.
Married happily I am
but not free from sorrow,
for so foolishly I acted
that I punish myself.
Married I am, husband I have.

5. La España - The Spain

Is the work called Tres III "Sobre el canto llano de la Alta", signed by Antonio in el "Libro de cifra nueva para tecla, arpa y vihuela" that Luis Venegas de Henestroa published in Alcalá de Henares in 1557. It consists of 138 pieces by different authors. This is the third piece for three voices. The intermediate or tenor voice has a gregorian melody or canto llano that is called "Alta danza" or "La España". Of unknown origin, it is considered to be the earliest courtly dance of Europe. It is believed that "La España" was first used by Domenico de Piacenza, a dance master from Ferrara, in 1416. The theme was used by a multitude of authors in their compositions throughout the 15th. 16th and 17th centuries, with different names, such as: Spagnoleta, Basse danse du Roy de Spaingne. II Re di Spagna. Calata a la Spagnola. The old Spagnoleta, La bassa Castiglya, Castille la nouvelle, etc.

The blind Antonio de Cabezón (1510-1566), court organist for Carlos V, for the infantas Maria and Juana, and for Felipe V, was a friendly, humble, and simple man who knew how to sing to the glory of God and to entertain men. He created a Spanish school of organ music filled with mysticism and deep human sentiment. Most of his work was compiled and published by his son, Hernando de Cabezón. twelve years after his death.

6. No ay que decirle el primor - Do not praise her splendor

This is preserved in the "Libro de Tonos Humanos", musical manuscript n' 1262, in the National Library of Madrid. this is a book of songs that was compiled by a musician in the first half of the 17th century for the entertainment of a noble. In this period, the term tonos humanos was synonymous with tonadas or profane songs. It is dramatic piece and was sung in the first performance of Cervante's "El rufián dichoso".

Do not praise her splendor
nor her enormous worth
I know that she is a young lass
of the kind that takes one's breath away.
She is so gallant and so conceited
so brave and arrogant
that she has sworn that she, alone,
can triumph over the god mars.
She knows that she is courted
by the little flowers and birds,
she would put down to fear
whatever you do to please her
May she die with the confusion
of her arrogance, for she brings
as a victorious coat of arms
rays with which she will burn herself.
I'll not flatter her with flowers
nor will I flatter other beauties,
this amorous celebration
in held only in her honor.
As she considers herself a goddess
she avails herself of her splendor
and she wants the world to know
that no beauty is her equal.
Although her worth is vast
and her beauty immense
he who looks at her believing
should exercise great care.
If she boasts of being cruel
may she die at the hand of cruelty
and come to a wretched end.
as I am dying of love.

7. De la dulce mi enemiga - From my sweet enemy

This is from the same cancionero (C.M.P.) and is signed " Gabriel". Perhaps this is the same Gabriel el Músico named in other cancioneros, who was cantor in the King's Chapel until Fernando el Católico's (King Fernando) death in 1516, at which time he entered the service of Admiral Fadriquez Enríquez. This work appears later in the Cancionero de Enamorados (Lovers Songbook). which was compiled by Juan de Linares and published in 1573. This version is anonymous and has a longer text.

8. Que bonito niño chiquito - What a precious little child

This is an anonymous work from the " Cancionero Musical de la Colombina" (C.M.C.)., which was compiled in about 1490 and contains ninety-five works by different contemporary authors. It is preserved in the Colombina Library of Seville and has been transcribed by Miguel Querol (Barcelona, 1971).

What a precious Little child
The Virgen gave birth.
two good women
attended her
and delighted the child.
After she gave birth
the Virgen with prudence.
presently they adored him
and revered the child.
And the swaddling clothes
that are not of twisted silk,
in a manger
the Virgen wrapped the child.
the Virgen Mary
a young girl.
in a wide girdle
tightly bound the child.
Angels from heaven
sweetly sang
"Gloria in excelsist Deo"
and calmed the child.

Alt text
Alt text

INSTRUMENTOS - INSTRUMENTS

All the instruments used in the recording are copies of original instruments or are Reproductions of the iconography, and all belong to the period we wish to recall.

salterio - Carlos Paniagua, 1992 sobre cancionero de Ajuda (Portugal), s. XIV
qanún - Carlos Paniagua, 1993 sobre el Diwa i Djami, Persia, s. XV
'Ud - Fu'ád Haydar, Damasco 1981
Vihuelas - Lourdes Uncilla, El Escorial
vihuela bajo - Lourdes Uncilla
guitarra - Lourdes Uncilla
guitarra - Carlos Grass, Valencia
vihuela de arco soprano - Francisco Lueñgo, lamino, 1995
vihuelas de arco tenores - Francisco Lueñgo
vihuela de arco bajo - Robert Eyland, Devonshire - Inglaterra, 1988
darbugas - Turquía
tar - Marruecos
bendir - España e India
cajón (marímbula) - de madera

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Partho Sarathy - Swar Alankar

Posted By MiOd On 6:55 PM 0 comments
A Showcase of The Unique And Rare Repertoire of India's Greatest Instrumentalists
Partho Sarathy is one of the most promising Sarod player today. His music embodies the true heritage of Hindustani Raagdari music. His virtuosity on the Sarod makes his exploration of Raagas an exercise in Harmony, Tranquility and his serious meditative approach makes his music literally soar to unscaled height of fulfillment.
Partho started his musical training under his father who was a disciple fo Pandit. Radhika Mohan Moitra. Partho then took lessons for nearly a decade from Ustad Dhyanesh Khan- son and disciple of the legendary Sarod maestro Ustad Ali Akbar Khan. Since 1980, Partho has been under the direct guidance of Bharat Ratna Pandit Ravi Shankar, India's greatest musician.
With this long and very illustrious training under these great gurus coupled with an inherent protean creative sensibility, Partho Sarathy's music is truly a symphony in serenity. Born in 1960, Partho is based on Calcutta, the cultural mecca of India. He has been performing for the last 30 years in India and all over the world. He regularly performs in Europe and the U.S.A every year. In India, he has given concerts at all the major music festivals like Dover Lane in Calcutta, the Savai Gandharva festival in Pune, Music academy festival in Chennai, Royal Albert hall in London, Cremlin in Moscow and numerous other places in India and abroad.

1. [ Bhimpalasi ] [ 29:17 ]
2. [ Jhinjhoti ] [ 29:24 ]
3. [ Shudh Bhairavi ] [ 11:56 ]

Sarod - Partho Sarathy
Tabla - Anindo Chatterjee

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The Spirit Of India - Ravi Shankar Plays Ragas

Posted By MiOd On 9:17 PM 0 comments


With the passing of Ustad Alla Rakha (born: Allarakha Kahn) on February 3, 2000, from a heart attack, India lost one of its most influential musicians. Called the "Einstein of rhythm" by Grateful Dead percussionist Mickey Hart, Rakha helped introduce Indian classical music to the western world with his tabla playing. A longtime accompanist of sitarist Ravi Shankar, Rakha is remembered for the highly melodic rhythms that he coaxed from his instrument. Shortly after his death, Indian president K.R. Narayanan announced that "an uncommon pulsation has been stilled. His wrists, palms, and fingers produced from the tabla percussion of magical quality which maintained the tenor and tempo of India's uniquely assimilative musical culture."



The son of a farmer, Rakha was born in the Phagwal village of Jammu, 80 km from Lahore. Leaving home, at the age of 12, he moved into an uncle's home in Gurdaspur. Inspired by the playing of local musicians, he convinced tabla player Mian Qader Baksh of the Punjab Gharana (school) to take him on as a disciple. He also studied with Ustad Ashiq Ali Khan, who taught him the melodic vocal style Raag Vidya.



Rakha mastered his lessons quickly. By his 15th birthday, he had begun working with a theater company. After working as an accompanist in Lahore, Rakha accepted a position with All India Radio in Delhi in 1936. He remained with the station until 1940 when he became involved with the Hindi film industry as a session musician. He eventually rose to the position of music director for Rangmahal Studios.



Moving to classical music in 1948, Rakha resumed his career as an accompanist. In addition to working with Ravi Shankar throughout the 1960s and ‘70s, he collaborated with sitarist Vilayat Khan and American drummer Buddy Rich, with whom he recorded the East-meets-West album Rich A La Rakha.



Rakha's legacy is continued by his sons Zakir Hussein and Fazal Quereshi. His beloved daughter, Razia, died of a sudden heart attack the night before his own death.



TRACK LISTINGS



Raga Jogeshwari (50:07)



1. Alap

2. Jor

3. Gat I (Tala: Jhap-tal)

4. Gat II (Tala: Ek-tal)



Raga Hameer (24:22)



5. Alap - Gat I (Tala: Tin-tal) - Gat II (Tala: Tin-tal)



Credits

Artwork By [Art Direction] - Nikolaus Boddin

Engineer [Balance Engineer] - Wolfgang Mitlehner

Other [Sleeve Notes] - Ellen Hickmann

Producer - Dr. Rudolf Werner

Sitar - Ravi Shankar

Tabla - Alla Rakha

Tambura - Mrs. Jiban , Mrs. Widya



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Partho Das - Music Of The Sitar

Posted By MiOd On 7:08 AM 0 comments
In world music, some instruments are so distinctive that hearing only a few notes brings to mind a particular country and a particular culture. No instrument is more identified with Japan than the koto (even though the koto was actually invented in China and brought to Japan by the Chinese), and just as no wind instrument evokes thoughts of Scotland more quickly than Celtic bagpipes, no string instrument says "India" more than the sitar. It's hardly India's only important string instrument -- even those with only a casual interest in traditional Indian music should know about the vina, the sarod, the sarangi, and the surbahar -- but it's certainly among the country's most recognizable. One of North India's excellent sitarists is Partho Das, whose Music of the Sitar was recorded in Delhi in June 1989. This album finds him playing three instrumental North India-style ragas; the shortest is the eight-minute "Dhun in Raga Bhairavi," while "Raga Bageshri" lasts 30 minutes, and the equally hypnotic "Raga Yaman" lasts 28 minutes. Such extended performances aren't for those with short attention spans, but because Das is such a master of his instrument, he has no problem holding the attention of serious sitar enthusiasts. Das is joined by tabla drummer Rashid Mustafa on this excellent CD. ~ Alex Henderson, All Music Guide

[01]. Partho Das - Music Of The Sitar-Raga Bageshri
[02]. Partho Das - Music Of The Sitar-Dhun (In Raga Bhairavi)
[03]. Partho Das - Music Of The Sitar-Raga Yaman

Partho Das (sitar)
Rashid Mustafa (tabla)

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Hossein Farjami - 3 CDs.

Posted By MiOd On 3:34 AM 0 comments
The santoor is an instrument that was created in the Middle East, probably somewhere around the 11th century. It spread all around Asia, Central Asia, and Eastern Europe, from the guqin in China to the cymbalum in Eastern European countries. Now living in London, Hossein Farjami is one of the best-known Iranian santoor players today. Besides being an accomplished musician (also playing the oud and various percussion instruments), he enhanced the design of the santoor by extending its range; it can be played in several keys, minimizing the needs to retune it. Accompanied by the tonbak (a typical Iranian drum). ~ Bruno Deschênes, All Music Guide.

Art Of The Santoor From Iran

1.Medley-Rashid Khan/Aziz Beshi Bekenarom/Gole Gandom/Ay Shirinom Joonom
2.Shekare Ahoo
3.Baroon Baroone
4.Koreyshim
5.Jahromi
6.Medley-Asmar Asmar/Akh Leyli Leyli/Mastom Mastom/Damkol Damkol
7.Yedoone Anar Dodoone Anar
8.Medley-Koshi Tala/Halooye Ganom Khare
9.Bandar.

Download Art Of The Santoor From Iran.

Traditional Folk Music From Iran

1.Kojast
2.Khayam Va Koozeh
4.Omidvaihaye Del
5.Rosvaye Do-Aalam
6.Erse Aslaf
7.Gol
8.Delbar.

Download Traditional Folk Music From Iran.

The Road to Esfahan

1. Dastgah Shur
2. Nagmeh Bayat-e Tork
3. Nagmeh Esfahan
4. Dastgah Homayan.

Download The Road to Esfahan.

Cheikh Imam - Les Nuits Des Amandiers

Posted By MiOd On 1:43 PM 0 comments

According to the Los Angeles-based Al Jadid magazine (1), Imam Mohammad Ahmad Eissa was born to a poor family in the Egyptian village of Abu al-Numrus in 1918. He lost his sight in infancy. As a child of five he joined a recititation class, where he excelled; by 12 he had memorised the whole of the Qur’an. Later he went Cairo to learn Qur’anic recitation under the great authority of the time, Sayyid Al Ghouri.

In 1945 he met a great Egyptian musician, Sheikh Darwish al-Hariri, who taught him the fundamentals of music and the Andalusi-derived art of muwashshah song performance. That enabled him to sing and play music, while he continued to recite the Qur’an as a career. He listened to Sufi singing and fell in love with the ud. Within three years he began performing at weddings and birthdays, abandoning his traditional religious dress in favour of European dress and a tarboush. The changes affected the music he played; he began singing the songs of Muhammad Uthman, Abduh Hamouli and the legendary Sayyid Darwish, and later joined a religious chanting group led by the well-known religious broadcaster Abed al-Sami Bayoumi.

In 1962 Sheikh Imam met the poet Ahmed Fuad Negm, a turning point; they became an inseparable duo who developed a new popular, political form of song, hymns of justice for poor and working people. Imam’s location increased his concern for ordinary people: he lived in Hawsh Kadam, an overpopulated area in the Al Ghouria neighbourhood near Cairo.

The 1967 war and the impact of the Arab defeat brought the duo even closer, and prompted them to become active participants in radical politics and Arab nationalism. Their songs, an observer wrote, were a “light of hope in the darkness that was shed by the 1967 defeat and its aftermath”. Arab students and workers sang their revolutionary songs during strikes, sit-ins and demonstrations: “Misr Ya Bahia” (Pretty Egypt), “Shayid Kussurak” (Build your palaces), “Ghifara maat” (Che Guevara is dead), “al-Fellahin” (the peasants) and “Mur El Kalam” (Bitter talk). Imam composed the memorable “Rajiu al-Talmiza” (The students returned) during the 1972 student uprising. This led Imam and Negm straight to prison; in 1968 they were sentenced to three years, and there were further frequent detentions between 1972 and 1979. After President Anwar Sadat’s assassination in 1981, the authorities arrested Imam on the grounds that he had distributed 50 cans of beer to the residents of Hawsh Kadam. It is said that while they were in prison, Imam would get close to Negm’s cell to hear him recite new lyrics and then return to his own cell to compose the music. They broke up in the mid-1980s. After 1993, when Negm attacked Sheikh Imam in his memoirs in the magazine Rose Al Yusuf, the rift became irreparable.

Though Imam’s records sold in thousands all over the Arab world, he made little money. His final days were difficult: he lived alone, visited occasionally by neighbours or friends. Few offered him help. After a long illness he died in 1995, aged 78. By Ed Emery.

liberation.fr : En 1976, Cheikh Imam et Fouad Negm devaient quitter le Caire pour Paris, quand la police égyptienne vint les extirper de l'avion. Ils finiront par donner leur premier concert français en avril 1984, avec leur complice le peintre-percussionniste Muhammad Aly, dans le cadre d'un festival des musiques arabes à Nanterre, au théâtre des Amandiers de Patrice Chéreau.

1. Allumez Une Bougie
2. Beyrouth
3. Message Pour l'Egypte
4. Complainte Du Rossignol
5. Alexandrie

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Luis Salinas - Musica Argentina 2

Posted By MiOd On 3:38 AM 0 comments
Argentinean self-taught guitarist Luis Salinas started playing at a young age, mostly influenced by his family and local musicians. Soon he teamed up with Adolfo Abalos, Horacio Salgan, Jaime Torres, and Maria Graña and had the opportunity to participate in their recordings. After signing up to GRP, the contemporary jazz performer debuted with Salinas in 1996, followed by Solo Guitarra, which included a version of Stevie Wonder's "You Are the Sunshine of My Life." Salinas returned in 2001 with Rosario.

(01). Aire de Tango
(02). La cristalina [Zamba]
(03). Para corrientes y el chaco[Chamamé]
(04). Balada para guitarra [Balada]
(05). Salgán [Tang]o
(06). Zamba en Mí [Zamba]
(07). La misteriosa [Aire de Cahcarera]
(08). Luis Salinas
(09). Zamba triste [Versión II]
(10). La pesada [Chacarera][Version]

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Luis Salinas - Musica Argentina 1

Posted By MiOd On 7:50 AM 0 comments
Luis Salinas - Musica Argentina 1

Argentinean self-taught guitarist Luis Salinas started playing at a young age, mostly influenced by his family and local musicians. Soon he teamed up with Adolfo Abalos, Horacio Salgan, Jaime Torres, and Maria Graña and had the opportunity to participate in their recordings. After signing up to GRP, the contemporary jazz performer debuted with Salinas in 1996, followed by Solo Guitarra, which included a version of Stevie Wonder's "You Are the Sunshine of My Life." Salinas returned in 2001 with Rosario. ~ Drago Bonacich, All Music Guide
2003's MUSICA ARGENTINA contains 12 homeland folk songs from the Argentine guitar wizard who's earned plaudits from critics and musicians from jazz to blues.

2003 winner of the Premio Gardel (Argentina's equivalent to a Latin Grammy) ...

(01). Volver [Tango]
(02). Zamba Triste [Version 2]
(03). Zamba Tonada [Zamba/Tonada]
(04). La Tucumanita [Zamba Carpera]
(05). Un Vals
(06). La Pesada [Chacarera]
(07). Chamame Para Mi Viejo [Chamamé]
(08). Para Troilo y Salgán [Tango]
(09). Por Milonga [Milonga Sureña]
(10). Chacarera Para Adolfo (Abalos) [Aire de Chacarera]
(11). Mujer, Niña y Amiga [Zamba]
(12). La Milonguera [Milonga]

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Vicente Amigo - Un Momento en el Sonido

Posted By MiOd On 2:46 AM 0 comments
2005 studio album from the young flamenco guitarist from Cordoba who the most likely successor to Paco de Lucia and is influenced by Stanley Jordan, John McLaughlin and Al DiMeola.
Vicente Amigo has been called "the natural continuation of Paco De Lucia". A former child prodigy, Amigo has continued to evolve as a musician and vocalist. In a 1998 interview, Amigo explained, "I believe that flamenco has always been something for adults, not just for children. To understand flamenco, you need maturity. You can learn to play the guitar as a child, you understand the technique. Also, of the singing, you can more or less understand the technique.

But, the essence of flamenco is something that requires maturity". Amigo involvement with music began at a very young age. At the age of five, he studied with influential flamenco guitarist Merenque De Cordoba. By the age of fifteen, Amigo was attracting attention as a protege of Paco Pena. Although he launched his professional career as a member of a band, Manolo Sanlucar, Amigo has performed most of his concerts as a soloist. Amigo has also accompanied numerous vocalists including El Pele and Luis De Cordoba and dancers including Javier La Torre and Israel Galvan. Amigo collaborated with singer Jose Merce on an album, "De Amanacer".

While flamenco remains the foundation of his sound, Amigo has been equally inspired by the jazz of Stanley Jordan, John McLaughlin and Al DiMeola. ~ Craig Harris, All Music Guide

[01]. Demípatí Listen
[02]. Campo de La Verdad [Bulería Composición]
[03]. Mezquita [Soleé]
[04]. Tangos del Arco Bajo
[05]. Bolero a Marcos
[06]. Silia y el Tiempo [Farruca]
[07]. Oriente Mediterráneo [Zapateado]
[08]. Rocamador [Bulería Composición]
[09]. Momento en el Sonido [Taranta]
[10]. Bolero a Marcos [Versión Arreglos de Cuerda]

FLAC (EAC Rip): 340 MB | MP3 - 320 kbs: 110 MB | Scans

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Nicholas Lens - Flamma Flamma, The Fire Requiem

Posted By MiOd On 11:26 AM 0 comments
...don't listen to it by yourself in the dark...

Wow! While this piece can initially be beyond comprehension, with a second look it proves beautiful and mystifying. I first heard a few movements of Flamma Flamma during a performance of Agamemnon and, though I found the music disturbing, it has haunted me ever since. The bass and soprano are sublime. I highly recommend giving this recording a first and then a second look. ~Amazon.com




This large-scale work shares the late 20th century's interest in combining diverse musical cultures. It is structured to echo the form of a Requiem Mass, and is set for a classical orchestra and chorus, with six classical soloists, but it also has elements of ethnic music from around the world, especially the use of the "Bulgarian Voices," a folk-based ethnic ensemble that had gained international fame through recordings.



The text is by Herman Portocarero, who chose Latin for its singability, for its direct association with Roman Catholic ritual, and for its sense of timelessness and universality. The composer has written that to him the only thing that makes life bearable is death, or, rather the knowledge that death will bring it to an end. This insight, he says, makes it possible to enjoy life fully. He uses fire as a metaphor for death, and also as the agent that cleanses. He conceived this work as a kind of ritual that united the European classical culture with non-European cultures' magic. The classical soloists represent "six gods or the higher conscience of Man." The ethnic elements revitalize the weariness of European culture.



The text is deliberately shaped to echo the structure of the liturgical Mass for the Death. The instrumental soloists are a player of koto and bass koto, a player of three kinds of flute, a player of oboe and english horn, a trumpeter, four violinists, two percussionists, and a keyboard player. The work includes several other ethnic instruments and a notable use of electronic sounds. ~AllMusic.com


Track listing:

......................... MP3 .. |APE .. |TIME

[01]. Hic Iacet I ....... 216kbps 625kbps .. 5:42

[02]. Hic Iacet II ...... 228kbps 650kbps .. 9:08

[03]. Sumus Vicinae ..... 222kbps 759kbps .. 4:59

[04]. Tegite Specula .... 225kbps 651kbps .. 6:06

[05]. Complorate Filiae . 225kbps 675kbps .. 4:14

[06]. Vale Frater ....... 219kbps 675kbps .. 4:13

[07]. Amice Mi .......... 214kbps 692kbps .. 4:41

[08]. Corpus Inimici .... 238kbps 738kbps .. 5:26

[09]. Deliciae Meae ..... 216kbps 647kbps .. 4:54

[10]. Flamma Flamma ..... 228kbps 740kbps .. 3:19

[11]. Ave Ignis ......... 215kbps 634kbps .. 4:44

[12]. In Corpore ........ 233kbps 756kbps .. 4:59

[13]. Agnus Purus ....... 214kbps 651kbps .. 5:57

[14]. Ardeat Ignis ...... 206kbps 640kbps .. 7:17

AVG & Total ............. 221kbps 675kbps 1:15:46



Including covers (front, back, no CD, no booklet)

EAC Secure RIPped (from the RCA release in 1999)

MP3: Lame 3.98.2 -V0 ------------->



Badi Assad - Verde

Posted By MiOd On 3:37 AM 0 comments

The exotic, one of a kind Brazilian guitarist, singer, and rhythmic mouth and body percussionist has had a stop-and-start career with turns as mysterious and intriguing as her music. After splashing on the scene with her Chesky debut Solo in 1994, continuing the stir (including vast critical acclaim) with Rhythms (1995) and releasing Chameleon on Verve in 1997, Badi Assad suffered from a series of personal issues that drew her back home for a few years. Fans who were excited about her 2003 re-emergence on the trio date Three Guitars with Larry Coryell and John Abercrombie will be beside themselves with the long-awaited Verde, her first solo project in six years. Those expecting a typical Brazilian vocal album -- she explains the title as "the shades of the Brazilian rain forest" -- will be surprised by Assad's versatility, which incorporates rhythmic textures from around the world. She opens with the very African-flavored voice and dense percussion call-and-response "Cheguei Meu Povo" and a vocal percussion pitter patter interlude before tapping into a sound more typical of classic romantic samba ("Basica"). That sultry side is balanced by her more aggressive vocal and guitar on the feisty "Nao Adianta," which blends modern rock influences with indigenous soundscaping, complete with birdcalls. Other tracks have slight classical leaning, and there's even a little avant-garde oddity apparent on the brief "Feminina." More mainstream ears will be glued to her sly, sexy reading of U2's "One" and soaring, folk- and chamber music-tinged take on Björk's dramatic "Bachelorette," which further confirms Assad's incredible willingness to tackle exotic challenges. Though all the stylistic zigzagging is fascinating, Assad is first and foremost a vocalist of heartbreaking intensity, and tracks like the mournful "Bom Dia Tristeza" best reflect her ability to penetrate the heart. ~ Jonathan Widran, All Music Guide

(01). In my little white top
(02). Nao adianta
(03). One
(04). Voce nao entendeu nada
(05). Viola meu bem
(06). O verde e maravilha
(07). Feminina
(08). Bachelorette
(09). Seu delegado
(10). Estrangeiro em mim
(11). Bom dia tisteza
(12). The being between
(13). Valse d'amelie
(14). Asa branca

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Egschiglen - Gereg (2007)

Posted By MiOd On 2:17 PM 0 comments


This is Mongolian ensemble Egschiglen’s fourth album and the third to feature Amartuvshin’s fine Khöömii (Throat Singing). Amartuvshin comes from Chandman District in Western Mongolia, arguably the birthplace of Khöömii. His powerful singing retains much of the traditional styles of older singers such as Tserendavaa; however the influence of Tuvan Khöömei can be heard in the low Khargiraa (sub harmonic) style particularly on their renamed version of Huun Huur Tu’s classic ‘Kungurei’. Amartuvshin sings lyrics in Khailakh (a tense compressed guttural voice) or Khargiraa styles with the amazing non-verbal high melodic overtone style being featured on half a dozen cuts. His mastery enables him to sing the dizzyingly heights of the 16th harmonic and to adapt to unfamiliar musical settings. The one drawback is that his Khöömii can get lost in some of the overly dense arrangements.



1. Hunnu is a song from the 'deep past' of Mongolia - and a homage to the Huns who founded their legendary empire in the 3rd century BC between Lake Baikal, the Altai Mountains, the Chingan range and China, the first nomad empire of Central Asia consisting of 25 peoples. China tried to protect itself against the raids of the "barbarians of the north", as the Chinese farmers called the Huns disparagingly, by building the Great Wall. The empire of fearless nomad horsemen disintegrated after the death of their king Attila in 453 AD.

2. Goviin Magtaal : Paeans or songs of praise (magtaal) are sung to pay tribute to nature in itself, the spirits of nature or the Lamaistic gods or to praise individual mountains, rivers, animals or heroes. It is mainly camel-driving nomads who live in the Gobi Desert, so this paean is sung to the Gobi in the rhythm of the camel's footsteps. "From the blue gleaming steppe you come to visit us in the Gobi. When you visit us in the Gobi, you are cordially invited to our yurt. The doors of our white yurt are always open. With best wishes we invite you: take a seat on the north side of the yurt (place of honour), and the genial Gobi girl will entertain you with freshly brewed tea with camel's milk. Visit us in the Gobi, the home of countless herds - the fabulous Gobi."

3. Duuren Zaan : This composition is based on a myth about the legendary wrestler Duuren Zaan, a young man of the people who was killed by the people of the prince because he had defeated the prince's wrestlers. Earlier the wrestling competitions were arranged by princes, high state officials and religious dignitaries, they had their best fighters compete against each other, not uncommonly with fatal consequences. State and church, represented by their wrestlers, often carried out a power struggle. The church often won ...

4. Aisui Hulugiin Tuvurguun: "The echoing hoofs of the approaching horses", as the title of this piece is translated, is an anthem to the Naadam festival which is celebrated in Mongolia in the middle of July. Its roots go back to the time of the Huns and Genghis Khan. The three warlike 'basic sports' are the focus of the festival: wrestling, archery and horse racing. During the spectacular horse race which takes place over several days, hundreds of riders start well outside Ulan Bator and chase like a cloud of dust through the steppe up to the competition area, followed at break­neck speed by spectators in jeeps who can afford to watch the race from as close up as possible. The festival begins when the six to twelve-year old boys and girls climb into the saddles in order to take the horses into the race as jockeys. The first five winners are given a prize and awarded with a song of praise (moriny tsol). Successful horses can reach astronomical prices when sold - the breeding and the training of the animals are a science in themselves in which the experiences of the nomads and warriors over the centuries are passed down.

5. Jaran Zagaan Aduu: The sad old song of the Tuva people from the northwest tells the story of the time of the Manchu rulers in Mongolia (1691-1911). All men between 18 and 60 were liable to military service, many of them were drafted from the Manchurian central power, and hardly any returned: "Of sixty white horse herds / where are the best, my brothers / Of six regions of our country / Where are half of the people, my sister?"

6. Meeneg : Sun, moon and the endless starry sky have also always exerted their magical fascination on the Mongolian people. Shamanistic practices are also closely connected with the heavenly bodies here. The Buryat people from the northeast of Mongolia are the only ones who practice a round dance (yoohor) which describes the circle of the sun's orbit. It is accompanied by sung strophes which are improvised by individual singers and are answered in the chorus by all dancers. "Meeneg" is a love song and is widespread in the west of Buryatia in particular; in the eastern part it was banned by the Buddhist lamas and may be heard only at weddings.

7. Nutgiin Zamd : Amra, the khöömii virtuoso in the ensemble, comes from Chandman Sum in west Mongolia, the birthplace of overtone singing. Here the khöömii traditions go back more than 1,500 years, and from generation to generation the five most important khöömii variants are passed down. Khöömii is much more than 'just' the art of overtone singing. In Mongolia khöömii is also seen as a spiritual and magical art form which requires power, endurance, perseverance and comprehensive training - almost like a sport. Khöömii teaches the people to overcome difficulties and to enjoy the results of their work. People who do not respect difficulties or are not interested in overcoming them cannot become khöömii singers. In "Nutgiin Zarnd" Amra describes his (spiritual) journey home.

8. Huurhun Haluin : This ritual farewell song of parents for the bride is a traditional Mongolian long song (urtyn duu). It consists of three basic forms: extended long song, general long song and abbreviated long song (besreg). The verses of the besreg are short and its musical structure is less complex so that the lyrics - in this case advice to the bride to follow the words of the parents respectfully to maintain friendship with

the new sisters - can be understood better: "Your beautiful beige-coloured horse has a gentle character, but you still have to be careful when saddling. The customs are different in the foreign country. Wait until you

get used to these."

9. Adagio from the Ballet “Uran Has” : During the socialist period (1924 - 92) European art forms like classical music, opera and ballet came to Mongolia, and traditional Mongolian songs and dance melodies were Europeanised. Revolutionary lyrics were often combined with traditional melodies adapted in such a manner as they were seen as a symbol of the "new music for a new time". Jamyangiin Chuluun (1928 - 96), whose ballet "Uran Has" from 1973 was the basis for the Mongolian ballet school, received the state award in 1966 and later various other awards for his contribution to the development of classical music and ballet.

The ih Nur musician Uugan dedicates this composition to his friend Peter Lindi, with whom he built his Mongolian bass violin which can be heard for the first time on this recording.

10. Byan Hishig daa Lam : The band improvises on a humorous folksong, the title is the name of the protagonist.

11. Udelt : A short song like the Darhad from the northwest of Mongolia sing: the lyrics tell the story of a painful farewell.

12. Shigshergiin Ai : The melodies and rhythms of many short songs imitate noises, movements and the character of animals, especially horses. The gaits of a horse in particular are described meticulously and translated into music: walk, trot, gallop, amble etc. This song of the Dörvöd traces the amble of the fine brown horse and the sound of the harness magnificently decorated with silver work.

13. Chamagaa Gelgui Yahav : A short song of the Dörvöd people in the west of Mongolia: "Of sixty thousand sheep / The red ones are the best / Of a hundred thousand boys / You are my only sweetheart". Short songs (bogino duu) are very popular in northwest Mongolia, they are sung at casual meetings. The singer improvises his (often satirical) lyrics about everyday events, embarrassing behaviour, difficult relationships - or like in this song - about love.

14 Zezegtei Harmai : is a besreg duu, an abbreviated long song of the Darhad who live in the forested Taiga regions and breed yaks or reindeer. It describes the beauty of this region around the Harmai river and traces the contours of the mountains, valleys and steppes.

15. Bonus Track : For a while the band have pitched their yurt in the rural Bavarian area of Röthenbach an der Pegnitz, where they can hear unfamiliar sounds which they readily pick up and turn into music with a humorous wink - and when it is a Franconian peasant song.



MP3 160kbps 64MB | Front and back cover |



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