IRAN Dastan Ensemble / Homayoun Shajarian: Iranian Classical Music (Mayeh-ye Dashti and Mayeh-ye Isfahan)

Posted By MiOd On 7:19 AM 0 comments
Iranian classical music is modal and monophonic.

Founded in 1991, the ensembles name means 'musical sound' or 'ballad'. The musicians have a grand vision: to bring back to life the wonderful repertoire of Persian classical music. The compositional style of the members merges tradition and progress; the inclusion of both traditional and contemporary poetry by Hafez, Rumi and Nezami among others has made the Dastan Ensemble a household word among both Iranians and a large international audience in many countries. The ensemble has toured widely throughout Europe, the Middle East, North America and North Africa. Several of their recordings have won international awards in Germany and France.

Disc 1:
1. Asheghaneh (Love Song) - Homayoun Shajarian
2. Bou-ye Eshgh (Scent of Love) - Homayoun Shajarian
3. Ghizhak-e Koli (Gypsy's Ghizhak) - Homayoun Shajarian
4. Mastaneh (Intoxicated) - Dastan Ensemble
5. Kamand-e Zolf (Fetters of Hair) - Homayoun Shajarian
6. Zehi Eshgh (What Love!) - Homayoun Shajarian

Disc 2:
1. Eshtiagh (Desire) - Khorshid-e Arezoo (Sun of My Wishes) - Homayoun Shajarian
2. Chin-e Zolf (Curl of Tresses) - Homayoun Shajarian
3. Eshgh-e Pak (Pure Love) - Homayoun Shajarian
4. Asrar-e Eshgh (Secrets of Love) - Homayoun Shajarian
5. Delshodeh (Ardent Lover) - Homayoun Shajarian
6. Vatan (Homeland) - Homayoun Shajarian
7. Morgh-e Sahar (Bird of Dawn): Morgh-e Sahar (Bird of Dawn) (encore)

MP3 256-320 kbps, no scans [260MB]

Part 1 | Part 2

Ravi Shankar - Festival from India (1968)

Posted By MiOd On 1:00 AM 0 comments


TRACK LISTING:

1. Vedic Hymn - 2:40

2. Raga Yemen In Teental (16 Beats) - 4:44

3. Raga Kirwani (Alap-Jor-Gat In Teental) (16 Beats) - 13:00

4. Raga Rageshwar (Jhaptal/10 Beats) (Teental/16 Beets) - 7:51

5. Raga Puryadhanashree (Khayl In Slow Ektal/12 Beats) - 7:53

6. Thumri In Manj Khamaj, Talchanghar (14 Beats) - 4:48

7. Thumri In Mishra Khamaj Tal Keherwa (4 Beats) - 3:33

8. Raga Malkauns, Rupaktal (7 Beats) - 6:11

9. Raga Vasanta, Tal Rupakam (6 Beats) - 5:44

10. Raga Mishra Gara, Teental (16 Beats) - 7:45

11. Dhun, Tala Kaharva (8 Beats) - 4:31

12. Sur Das Bhajan Desh In Dadra (3 Beats) - 4:36

13. Punjabi Folk Song - 2:25

14. Doh Bahar - 10:53



MP3 192 kbps | 118 MB | No scans | Part 1 | Part 2

Ravi Shankar - West meets East (1967)

Posted By MiOd On 1:00 AM 0 comments
West Meets East: The Historic Shankar/Menuhin Sessions collects the best from Ravi Shankar and Yehudi Menuhin's three West Meets East albums. This compilation features "Prabhati" and "Swara-Kakali" from the first album, "Raga Piloo" and "Dhun" from the second, and "Tenderness" and "Twilight Mood" from the third. All of the tracks feature the hypnotic interplay of Menuhin's violin and Shankar's sitar that made the individual albums critically and commercially popular when they were first released. -- Heather Phares, All Music Guide



The Historic Shankar/Menuhin Sessions [Angel]. With Yehudi Menuhin.



TRACK LISTING:

1 - Prabhati - 4:11

2 - Swara Kakali - 8:50

3 - Raga Piloo - 14:44

4 - Dhun - 6:28

5 - Raga Ananda Bhairava - 15:40

6 - Tenderness - 8:46

7 - Twilight Mood - 10:35



MP3 128 kbps | 63 MB | No scans | Here

Ravi Shankar - Sound of the Sitar (1965)

Posted By MiOd On 1:00 AM 0 comments


The first, "Raga Malkauns: Alap" is a slow, reflective piece. According to Shankar, the section of a raga known as the Alap is difficult to play because it is an invocation, a prayer meant to be performed with great humility. The second piece is, "Raga Malkauns: Jor." The Jor section of a raga is based on a rhythmic pulse and does not a have a strict rhythmic time cycle like the Alap. As this piece develops, much like Western music, it becomes more dense and climactic. The third piece, "Tala Sawari" includes a wonderful tabla solo by Alla Rakha. This piece also uses boles, vocal mnemonics that imitate the various tones produced on the drums. The final selection, "Pahar Dhun" is a cheerful improvisation based on the folk melodies of India. SOUND OF THE SITAR is one of Ravi Shankar's best early albums. -- Source: cduniverse.com



CREDITS:

Artwork - Lynn Gertenbach

Producer - Richard Bock

Sitar - Ravi Shankar

Tabla - Alla Rakha

Reissue producer - Robert LaPorta.



TRACK LISTING:

Raga Malkouns: Alap - 10:02

Raga Malkouns: Jor - 10:46

Tala Sawari - 7:29

Pahari Dhun - 12:30



MP3 192kbps | 56 MB | No scans | Here

Manuel Tejuela

Posted By MiOd On 9:31 AM 0 comments

Nace en León 1937. Desde pequeño aprende el cante en su entomo familiar, principalmente a través de su abuelo Félix, dato éste que pemite remontarnos, en el flamenco de Manuel, al siglo pasado, y además situarnos en el ámbito de la diáspora gitana, que conlleva la del género flamenco, inicialmente andalúz.
De ahí le nazcan, posiblemente, esas formas de cantes propiamente norteños: montañesas, pravianas y farrucas; raras de encontrar en la discografía flamenca.
Tras esta etapa de aprendizaje, según los cánones, Manuel se desplaza en los años 50 a Madrid (ciudad con la que se siente muy identificado) y comienza una larga andadura profesional en tablaos, troupes y reuniones.
De esta prolífica etapa quedan varias grabaciones en las que destaca con un estilo particular de tangos, y en que se nota un aire próximo a Porrinas de Badajoz con quien Manuel estuvo en numerosas ocasiones.
Eran (y son) tan buenos sus tangos que Camarón los aprendió e incorporó a su repertorio. De ello puede dar fe el bailaor Gabriel Heredia quien nos cuenta (a través de El Falo) que el monstruo de la Isla se pasó más de dos meses yendo cada tarde a casa de Gabriel, para escuchar en cintas los tangos de Tejuela.


Con el declive de la edad de oro de los tablaos y salas, Manuel se desplazó a Zaragoza (actuó en el histórico Cancela) y pone un punto y final a sus actividades profesionales.
Sin embargo, la efervescencia flamenca en el barrio de la Magdalena lo recupera, y pronto Manuel comienza a cantar en la sala Arrebato, a reunir en torno suyo a jóvenes y aficionados; y en fin a vicepresidir la Peña Unión Flamenca; en la que comienza una nueva faceta en su vida: el magisterio.
Un gran cantaor como Manuel Tejuela debe transmitir a las generaciones más jóvenes el enorme caudal de conocimientos y vivencias que atesora.

Es por todo ello que decidimos hacer esta grabación; como homenaje a una trayectoria cabal; a un hombre que transmite bondad con su mirada y su cante; impregnado de amor y dolor; como documento y testimonio para la gente jóven; como archivo de formas flamencas que se están perdiendo: la cachucha, una forma antiquísima de folklore granadino y navideño; y sus palos principales: pravianas, farrucas, montañesas y guajiras; cantes que por diferentes razones arraigan en el Norte flamenco.
Junto a estos cantes presentamos sus tangos, sus fandangos por aires de la Calzá y Palanca; una carcelera y una soleá que duele al escucharla; tal es el sufrimiento y tristeza que destila, con esa voz a punto de romperse.
Pepe Habichuela fue el guitarra elegido por el deseo de el propio Tejuela.





[01]. Ay que toma y toma (Tangos)
[02]. Popular (Fandangos)
[03]. Popular (Guajira)
[04]. Tanguillos
[05]. Popular (Soleá)
[06]. Popular (Fandangos)
[07]. Tangos
[08]. Popular (Martinete)
[09]. Popular (Montañeasa)
[10]. Popular (Praviana)
[11]. Popular (Fandangos de Huelva)
[12]. Popular (Cachucha)


|Mp3|320 kbps|95,9 Mb|1999|Flamenco|Cover full|


Part 1
Part 2

Ravi Shankar - Portrait of Genius (1965)

Posted By MiOd On 2:53 AM 0 comments
Ravi Shankar has been described as one of the greatest musicians on the planet. This record, one of his classic World Pacific albums, clearly lends credence to that statement. But the thing that makes this record interesting is the fact that it contains a unique fusion of Shankar and his group performing with respected jazz flutist Paul Horn. It's an extremely gratifying combination, and Horn plays with a true jazzman's restraint on the five short selections that open the record. The second half is devoted to one long (20 minute) traditional raga, "Raga Multani," in which Shankar's awesome ability and stamina is matched only by that of his ensemble, especially Alla Rakha on tabla. Essential for any fan of Shankar or Indian music. Awesome. -- Matthew Greenwald, All Music Guide

TRACK LISTING:

1- Tala Rasa Ranga - 2:55

2- Dhun - 2:44

3- Tabla-Dhwani - 4:50

4- Song from the Hills - 2:58

5- Tabla-Tabla Tarang - 3:28

6- Gat Kirwani - 2:37

7- Raga Multani - 19:41



MP3 192 kbps | 54 MB | Booklet scans | Here

Ravi Shankar - Ragas & Talas (1964)

Posted By MiOd On 2:52 AM 0 comments
This is a 2000 digital remastering of a 1964 original release. The sound is very good. As is usually the case with Shankar, the music is quite accessible to Western ears. The jor section of the piece "Dhun" is quite tuneful, for example. And the brevity of the raags (five, ten, 16, and 21 minutes) really helps. The five-minute track is a stirring tabla solo by Alla Rakha with minimal accompaniment by Shankar. Highly recommended for Indian music beginners. -- Kurt Keefner, All Music Guide

TRACK LISTING:

1- Rupak Tal - 5:12

2- Raga Madhu Kauns - 21:03

3- Raga Jogiya - 16:00

4- Dhun - 10:32



MP3 128 kbps | 48 MB | No scans | Here

Ravi Shankar - India's Master Musician (1963)

Posted By MiOd On 2:51 AM 0 comments
One of Ravi Shankar's first Western recordings -- made at London's Abbey Road Studios in 1963 (a full two years before George Harrison was introduced to Shankar's music) and originally released in the U.S. on the tiny jazz-oriented indie World Pacific -- India's Master Musician makes some slight concessions toward the untutored Western audience. The liner notes are almost teacherly in their dry explication of Indian musical forms, and the five brief pieces (the longest, "Raga Charu Keshi," clocks in at a mere 13 and a half minutes, which by the expansive standards of Indian classical music is downright Ramones-like in its brevity) do little more than introduce a theme, suggest some variations, and conclude. Yet for all that, there is no attempt here to dumb down this difficult but rewarding music for Western ears, and the occasional resemblances to Western musical forms, like the almost jazz-like call-and-response section between Shankar and his sidemen, tabla player Kanai Dutt and tamboura player Nodu C. Mullick, are entirely coincidental. This is an excellent introduction not only to Ravi Shankar, but to Indian classical music in general. -- Stewart Mason, All Music Guide

TRACK LISTING:

1- Kafi-Holi (Spring Festival of Colors) - 7:14

2- Dhun (Folk Airs) - 6:25

3- Mishra Piloo - 12:05

4- Raga Puriya Dhanashri - 11:16

5- Raga Charu Keshi - 13:30



MP3 128 kbps | 44 MB | No scans | Here

The Musical Silk Road

Posted By MiOd On 10:05 PM 0 comments
While this is hardly the first compilation to dwell on the ancient trade route called the Silk that ran from Europe to China and Japan, it's a topic big enough to accommodate more. In this case the loveliest pieces come from the Eastern edge of the world, with Liang Tsai-Ping's "Winter Crows Gliding on Frozen Water" being deliciously evocative in the Chinese manner, while Japan's Etsuko Chida offer an ethereal vocal on "Evening Beauty." The emphasis here is away from Europe and the Middle East (although Mounir Bachir's "The Mad Ud" is definitely worth a listen), and by taking the space of two discs, it's possible to paint a fuller picture of the musical cultures. The biggest shame, though, is the missed opportunity of presenting the pieces in geographic order, which might have offered a way to show how cultures influenced each other. Instead, we jump around from Pakistan to Japan to Kirghizstan to Greece. The music remains satisfying, but it could perhaps have been more. The booklet is informative, with good notes on each track. For all it's enjoyable and informative qualities, though, there's just a sense of slightly missed opportunity here. ~ Chris Nickson

Trade exchanges between the West and the Far East began in the 1st century BC after the Romans first discovered a mysterious fabric called silk. This discovery led to an explosion of maritime expeditions and caravans to support the world's demand for this new and luxurious commodity. German geographer Ferdinand von Richtoffen coined the popular name for these trade routes - The Silk Road. An active trade route for the next two millennia, The Silk Road's rich and colorful history gave birth to an equally colorful and diverse trade in musical creativity. The mutual exchange between the various cultures along the 7,000-mile route enriched and expanded the world's musical vocabulary. This fascinating and comprehensive set from Accords Croisés, packed with information and photographs and offered in a deluxe longbox package, features 26 tracks of music from 14 different countries.

It's not the first such compilation, but "The Musical Silk Road" is a particularly good one. Over two CDs (with a lavish, informative booklet) it presents studio & field recordings from Korea, across the Asian continent & into Mediterranean Europe. The various trade routes collectively labeled "The Silk Road" only became generally known by that name in the 19th century. But those trade routes' history covers more than two thousand years & a vast array of different cultures: Chinese, Turkic, Persian, Arabic & others. Some of the music here is made available on disc for the first time.





Track List

CD 1



01. Egschligen - The Han Huhiin Mountains

02. Ensemble Neo-Traditionnel De Kotchkorka - Harati

03. Monajat Yultchieva - The Beseecher

04. Court Music

05. Ali Reza Ghorbani - Do Not Listen, My Friend...

06. Sudha Ragunathan - You Are Like A Little Parrot

07. Liang Tsai Ping - Winter Crows Gliding On Frozen Water

08. Abida Parveen - The One For Whom I Chose Ascetism

09. Etsuko Chida - Evening Beauty

10. Diljat Kangeldeva - Agitation

11. Angelique Lonatos - From All The Stars

12. Ustad Mahwash - All My Life

13. Deulet Khudaiberenov - Shukar Baxshi



Download HERE

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CD 2



01. Mounir Bachir - The Mad Ud

02. Faiz Ali Faiz - The Sorrow Of Love...

03. Communaute Dirigee Par Le Sheikh Nail Kesova - Sama Ritual

04. Ustad Mahwash - Listen To The Ney

05. Meulam Nureyev - Alamge, Gilgai, Gilmaghai

06. Lu Pei-Yuen - Sounds Of Silk

07. An Hyangnyon - The Song Of Sim'chong

08. Turgun Alimatov - Ferghana Dance

09. Ali Ekber Cicek - The Lion

10. Damira Njazbekova - Of The Same Age

11. Eulogy Of Gengis Khan

12. Goltchereh Sadikova - My Eyes Are Riveted On The Opposite House...

13. La Monica. Extract from XVIII-21. Fleur de Prunus



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Credits to AmbroseBierce

Ahmad Al Hefnawi - Angham

Posted By MiOd On 7:36 AM 0 comments

Track List
1.Segaa
2.Totah
3.Taqaseem 1
4.Sa’aet Ma Bashofak
5.Nagham
6.Taqaseem 2

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Ravi Shankar - Improvisations (1961)

Posted By MiOd On 3:16 AM 0 comments
First released in 1961, Improvisations features some ahead-of-the-curve jazz-Indian fusion, thanks to Ravi Shankar's collaboration with bassist Gary Peacock and saxophonist Bud Shank. The album also includes Shankar's improvisations on the theme he wrote for the film "Pather Panchali," by Indian filmmaker Satyajit Ray, as well as the three-part "Raga Rageshri." A visionary recording. -- Heather Phares, All Music Guide




TRACK LISTING:

Improvisations on the Theme Music from Pather Panchali - 7:07

Fire Night - 4:37

Karnataki - 6:43

Raga Rageshri, Pt. 1 (Alap) - 6:50

Raga Rageshri, Pt. 2 (Joi) - 11:01

Raga Rageshri, Pt. 3 (Gat) - 3:24



MP3 128kbps | 36MB | Here



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Ravi Shankar - The Genius of Ravi Shankar

Posted By MiOd On 3:05 AM 0 comments


Originally released in the 1960s.

CATALOG NUMBER/ LABEL : Columbia CS 9560

PRESSING: Stereo Pressing with red/orange Columbia labels


TRACK LISTING:

Raga Abhogi - 10:22

Raga Des - 14:59

Tabla Solo - Jhaptal - 5:12

Sitar Todi - 16:12

Thumri - 5:26



MP3 192kbps | 68MB | Here



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Ravi Shankar - Three Ragas (1956)

Posted By MiOd On 2:46 AM 0 comments


Perhaps Ravi Shankar's finest World Pacific record, Three Ragas is not only a fantastic artistic statement, but also an excellent introduction to the medium of Indian music itself. Performed by Shankar and a very simple trio, the pieces on this record show the true heart of Indian music at its most intimate. The second side, "Raga Jog," will take your breath away. A showcase in Indian ensemble performing as well as in Shankar's own endurance and grace, this side truly shows why he has been called (by David Crosby, no less) the finest musician on the planet. This recording was put together at a time far earlier than Shankar's mass-audience breakthrough, and is an excellent record by a true master. -- Matthew Greenwald, All Music Guide



TRACK LISTING:

1. Raga Jog - 28:21

2. Raga Ahir Bhairav - 15:36

3. Raga Simhendra Madhyamam - 10:57



MP3 192 kbps | 74 MB | Here



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Ahmad Al Hefnawi - Memories Of The Beach

Posted By MiOd On 9:31 PM 0 comments


Track List

1. Al Rabee’a

2. Om Kolthoum

3. Mal Al Kamar Maloh

4. Kol Dah Kan Leah

5. Rasst

6. Thekrayat Al Shatee’a



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Kurdistan: Zikr et Chants Soufis

Posted By MiOd On 4:36 AM 0 comments
Qaderi Dervishes Of Sanandaj
TRACK LISTINGS

Disc: 1
1. Invocation au Prophete et aux Douze Imams
2. Poeme Kurde
3. Vers Kurdes Sur Les Saints de l'Ordre
4. Couplets Mystiques Kurdes
5. Poeme Persan
6. Prieres et Supplique
7. Litanies et Invocations
8. Zikr-E Allah

Disc: 2
1. Zikr-E Alla et Percussions
2. Zikr
3. Cantillation Coranique: Al-Balad
4. Fin: Prieres et Supplique
5. Ma Dar Do Jahan
6. Ey Mah-E Alamsuz
7. Ode a Mohammad
8. Hymne Kurde

Flac (EAC Rip): 640 MB | MP3 - 320 kbs: 320 MB | Booklet Scans

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Japanese Traditional Music [2] - Gagaku

Posted By MiOd On 8:59 AM 0 comments


This is an album of traditional Japanese gagaku music, with the full traditional ensemble. The album contains works of all of the major categories of gagaku, kangen (solely instrumental), bugaku samai (dances of the Left-Chinese origin), and bugaku umai (dances of the Right-Korean origin). Also included is "Azuma Asobi," a song of native Japanese origin. The music is performed by Kunaicho Gakubu, which is the Music Department of the Imperial Household Agency, the Imperial court musicians, who all have a relatively large amount of experience under their belts. The music is representative of all gagaku music, with the sho's (mouth organs) placing a quasi-melody under the music, and the hichiriki (oboes) providing a somber melody. The music of gagaku is nearly always given in an almost otherworldly way, and this is no exception. There are other recordings of gagaku out there, but this one is relatively similar to all of them. Lyrichord's album of the Kyoto Imperial Court Orchestra may be the best recording for those new to the sound, as it reprises both the ritualistic side of the music as well as the artistic side, but this one isn't bad either. ~ Adam Greenberg, All Music Guide



TRACK LISTINGS



(01) [Japanese Traditional Music] ETENRAKU - HYOUJOU NETORI

(02) [Japanese Traditional Music] ETENRAKU - ETENRAKU

(03) [Japanese Traditional Music] KISHUNRAKU - OUSHIKICHOU CHOUSHI

(04) [Japanese Traditional Music] KISHUNRAKU - KISHUNRAKU NO JO

(05) [Japanese Traditional Music] KISHUNRAKU - KISHUNRAKU NO HA

(06) [Japanese Traditional Music] SEIGAIHA - BANSHIKICHOU NETORI

(07) [Japanese Traditional Music] SEIGAIHA - SEIGAIHA

(08) [Japanese Traditional Music] KITOKU - KOMA ICHIKOTSUCHOU KONETORI

(09) [Japanese Traditional Music] KITOKU - KITOKU NO HA

(10) [Japanese Traditional Music] KITOKU - KITOKU NO KYUU

(11) [Japanese Traditional Music] AZUMAASOBI - MOTOMEKO NO UTADASHI

(12) [Japanese Traditional Music] AZUMAASOBI - MOTOMEKO NO UTA



WV (EAC Rip): 360 MB | MP3 - 320 kbs: 165 MB | Booklet Scans



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Sheikh Yasin Al-Tuhami - Magic of the Sufi Inshad

Posted By MiOd On 11:58 PM 0 comments
From one of the greatest Sufi munshids in Egypt today, this recording is essentially the only Western label representation for Sheikh Yasin al-Tuhami. Here, he goes through an inshad. The recording can be relatively drawn out, with a single track on each of the dual CDs. Nonetheless, one may find much worth listening to here: al-Tuhami has added melodic instruments to the general Sufi percussion (and neys). The kamantche and tabla are both introduced into the music here, and are used to good effect. The practice that he used is a three-part program, with the first and last parts somewhat more structured, and the middle section to be used primarily for his improvisation through the mode. This is used well throughout the performance. For a newfound listener to various Sufi-based music, this is certainly an important album to give a listen, though the range of Sufi music covers much from this inshad to the qawwal of Pakistan. ~ Adam Greenberg, All Music Guide
The Magic of the Sufi Inshad' presents a wonderful expression of reviving the ancient voices of the past to the present. Shaykh Yasin Tuhami draws his material mostly from the poetry of the Sufi Master and Saint Shaykh Umar Ibn Farid of Egypt, as recorded in his famous work, The Diwan. Recited eloquently in Arabic language with such emotional force to penetrate the heart, the listener will never be the same afterwards....

Disc: 1 [01]. Qâlbî Yuhaddithuni
Disc: 2 [02]. Labbayka...

Personnel:
Sheikh Yasîn Al-Tuhâmi (vocals);
Muhammad Farghaly Muhammad (oud);
Ahmad Muhammad Ahmad (nay);
Taha Muhammad Yehia Muhammad (tabla).

MP3 128 kbps, no scans

HERE

Düet Guitar & Ney Instrumental Sufi Music

Posted By MiOd On 11:12 PM 0 comments
Instrumental sufi music played on ney and guitar, derived from popular devotional islamic/sufi songs.

[01]. Uyan Ey G'zlerim
[02]. Derman Arad'm
[03]. Gel G'r Beni
[04]. Güzel A'k
[05]. G'çtü Kervan
[06]. Ey A'k
[07]. Tevhid Etsin Dilimiz
[08]. Severim Ben Seni
[09]. Aol Cennetin Irmaklar?
[10]. Dil Hanesi
[11]. Mualla Gavsi
[12]. Milk-i Beka
[13]. Gül Yüzün

Credits to "salahudin"

MP3 160 kbps, Front Cover

HERE

GAZEL - Classical Sufi Music Of The Ottoman Empire

Posted By MiOd On 10:48 PM 0 comments
Turkish ney player Kudsi Erguner has made a career out of resurrecting Turkish traditional music, and here he uses his five-piece ensemble -- which also features his brother Suleyman Erguner on ney, Hasan Esen on kemence, Mehmet Emin Bitmez on ud, and Husnu Anil on kanun -- to back up three noted singers, Yusuf Bilgin, Fevzi Misir, and Aziz Bahriyeli, on musical settings for a series of poems by Ottoman figures dating back to the 16th century and up to the 20th. On each track, only one of the singers performs, and the musical treatments are semi-improvised in the form called "Taksim," which Erguner explains in the liner notes as only being allowed once a musician has mastered the required traditional musical forms, qualifying him to create variations consistent with existing styles. The singers bring considerable feeling to their interpretations, and the ensemble backs them effectively. ~ William Ruhlmann, All Music Guide

(01) [Yusuf Bilgin] Esin var asiyanin var (Poems of Mehmet Akif)
(02) [Fevzi Misir] Efendimsin (Poems of Seyh Galib)
(03) [Aziz Bahriyeli] Halk icin muteber (Poems of Kanuni Sultan Suleyman Han)
(04) [Yusuf Bilgin] Ey gonul yari iste (Poems of Fuzuli)
(05) [Fevzi Misir] Ey bulbul-i seyda (Poems of Niyazi'i Misri)
(06) [Aziz Bahriyeli] Ruzi seb (Poems of Sultan Selim III)
(07) [Yusuf Bilgin] Ol Lezzeti vehhale (Poems of Nabi)
(08) [Aziz Bahriyeli] Sabreyle gonul (Poems of Hoca Dehhani)
(09) [Yusuf Bilgin] Zahmi sinemden (Poems of Baki)

Yusuf Bilgin (Vocals ,
Kurt Renker (Kanun),
Fevzi Misir (Vocals),
Mehmet Emin Bitmez (Ud),
Husnu Anil (Kanun),
Walter Quintus (Kanun),
Hasan Esen (Kemence),
Kudsi Erguner (Ney),
Aziz Bahriyeli (Vocals),
Suleyman Erguner (Ney),

FLAC (EAC Rip): 360 MB | MP3 - 320 kbs: 150 MB | Booklet Scans

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National Geographic: Music Traveller - Spain

Posted By MiOd On 11:44 PM 0 comments
Track Listings
--------------
[01]. La Rumba De Nicolas - Gipsy Kings
[02]. Los Muchachos De Mi Barrio - Chambao
[03]. No Se Si Vivo O Sueno - Ketama
[04]. Sevilla - Remedios Amaya
[05]. Mi Gato - Rosario
[06]. Limon De Nata - Vincente Amigo
[07]. La Fiesta De Colega - Los Chorbos
[08]. Por Tu Ausencia - Manzanita
[09]. Coplas De Barquero - La Paquera
[10]. Soleares Populares - Paco De Lucia
[11]. Azul - Montse Cortes
[12]. Yo Escocho Los Cantos - Enrique Morente
[13]. Duelo De Guitarras - Manolo Sanlucar
[14]. Yo Me Quedo En Sevilla - Pata Negra
[15]. Solea - Radio Tarifa

FLAC (EAC Rip): 320 MB | MP3 - 320 kbs: 130 MB | Covers

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Munir Bachir: Méditations

Posted By MiOd On 10:17 PM 0 comments


A master of the mode-based, raga-like Arabic Taqsim, Munir Bashir transformed the oud (Arabic lute) into an important solo instrument. His improvisations inspired comparison to jazz's most inventive players. According to www.rootsworld.com, Bashir's "improvisations (were) elegantly melodic. He (tended) to favor short phrases and certain moments remind me of the kind of development one might find in unaccompanied saxophone solos by Anthony Braxton and Roscoe Mitchell." Descended from a long line of musicians, Bashir was shown the basics of the Arab lute, by his father, as a child. He continued his musical training at the Baghdad Institute of Music, which he entered at the age of six. Bashir's musical career was balanced by his experiences as an educator. Receiving a doctorate in musicology in 1955, he began lecturing for the folk arts department of Budapest's Academy of Sciences. He eventually rose to directorial positions at the Higher Institute of Music in Baghdad and the Music Service of Iraqi Public Radio. Previously unreleased recordings found by Bashir's children shortly after his death in October 1997 were released as Raga Roots. Bashir's musical legacy is continued by his son, Omar. ~ Craig Harriswww.rootsworld.com, Bashir's "improvisations (were) elegantly melodic. He (tended) to favor short phrases and certain moments remind me of the kind of development one might find in unaccompanied saxophone solos by Anthony Braxton and Roscoe Mitchell." Descended from a long line of musicians, Bashir was shown the basics of the Arab lute, by his father, as a child. He continued his musical training at the Baghdad Institute of Music, which he entered at the age of six. Bashir's musical career was balanced by his experiences as an educator. Receiving a doctorate in musicology in 1955, he began lecturing for the folk arts department of Budapest's Academy of Sciences. He eventually rose to directorial positions at the Higher Institute of Music in Baghdad and the Music Service of Iraqi Public Radio. Previously unreleased recordings found by Bashir's children shortly after his death in October 1997 were released as Raga Roots. Bashir's musical legacy is continued by his son, Omar. ~ Craig Harris, All Music Guide



TRACK LISTINGS



(01) [Munir Bachir] Du'a - Invocation

(02) [Munir Bachir] Raja - imploration

(03) [Munir Bachir] Al - Naqa - La Purete

(04) [Munir Bachir] Al - Mawlawi



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Sounds of Sudan

Posted By MiOd On 5:45 AM 0 comments
A collection of songs culled from recordings made during a stop in a European tour by three of Sudan's more popular artists in 1986; Abdel Gadir Salim, Abdel Aziz El Mubarak, and Mohamed Gubara recorded a number of tracks while touring together. Abdel Gadir Salim, accompanying himself on the oud, provides a look at the more rural sounds from the Kordofan area of Sudan. El Mubarak gives a much more urban sound, complete with influences from the greater world. Mohamed Gubara provides a contemporary palette lyrically, but accompanies himself on the ancient tambour lyre. The sound is an interesting one throughout the album, with careful picking on the ouds mixed with the basic bouncing accompaniment strokes. Accordion work from Azhari Abdel Gadir helps push the music of the two oud players considerably as well. Vocally, the first two are mildly similar, holding a good deal of the same vocal aesthetics. Gubara, on the other hand, sings in an abnormally high range, not quite at falsetto level, but getting there. Without delving into full-fledged modern Sudanese pop, there aren't a terribly large number of artists or albums of Sudanese semi-traditional music on the market. This album is one of a few in a relatively narrow field, and does well as such. Give it a listen as an introduction to the music of a rather large region of influence that doesn't quite conform to the sounds of the rest of North Africa. ~ Adam Greenberg, All Music Guide

1. Umri Ma Bansa - Abdel Gadir Salim
2. Al Noam Djafani - Abdel Gadir Salim
3. Maqtool Hawaki Ya Kordofan - Abdel Gadir Salim
4. Afra El-Helwa - Abdel Aziz el Mubarak
5. Ya Izzana - Abdel Aziz el Mubarak
6. Ya Marri Bebaitna - Abdel Aziz el Mubarak
7. Noora - Mohamed Gubara
8. Guroosh Edjin - Mohamed Gubara
9. Rahiel Gumriyiel - Mohamed Gubara

Azhari Abdel Gadir (Accordion), Abdel Gadir Salim (Performer), El Zubeir Mohamed el Hassan (Tabla), Mohamed Gubara (Vocals), Abdel Aziz el Mubarak (Oud), Abdel Aziz el Mubarak (Vocals), Mohamed Gubara (Tamboura), Abdel Aziz el Mubarak (Performer), Abdel Gadir Salim (Oud), Mohamed Gubara (Performer), Abdel Gadir Salim (Vocals)

FLAC tracks (EAC Rip): 380 MB | MP3 - 320 kbs: 170 MB | Front Cover

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World Music Library - Muisc of Kazakhstan I

Posted By MiOd On 9:09 PM 0 comments
Interesting introduction to Kazak traditional music



The singers and performers on this CD do an excellent job. Their songs highlight a lot of Kazak folkloric themes and legends, such as a tale of two young men who fall in love with the same girl and compete in an archery game for her love. The first series of songs (#1-#8) is singing accompanied by the dombra, which is a plucked instrument. The second series (#9-#15) features the kobyz, a bowed instrument which has a very mysterious sound and used to be played by Kazak shamans. Participating artists are Kapash Kulysheva, Kairat Baibosynov, and Smagul Unbetbaev. The CD comes with a booklet (with text in English and Japanese) which explains the themes of the 15 songs.



TRACK LISTINGS



[01]. Koshtasu - Kapash, Kulysheva

[02]. Pankoilek (A Proud Girl) - Kapash, Kulysheva

[03]. Bulbulym [Kazakh Folksong] - Kapash, Kulysheva

[04]. Tolkyn (Waves) - Baibosynov, Kairat

[05]. Balkhadisha - Kairat, Baibosynov

[06]. Surzheki (Racehorse) [Kazakh Folksong] - Baibosynov, Kairat

[07]. Toliagai - Baibosynov, Kairat

[08]. Ardak (Kazakh Folksong) - Kairat, Baibosynov

[09]. Zhalgyz Ayak (A Person With One Leg) - Unbetbaev, Smagul

[10]. Zholdy Konyr - Smagul, Unbetbaev

[11]. Erden - Smagul, Unbetbaev

[12]. Kazan - Smagui, Unbetbaev

[13]. Shynyrau Kus - Smagul, Unbetbaev

[14]. Kambar Batyr - Smagul, Unbetbaev

[15]. Akku (Swan) - Unbetbaev, Smagul



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Music of the Whirling Dervishes

Posted By MiOd On 3:24 AM 0 comments
A lush studio recording of Turkish sufi music, it was made during a 1978 tour by the "Whirling Dervishes" troupe. Originally a two-LP set, this tape presents over 80 minutes of ritual chanting, soothing nay flute improvisations, and evocative instrumental interludes. Recording quality is amazing -- smooth and richly detailed, providing a marked contrast to previously available field recordings. As with the best spiritual music, these sounds have a unique ability to carry the listener away to mystical lands. ~ Myles Boisen, Roots & Rhythm, All Music Guide

1. Naat-I Mevlana (Blessed Eulogy)
2. Ney Taksimi (Ney Improvisation)
3. Pesrev (Instrumental)
4. Ney TaksimiAyin-I Serif, Pt. 1 (Blessed Ceremony)
5. Ayin-I Serif, Pt. 2Ney Taksimi (Blessed Ceremony)
6. Kuran-I Kerim (Recitation from the Koran)
7. Ney Taksimi (Ney Improvisation)

Credits

* Whirling Dervishes, [Main Performer]
* Huseyin Top [Vocals, Voices]
* Abdi Coskun [Tambur]
* Nihat Dogu [Kemence]
* Dogan Ergin [Ney]
* Sadeddin Heper [Kudum]
* Kani Karaca [Kudum]
* Cuneyd Kosal [Kanun]
* Akagunduz Kutbay [Ney]

FLAC tracks (EAC Rip): 420 MB | MP3 - 320 kbs: 180 MB | Front Cover

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Badar Ali Khan - Lost In Qawwali II

Posted By MiOd On 9:36 PM 0 comments
The cousin of Qawwali legend Nusrat Fateh Ali Khan, Badar Ali Khan kept the family musical tradition alive in the wake of the former's death. His recordings include 1997's Lost in Qawwali and the following year's sequel. ~ Jason Ankeny, All Music Guide

A decade ago, it would have been hard to imagine that the ancient Pakistani tradition of Qawwali, the Sufi devotional music, would have become a prominent musical trend in the world, already with layers of history and controversy. The remarkable vocalist Nusrat Fateh Ali Khan, who died on August 6, 1997, at the too-tender age of 48, was the catalyst who captivated audiences around the world with his intense yet controlled flights of passion, suggesting a blending of sexual and spiritual energy. Qawwali continues to state its case in the world market, even without its charismatic godhead.

The current cause celebre in the music appears to be Khan's young 33-year-old cousin Badar Ali Khan, whose new release Lost in Qawwali 2 (Triloka) furthers the process of catching up with a career already in full swing in Pakistan. Like his legendary kin, young Khan is a commanding and gymnastic vocalist fronting a group with harmonium, interactive vocalists, expert clapping rhythms, and improvisational virtuosity to spare. The music, divided up into four flowing pieces of 15-minute length and one brief, irrelevant "Kalander Trance Mix."

In that same mixed up, synthesized vein comes another new release from Badar Ali Khan, The Mixes (Baba 0786; 33:34). This is not a good place to start for those just getting into Qawwali, but it's a reasonable example of how the music can be interwoven with contemporary electronic textures and grooves-the remix thing. Khan's for some; the interface is flimsy and potentially sacrilegious, stemming from the dubious impulse to take venerable non-Western tradition and stuff it into strictly Western filters, digitally and culturally speaking. The results are less inspiring than a trick, like some of Nusrat Fateh Ali Khan's questionable experiments in East-West crossover. The original music is so powerful, it's hard to listen to this without thinking of cross-cultural dilution.

1. Everyday I Look at Your Picture
2. Way You Walk
3. Intoxicating Eyes
4. I Fall in Love With You
5. Kalander [Trance Remix]

MP3 256 kbps, Front Cover [120 MB]

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Simon Shaheen: The Music of Mohamed Abdel Wahab

Posted By MiOd On 3:27 AM 0 comments
Of all the music I have ever heard and ever owned, this is one of my top 50 choices. The music contained in this release is simply perfect. Simon Shaheen is a true master and it becomes evident within the first minute of the first track. This cd introduced me to the genius that is Mohamed Abdel Wahab and Egyptian/Arabic music in general. What most impresses me is the beauty of the string arrangements in conjunction with heavy percussive elements. Abdul Wahab managed to meld two worlds of music into one amazing new sound that has resonated and will continue to resonate for ever with music lovers everywhere.
Simon Shaheen has established himself as a virtuoso on not one, but two instruments -- the violin and the oud, a Middle Eastern precursor of the lute. In addition to being a master player, he's also a renowned composer of Arabic and Western music and a teacher who has done a great deal to foster Arabic music in the West. Born in 1955 in Tarshiha, Galilee, music surrounded him from the start, as his father Hikmet Shaheen taught and composed Arabic music as well as played the oud. At the age of five, Shaheen began learning the oud, and a year later picked up the violin. "I just picked up on the instruments and they felt like an extension of me," he recalled. "With the oud I watched my father, I grew musically with him. That was the greatest school for me. Not necessarily that he taught me lessons, just living and playing with him." Enrolled at the Conservatory for Western Classical Music, he began what would turn out to be many years of study. He moved on to the Academy of Music in Jerusalem, graduating from there in 1977 at the age of 23. The institution appointed him an instructor of Arabic Music, but Shaheen wanted to travel -- and there was no shortage of offers, as schools around the world wanted him for graduate studies. He settled on New York, where he had a choice of two places -- Juilliard or the Manhattan School of Music. He picked the latter, then finished up his graduate work in music education and musicology at Columbia. In 1982, having seen that the prevailing image of Arabic and Middle Eastern music in America was that of the belly dancing stereotype, he formed the Near Eastern Music Ensemble, a group dedicated to performing traditional Arabic music, and which performed in concerts and workshops ranging from elementary schools to such prestigious universities as Harvard and M.I.T. Shaheen's career as a solo artist also blossomed, seeing him perform at major venues around the world from Carnegie Hall to Le Palais des Arts in Brussels. However, it wasn't until the '90s that he began recording, although he had scored music for films The Sheltering Sky and Malcolm X. His first disc, Taqasim, was a Middle East-fest, where Shaheen exercised his fleet fingers in extended improvisations with Lebanese buzuq player Ali Jihad Racy. He collaborated with producer Bill Laswell on the album Hallucination Engine by fusion project Material, although he wasn't happy with the outcome. However, he and Laswell did work together on other records, including The Music of Mohamed Abdel Wahab, where Shaheen interpreted compositions by the famed Egyptian, and Turath, where Shaheen's remarkable oud skills got a workout. The more meditative Saltanah found him working with Indian player Vishwa Mohan Bhatt on a series of Shaheen compositions that offered examples of the range of his writing, which had moved far beyond the Arab world to include Western classical and jazz. But he'd already received compositional grants from the National Endowment for the Arts and a number of foundations. In 1994, Shaheen began the Annual Arab Festival of the Arts in New York, intended to showcase the top Arabic musical talent, and three years later he founded the Annual Arabic Music Retreat, held at Mount Holyoke College, a week-long series of lectures, workshops, and performances. He began the band Qantara in 1995. The group, whose name translates as "arch," was intended to be his vehicle to explore the fusion of musics, from Arabic to jazz to classical in a free and open place. Their first recording came when they contributed two tracks to The Two Tenors album, recorded live in Las Vegas. Shaheen also acted as musical director for the orchestras accompanying singers Wadi Al-Safi and Sabah Fakhri. In 2000 Shaheen became the one of the first Arabs to appear on the Grammy Awards, conducting the orchestra while Sting and Algerian Cheb Mami duetted on their hit "Desert Rose." Late in 2000 Qantara began recording their debut disc, set for release in 2001, and Shaheen started work on a commission to compose a Western classical piece for the Philadelphia Symphony Orchestra. ~ Chris Nickson, All Music Guide

Master oud player and composer Simon Shaheen finds the perfect mix on this collection of Mohammed Abdel Wahab's pieces. Wahab's reputation looms large in Middle Eastern musical history; he set the standard for Egyptian music as a prolific writer -- many of his pieces found the perfect voice in Umm Kulthum -- and was a popular actor as well. Shaheen pays fine homage here with seven wonderful interpretations sparkling with oud and strings interplay. Thankfully, usually meddlesome producer Bill Laswell avoids making things sound like his old industrial fusion outfit, Material. ~ Stephen Cook, All Music Guide

1. Al Hinna
Written-By - Mohamed Abdel Wahab

2. Sittel Habayeb
Written-By - Mohamed Abdel Wahab

3. Hanil Widd
Written-By - Mohamed Abdel Wahab

4. Ibnil Balad
Written-By - Mohamed Abdel Wahab

5. Theme & Variations
Written-By - Simon Shaheen

6. Bortuqal
Written-By - Mohamed Abdel Wahab

7. Mudnaka
Written-By - Mohamed Abdel Wahab

Credits
Accordion - Sheikh Taha
Cello - Michael Finkel , Vladimir Greenberg
Ching [Sagat] - Bobby Farah
Chorus - Laura Shaheen , Louise Salman , Maurice Chedid , Nermine Rawi , Simon Shaheen , Youssef Kassab
Flute - Paula Bing
Mizmar [Mizhar] - Hanna Mirhige
Ney - Anton Hajjar
Oud - Najib Shaheen , Simon Shaheen
Sitar [Qanoum] - Ibrahim Salman
Tabla - Ramzi Bisharat
Tambourine [Daff] - Michael Baklouk
Viola - Simon Shaheen
Violin - Artemis Theodos , Gabriel Palka , Kamil Shajrawi , Nessim Dakwar , Simon Shaheen

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Al-Hadiqat al-Adai´a

Posted By MiOd On 12:30 AM 0 comments
Andalusian Music & Poetry in the 12th and 13th Centuries
Ensemble Akrami, Capella de Ministrers, Mohamed Amin el Akrami, Carles Magraner

The Capella de Ministrers under the direction of their founder, Carles Magraner, are joined on this release by Ensemble Akrami, and together they present a programme of music demonstrating the influence of Arabic culture on early Andalusian music. As always this is carefully researched and well thought out programme proving why this group of musicians is regarded as one of the finest in the world when it comes to historical and early music.

As with the other schools Andalusian, female poetry Levantine lands would have accomplished poet and Amat al-Aziz al-Srifa al-Husayniyya (s. XII), Huseyn descendant of Prophet Mohammad's grandson, who will retain any his compositions sung in the context of the Andalusian musical tradition in the Maghrib, al-Abadiyya (XI century), slave and educated in Denia Mujaahid given to him by al-al-Mu `tadid of Seville (1042-1069), and Hind (twelfth century), the slave of Abu Muhammad al-Xativí b Maslama "The Xàtiva" who excelled in the field of poetry, song and instrumentation. The taste of the rulers and people to poetry and music that should help teachers and musicians incorporate some of these poems to their repertoire, being performed either in isolation or integrated into the corpus of the NAWBO-s (dialect: Nuba-s), regarded as the classical music whose origins goes back to the East, being the real architect of Ziryab encoding it in al-Andalus, through the process transmitter. In this transfer of knowledge from East to al-Andalus, considered worthy of dissemination work done by musicians, singers and slave-singers from eastern classical schools: Hijaz (Mecca and Medina), Umayyads (Damascus and Aleppo) and Abbasid (Baghdad, Samarra, Basra and Kufa), teachers who learned the Andalusians.

Ibn Jafáya
(Alzira, 1058-1139)
01 - Ai del meu al-Andalus [7:46]
02 - La meua terra d’Alzira [5:26]
03 - Oh València, tu no ets tu [3:36]

Amat al-Azíz al-Husayniyya
(Levante, ss. XII-XIII)
04 - Les vostres mirades [3:39]

Al-Rusáfi
(Ruzafa, Valencia, 1141-Málaga, 1177)
05 - La Russafa de València [2:57]
06 - El bany [5:42]

Ibn Labbána
(Valencia, m. 1113)
07 - Done la meua ànima [3:58]

Ibn al-Abbár
(Valencia, 1199-Túnez, 1260)
08 - La sénia [3:25]

Ibn al-Aríf
(Almería, 1088-Fez-Marrakech, 1141)
09 - Els enamorats [7:21]

Ibn Abi l-Rabi al-Xativi
(1189-1274)
10 - Cançó d'alba [5:41]

Ibn Záqqat
(Alcira, m. 1134)
11 - Epitafi d’un guerrer [4:12]
12 - Dia de tempestat [7:10]

ENSEMBLE AKRAMI
Mohamed Amin El Akrami

Abderrahim Abdelmoumen, veu
Mohamed Amin El Akrami, 'ud
Ibrahim El Idrissi, rebab
Mohamed Mostafa, darbuka

CAPELLA DE MINISTRERS
Carles Magraner

David Antich, flautes
Carles Magraner, rabel / viella
Efrén López, guiterna
Pau Ballester, percussió

Credits to "yerbas07"

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The No.1 Musicals Album

Posted By MiOd On 8:33 PM 0 comments

Track Listings
--------------
Disc: 1
[01]. All I Ask Of You - Sarah Brightman & Cliff Richard (The Phantom of the Opera)
[02]. Mamma Mia - Siobhan McCarthy, Nicolas Colicos, Paul Clarkson and Hilton McRae (Mamma Mia! - The Musical)
[03]. As Long As He Needs Me - Jodie Prenger (Oliver!)
[04]. Any Dream Will Do - Jason Donovan (Joseph And The Amazing Technicolor Dreamcoat)
[05]. Memory - Elaine Paige (Cats)
[06]. Can You Feel The Love Tonight - Elton John (The Lion King)
[07]. All That Jazz - Ensemble (Chicago)
[08]. That'll Be The Day - Buddy Holly (Buddy : The Buddy Holly Story)
[09]. You Can't Stop The Beat - Michael Ball (Hairspray)
[10]. Shall We Dance - Cast Recording (The King And I)
[11]. Born To Boogie - Original Cast of Billy Elliot (Billy Elliot : The Musical)
[12]. Don't Cry For Me Argentina - Julie Covington and the London Philharmonic Orchestra conducted by Anthony Bowles (Evita)
[13]. I Know Him So Well - Elaine Paige & Barbara Dickson (Chess)
[14]. The Perfect Year - Dina Carroll (Sunset Boulevard)
[15]. Movie In My Mind - Sonya Swaby, Joanna Ampil & Ensemble (Miss Saigon)
[16]. Not While I'm Around - Michael Ball (Sweeney Todd)
[17]. Somewhere Over The Rainbow - Duncan James & Mylene Klass (The Wizard of Oz)
[18]. Oh What A Beautiful Morning - Hugh Jackman (Oklaholma!)
[19]. Take Me To Heaven - Patina Miller, Debbie Kurup, and Amy Booth Steel (Sister Act)
[20]. The Grease Mega-Mix - John Travolta and Olivia Newton-John (Grease)

Disc: 2
[01]. I Dreamed A Dream - Patti LuPone (Les Miserables)
[02]. Love Changes Everything - Michael Ball (Apects of Love)
[03]. Take That Look Off Your Face - Marti Webb (Song and Dance)
[04]. My Favourite Things - Connie Fisher (Sound of Music)
[05]. December 1963 (Oh What A Night) - Frankie Valli & The Four Seasons (Jersey Boys)
[06]. No Matter What - Boyzone (Whistle Down The Wind)
[07]. I Don't Know How to Love Him - Joanna Ampil and the Cast Of Jesus Christ Superstar (Jesus Christ Superstar)
[08]. All Through The Night - John Barrowman & Mary Stockley (Anything Goes)
[09]. Starlight Express - Ray Shell (Starlight Express)
[10]. Cabaret - Liza Minelli (Cabaret)
[11]. Colours Of My Life - Paul Nicholas (Barnum)
[12]. Tell Me It's Not True - Michael Ball (Blood Brothers)
[13]. I Want You Back - The Jackson 5 (Thriller Live)
[14]. Dreamboats and Petticoats - Scott Bruton & Daisy Wood-Davis (Dreamcoats and Petticoats)
[15]. The Show Must Go On - Michael Ball (We Will Rock You)
[16]. You'll Never Walk Alone - Meg Johnson (Carousel)
[17]. Time Warp - Damian (The Rocky Horror Picture Show)
[18]. Always Look On The Bright Side - Michael McGrath, Tim Curry & Ensemble (Spamalot)
[19]. Don't Cry For Me Argentina - The Shadows (Evita
[20]. Music Of The Night - Michael Crawford (The Phantom of the Opera)

MP3 160 kbps including Covers 2009

HERE

Japanese Traditional Music [1] - NOUGAKU

Posted By MiOd On 5:24 AM 0 comments

Track Listings
--------------
(01). OSHIRABE - SANBASOU
(02). MOMI NO DAN
(03). SUZU NO DAN
(04). JO NO MAI (TAIKO IRI)
(05). CHUU NO MAI (TAIKO IRI)
(06). HAYA MAI
(07). SHIMO NO TAKANE
(08). KAGURA
(09). SHISHI [SHAKKYOU] YORI

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Brian Keane And Omar Faruk Tekbilek - Kelebek The Butterfly

Posted By MiOd On 4:54 AM 0 comments
Kelebek ( The Butterfly )

Original Motion Picture Soundtrack

Music composed by Brian Keane and Omar Faruk Tekbilek

Brian Keane and Omar Faruk Tekbilek met more than two decades ago when Brian Keane discovered Omar playing in a club in New York, and hired him to play on his score to the Suzanne Bauman documentary about the art of the Ottoman Empire "Suleyman the Magnificent" in 1987. German record company owner Eckart Rahn noticed the music when the program aired and released the soundtrack on his Celestial Harmonies label. Their collaboration would grow to become among the most influential in both Eastern and Western music, pushing the boundaries of musical, spiritual, and geographical traditions. Since their initial work together, Brian Keane has become a Grammy winning record producer of over 100 records, and a multiple Emmy award winning film and television composer of over 400 films, while Omar Faruk Tekbilek has grown to become an international recording artist and concert musician, and one of the most well known and influential Turkish musician's in the world. Over the years, Omar and Brian have continued to work together, with Brian serving as producer and a composer on many of Omar's recordings, and Omar making the occasional appearance on Mr. Keane's film scores. Their last record collaboration together however, was the 1993 classic recording "Beyond The Sky" and their 1990 record "Fire Dance" was nominated for a Grammy.

With the Kelebek ( The Butterfly ) soundtrack, film producer Mahmut Bengi has brought Brian Keane and Omar Faruk Tekbilek together once again to create the music to this mystical and tragic story. The result is remarkable and moving. The score to Kelebek effortlessly flows from East to West, from orchestral score to traditional Turkish music, and into electronic sound design. The music moves just as effortlessly between moods, from mystical to tragic to suspense to folkloric or romantic. Whether it is the fusion of Jazz and red hot Middle Eastern musicianship of "On the Move", the beautiful melodic and harmonic East West mixtures of "Yusuf's Theme", and "Zeynep's Romance", the Turkish folk meets American roots music of "Teacher", the simple and honest oud and guitar collaboration on "Brother to Brother", the new age orchestra and spiritual Ney of "Butterfly", the moving and tragic "Yusuf Prays/ Lost Souls" that employs Omar's older brother Haci Ahmet Tekbilek on Duduk with an orchestral adagio, Omar's haunting vocals over a multi layered Harmonium and Glass bed in "Losing Hope", the bizarre and wonderful combination of Richard Hunter's amazing harmonica playing with traditional Middle Eastern folk music in "Street Fair" (based on the Azeri folk song "Menim Canimsan" ), or the Dervish updated to hip hop/ electronic trance "Deep Blue", Brian and Omar continue to push the boundaries of musical tradition while simultaneously demonstrating a respect and affection for those traditions and their spiritual origins. Now in their mid fifties, Brian and Omar have continued growing in their own world's as prominant master musicians. This special two CD soundtrack album for Kelebek ( The Butterfly ) serves notice that their friendship and musical collaboration also continues to grow, and is truly enduring.



Musicians:

Omar Faruk Tekbilek - Ney, Kavala, Vocals, Baglama, Jura, Bendir, Darbuka, Def, Udu drum, Davul, Percussion, Zurna, Oud on "Losing Hope".

Brian Keane - Guitars, Synthesizers, Keyboards, Harp, Harmonium, Bass, Drum programming, Percussion.

Ara Dinkjian - Oud, Sazbuz, Cumbuz

Haci Ahmet Tekbilek - Duduk, Mey

Hasan Isakkut - Kanun, Violin solos

Dincer Dalkilic - Rebab

Richard Hunter - Harmonica

Orchestra principles:

Dan Culpepper - French Horns

Marshall Coid - Violin

Bob Zubrycki - Violin

Roxanne Bergman - Violin

Kurt Coble - Violin

Jill Jaffe - Viola

Dan Barrett - Cello

Rich Sosinsky - Contrabass







Track List

CD 1

01. Opening Title Sequence / Deep Blue / Lost Souls

02. On The Movie

03. The Longing / Yusuf's Theme

04. Shooting Range

05. Zeynep's Romance

06. Urgent Matter

07. The Center

08. Uyan Uyan

09. Teacher

10. Brother To Brother

11. Minefield Rescue

12. Halit's Theme

13. Camp Lessons

14. Butterfly



CD 2

01. Hope's Struggle

02. Yusuf Prays / Lost Souls

03. Casualties

04. No Turning Back

05. Zeynep Visits The Police

06. Losing Hope

07. Street Fair

08. Cemetary / Yusuf's Theme Reprise

09. Deep Blue / Credits



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EGYPT Ali Jihad Racy: Mystical Legacies

Posted By MiOd On 2:55 AM 0 comments
Ali Jihad Racy performers music of the Middle East

This recording has nice moments, but the various pieces are so short & varied, that it does not have the typical improvisational character of Arabic classical music. This is unfortunate, since Ali Jihad Racy's skill & knowledge are unquestioned. The tracks are extracts from a live concert.
An accomplished multi-instrumentalist, Racy has done much to promote an appreciation for Middle Eastern music in the West. Born in Lebanon, Racy came to the US in 1968, where he earned his Masters and Doctorate degrees from the University of Illinois before accepting a position as Professor of Ethnimusicology at UCLA. His recordings for various labels provide a showcase for his mastery of the flute-like nay and the clarinet-like mijwiz, as well as the stringed instruments 'ud and buzuq, both important to Middle Eastern styles. Racy is currently working on a book tentatively titled The Art of Ecstacy in Arab Music. ~ Linda Kohanov, All Music Guide

(01). Sufi Medley
(02). Taqasim & Sama'i Bayyati Al-Arayan
(03). Moorish Impressions
(04). Taqasim & Dama'I Nahawand Racy
(05). Themes of Yearning
(06). Strumming Magic
(07). Enchanting Magic
(08). Taqasim Hijaz
(09). Saba Medley
(10). Breeze of Nostalgia

Ali Jihad Racy (Flute), Ali Jihad Racy (Clarinet), Ali Jihad Racy (Buzuq), Ali Jihad Racy (Nay), Ali Jihad Racy (Oud), Ali Jihad Racy (Tambur), Ali Jihad Racy (Ud)

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Abed Azrié - Epic of Gilgamesh

Posted By MiOd On 1:47 AM 0 comments
This highly intriguing contemporary Arabic-language setting of the world's oldest known epic combines song and recitation to a small Euro-Arab musical ensemble with spoken passages, in a re-creation (imaginative rather than literal, of course) of the way in which the earliest epics may have been performed. The notes provide an English prose translation of each section, but infuriatingly gives no information on the performers or the concept behind this version. ~ John Storm Roberts, Original Music, All Music Guide



EPIC OF GILGAMESH

 

FOREWORD

 

Not that long ago, the only vision we usually had of this part of Asia* was confined to the history of the Hebrews and the notion we drew form the Bilbe. The neighboring peoples had not much more consistency than that of shadows going past and vanishing into the stories told in the Bible.

 

The archeologial excavations, the discoveries, the advanced of knowledge have given to each of these people more just place. The horizons of Palestine have widened up to the confines of Mesopotamia and Anatolia.

The history of the Hebrews has become a mere cog, playing its modest and temporary part, in the politics of the great empires of those days and the Bible has become, historically speaking at least, a creed, a system of thinking among other creeds and other systems of thinking.

The Mediterranean coast never stopped exerting a powerful attraction on all the countries of the Near East and on Egypt itself. The geographical situation of the small Syro-Palestinian states, continuously at stake in the rivalries opposing the great powers, favoured the encounter of peoples, languages, religions, and the various forms of art ; it is towards them that the great civilizations of the time, the Egyptian, the Aegean, the Hittite and the Mesopotamian, the Anatolian as well kept bringing their rival contributions.

 

Before and during the days of the Bible, the whole of the Asian Near East had produced its own spiritual millennia. Sumer, Akkad, Babylon were the main artisans of such a treasure, But whatever the importance of their influence on other cultural centers, Ugarit or the country of the Hittites have enriched the spiritual fund of these diverse but unified civilisations with original works and a particular thinking.

 

*Mesopotamia, Canaan, Hittites

 

GODS AND HEROS

The epic of Gilgamesh is rightly considered the most famous work in ancient Mesopotamia. Even if it does not reach the perfection of other shorter works, it certainly is the most representative expression of the Semitic genius because of its strength, the richness of its subject-matter and the influence it exerted on the whole of the then civilised world. It was not the product of a particular social stratum, of a particular time or people. Born of the Sumerian mythology, its importance spread out for more than a millenium over Assyria, reached Babylon and became widely Known beyond these borders since it was copied or even translated from Palestine up to Anatolia, and at the court of Hittite kings.

 

This long epic recounts the story of an ancient King of Uruk, Gilgamesh, who remained famous for the glorious deeds he did and also for the trials he had to endure too. The man, in fact, is only half-legendary. Beyond doubt, the Sumerian King list places him fifth in line form the founding of the first dynasty after the flood and grants him a reign of 127 years. It may well have been that Gilgamesh played a very important part in Uruk around the XXVIII century B. C. and that after his death, a legend was born around him in the same way as later a legend was created around Sargon, the Akkadian, or Alexander the great. The akkadian epic of Gilgamesh is first of all the story of a friendship which, born in rivalry, develops in the midst of trials, broadens itself in glorious deeds accomplished in common and comes to a tragic end with the arrival of death.

 

One also finds the great theme of Hybris, that is, inordinate pride, of the hero come from victory to victory does not know when to stop and offends the gods. This theme of  sacreligious pride is paralleled in the theme of punishment, chastisement and death. In the survivor's heart, the fear of death is to become the intolerable anguish of man who suddenly becomes aware of the precariousness of life. In vain will he look desperately for the secret of everlasting life: each of his attempts will throw him into deeper despair until the day when, back from his wanderings, he will eventually find peace in resignation.

 

The epic of Gilgamesh not only recounts the tragedy of man, it also retraces the history of man. Its eleventh song relates the universal Flood in which the human race was almost entirely destroyed. Enkidu’s youths brings back to memory the first ages of mankind when man was close to nature, lived in sympathy with the animals. His initiation to civilised life show the step which conducted the tribes from a nomadic type of existence to life in urban communities. It is not uninteresting to note the role , for which the Epic reserves for woman, an initiator to the culture, and for the hunter, a transitional stage between the savage predator and the sedentary man. More generally still, there is a description of the various environments in which man finds himself : the forest, the wilderness, the steppe and the civilised world. As to the description of Uruk in the times of Gilgamesh, it can be considered as an image of the primeval city with its council of wise men, its cast of warriors, with the despotism of its tyrant, both man and god, who in certain fields exerts an unlimited power over the men and women of his realm.

 

With its rich subject-matter, the epic of Gilgamesh can also be considered, from a literary point of view, as the first of the great classical epics. The epic of Gilgamesh shares with the latter the long journeys to far away countries, the gods’ interference in human adventures, the giants with a reputation of invincibility, the monsters, the supernatural creatures that the hero finally kills or tames; it also shares with them the trials, the successful fights, in the unfolding of their twelve songs. The work, episode after episode, asserts its unity after a prologue in which already appear phrases which are to become traditional~Rene LABAT



“Religions du Proche-orient”              



FAYARD-DENOEL                   `

 

PROLOGEU (the primeval city)

I want my country to know of the one who has seen all thing.

He who was wise and knew of everything,

He who saw secret things and disclosed what was hidden,

He who passed on to us a knowledge of days before the Flood,

Went on a long journey, came back weary but serene.

He then, engraved on a stone the story of this labours .

He built the wall of Uruk – the Enclosure,

The abode of Anu1 and Ishtar2 – the sacred Eanna3 – he built too,

The like of which no king, no human being,

Ever to come on the face of the earth can equal.

"Climb on the wall of Uruk,

Inspect its foundation terrace

And examine well the brickwork

See if it is not of burnt bricks?"

The gods themselves perfected Gilgamesh

 

GILGAMESH ( god and man)

Shamash⁴, moreover, endowed him with fairness,

Adad⁵, with courage.

In him was two thirds of a god and one third of a man.

The men in Uruk constandly stood in awe of him

For none can bear the brunt of his arms.

Gilgamesh leaves no son with his father,

Day or night his violence rages,

He who is the shepherd of Uruk.

He who is our shepherd leaves no virgin to her lover,

Be it the daughter of a hero or the promised maid of a simple warrior!

Their repeated lament reached to the ears of the gods of heaven.

They appealed to Aruru⁶, the goodness :

"You made him, O Aruru, now create his equal,

Let him be as stormy as he is, let them contend together

And leave Uruk in quiet"  

Aruru conceived the image of Anu in her mind, she dipped her hands into water, took some clay, let it fall in the wilderness and thus was created Enkidu, the hero creature of nightly silence, Ninurta's⁷ descent.

 

1 Anu : the god of heaven

2 Ishtar : goddess of love, ware and fertility

3 Eanna : temple dedicated to Ishtar and Anu and situated in Uruk

4 Shamash : the sun-God

5 Adad :the god of Thunder

6 Aruru : goddess of creation

7 Ninurta : the god of violence and war

 

ENKIDU (the first ages)

He was hairy, the whole of his body was covered with hair.

His hair waved like a women's

His hair and ears of grain look alike,

He knew nothing of countries or people.

He was clad like Sumukan⁸.

He ate grass with the gazelle,

With the wild beasts, he drank at the water holes.

One day, a hunter of a malevolent nature

Met him face to face.

The trapper's face froze in awe.

The same happened on three days

…and the news came out :

"An animal, human being drinks with the wild beasts at the water-holes".

 

THE HUNTER (the intermediary)

The hunter complains that Enkidu fills up the pits he dug up, tears up the traps he set for the game and helps the wild game to escape. The hunter comes to his father, then the both of them go to Gilgamesh. Gilgamesh and his father advise him to bring a harlot to tame Enkidu. The hunter return, taking the harlot with him. After three day's journey , they reach the drinking-hole and stay there sitting for three days. The herd come down to the water-hole and starts drinking, then arrive the wild beasts, glad of the water. And Enkidu Who was born in the wilderness is with them. There, he is, women! Unveil your breast, open your thighs, let him have pleasure in you. Teach this savage man, give him initiation to the women.

 

THE WOMEN (the initiator)

She stripped off her clothes, let her veil fall off her breast,

She initiated this primitive man.

In his amorous passion he covered her body with strokes.

He mad love to her for six days and seven nights.

At the sight of Enkidu the gazelles fled away,

The wild beasts ran away too.

Enkidu leapt up.. his body was strengthless,

His knees refused to move though his herd was going away

Strengthless he was , his swiftness had gone.

 

8 Sumukan : the god of herds and wild beasts

 

WORDS OF THE WOMEN

Enkidu forgot where he was born. He forgot who he was and who he had been! For six days and seven nights, he made love to her and his heart and body opened out; he now had a wider understanding of things. He came back to sit down at the feet of the courtesan, and so she spoke : "I behold you, Enkidu, you are like a god. Why do you wander in the wilderness with the wild beasts. Come, I will take you to Uruk-the enclosure , to the holy temple abode of Anu and Ishtar. Where Gilgamesh, the powerful, the bull-like lives, where the one who thinks himself the strongest of men lives. "Anu. Enlil⁹ and Ea¹⁰ bestowed upon him intelligence. Even before you were born, Gilgamesh had dreams about you. Gilgamesh told his mother, Ninsun¹¹- the wise, the discreet, the omniscient – of his dreams."

 

ANSWER OF ENKIDU

"lead me away women, take me to the holy temple,

Abode of Anu and Ishtar,

There, where Gilgamesh, the strengthful,  the bull-like lives.

There where Gilgamesh, who thinks himself the strongest lives.

I want to cry out in the midst of Uruk "I am the strongest.

I want to go there to change the old order :

Who was born in the wilderness is strong and full of vigour"

 

THE SHEPHERDS (the conversion)

The courtesan tore her dress in two; with the one half she clothed him and with the other herself, Taking his hand into hers, as a child's, she led him to the shepherds' tents.

Bread was placed in front of him. He looked at it, puzzled,

Enkidu did not know what bread was,

He did not know either what wine was,

He could only suck the wild beasts' milk.

The courtesan, opening her mouth, said to Enkidu

"Eat some bread Enkidu, it is a staff of life,

Drink wine, it is the custom of the land"

Enkidu ate bread to the full, wine he drank seven times out of the jar,

He then became merry, his heart exulted and his face shone.

When rubbed with oil, he looked like a human being.

He dressed and then appeared like a mature man.

He took arms and fought against the wild beasts.

The old shepherds could rest at nights, Enkidu was their watchman.

 

9 Enlil : the god of the air

10 Ea : the god of wisdom

11 Ninsun : the mother of Gilgamesh

 

URUK (the enclosure)

Enkidu was making love when raising his eyes he saw the man. He asked the courtesan : where is the man hastening? The man answered : "I am going to Uruk where people are gathering to celebrate the marriage ceremony." king Gilgamesh is presiding over the ceremony on the town square. He is the one who chooses the bride and before he gives her the bridegroom, he possesses her first. Enkidu was walking first, the courtesan behind him. When he entered Uruk, the "Great Square". The crowed thronged round him. Enkidu was walking first, the courtesan behind him, "He looks like Gilgamesh, he is shorter, but bigger of bone, the god-like Gilgamesh has now a rival?" When Gilgamesh walked forward in the street, Enkidu blocked the away.

 

THE STRUGGLE

Enkidu thrust himself at Gilgamesh and they fought in the square.

He came up to Gilgamesh and they met.

Enkidu put out his foot to block the door to prevent him from entering.

They grappled each other, holding each other like bulls.

They broke the door posts and the walls.

They sported like bulls locked together.

They shattered the door posts

and the walls shook.

Gilgamesh bent his knee with his foot planted on the ground,

And with a turn, Enkidu was thrown.

Then immediately his fury died.

When Enkidu was thrown, he said to Gilgamesh:

"Yes, there is not another like you in the world,

Ninsun who is as strong as a wild ox in the byre,

Was the mother who bore you.

And now you are raised above all men,

And Enlil has given you the kingship,

For your strength surpasses the strength of men!"

 

THE FRIENDSHIP

They embraced each other and  their friendship was sealed. The eyes of Enkidu were full of tears. He felt sad at heart, weary, and he tortured himself. His sorrow paralyzed the muscles of his throat, his arms hung down still and his strength and turned into weakness!

THE ADVENTURE

Gilgamesh asks Enkidu to come with him to fight against Humbaba, the giant, guard of the cedar wood, and to fell the cedar trees. Enkidu states that this is an impossible task for Humbaba  is invincible! "How shall we get to the cedar wood! Humbaba stands as it’s defender. He is almighty and never sleeps. Enlil appointed him the guard of the forest, entrusted him with the integrity of the forest!"

 

HEROISM

Gilgamesh, opening his mouth, said to Enkidu:

“My friend, who can escape death?

For all human beings the days are numbered,

Our activities are a  breath of wind.

How is this, already you are afraid of death!

What is the use of calling yourself a hero?!

Do you want me to go first?

If I fall, I leave behind me a name that endures.

Men will say of me:

Gilgamesh has fallen in fighting, trying of fell the cedars”.

 

PREPARING FOR CAMPAIGN

Gilgamesh gives orders to the armourers to cast the weapons necessary for the fight. The counselors of the town try to persuade him not to fight as this fight is so unequal. Gilgamesh and Enkidu decide to go and see Ninsun to ask for the protection of Shamash. On the border of the cedar wood, they fall asleep. Gilgamesh has a dream, he tells Enkidu of it. Enkidu interprets the dream as a sign of their being protected by the gods, and a sign of victory.

 

THE CEDAR WOOD (death of Humbaba) 

Together they went down into the forest

And they came to the green mountain.

There, they stood still and gazed at the forest.

They saw the height of the cedars,

They saw the way into the forest

And the track where Humbaba usually walks.

They gazed at the mountain of cedars,

The dwelling-placed of the gods and the throne of Ishtar.

The hugeness of the cedars rose in front of the mountain,

Their shade was beautiful, full of fragrances.

Gilgamesh seized an axe in his hand and felled a cedars. When Humbaba heard the noise far off he was enraged, He cried out “Who is this that has violated my woods and cut down the cedars?”. Shamash sent down a tempest which blinded Humbaba. The two friends took their arms, Surrounded Humbaba who cursed them in the name of Enlil. They do not listen to him, and under their attack, Humbaba, guard of the cedar- wood, falls.

 

ISHTAR (love)

Gilgamesh washed out his long locks and cleaned his weapons. He flung back his hair from his shoulders; he threw off his stained clothes and changed them for new. He put on his royal robes and made them fast.  When Gilgamesh had put on the crown, glorious Ishtar lifted her eyes, seeing the beauty of Gilgamesh. She said:

“Come to me Gilgamesh and be my bridegroom,

Grant me seed of your body,

Let me your bride and you shall be my husband.

I will harness for you a chariot of lapis lazuli

With wheels of gold and horns of copper

And you shall have mighty demons of the storm for draft mules.

When you enter our house in the fragrance of cedars wood;

Threshold and throne will kiss your feet.

Kings, rulers and princes shall bring you tribute

from the mountains and the plain .

Your ewes shall drop twins and your goats triplets”.

 

REFUSAL OF GILGAMESH

Gilgamesh opened his mouth and answered sovereign Ishtar:

“if I take you in marriage, what gifts can I give in return?

What ointments and clothing for your body?

I would gladly give you bread and all sorts of goods fit for a god.

But as for making you my wife – that I will not.

Your lovers have found you like a brazier which smoulders in the cold,

A backdoor which keeps out neither squall of mind nor storm,

Pitch that blackens the bearer

a water-skin that chafes the carrier.

Which of your lovers did you ever forever?

Listen to me while I tell the tale of your lovers.

There was Tammuz¹², the lover of your youth,

For him was decreed wailing, year after year.

You loved the many-coloured roller,

But still you struck and broke his wing

Now in the grove he sits and cries ”my wing , my wing”.

You have loved the lion tremendous in strength,

Seven pits¹³ you dug for him, and seven.

You have loved the stallion magnificent in battle

And for him you decreed whip and spur and a thong,

You have loved the shepherd of the flock,

For you, day after day, he killed kids for your sake.

You struck and turned him into a wolf,

Now his own hounds worry his flanks.”

WRATH OF ISHTAR

When Ishtar heard this, she fell into a bitter rage, she went up to heaven to see her father Anu. Ishtar besought her father :

“My father, give me the bull of heaven to destroy Gilgamesh

And set his house afire.

If you refuse to give me the bull of Heaven,

I will break in the doors of hell and smash the bolts.

I shall bring up the dead to devour the living,

The hosts of dead will outnumber the living.”

 

12 Tammuz : as Ishtar was to become known as Aphrodite in Greek mythology, Tammuz was to become known as Adonis. Ishtar will go down to the underworld to fetch Dummuzi in “Ishtar’s descent to the underworld”

13 The symbol of universality: innumerable pits.  



THE BULL OF HEAVEN

Anu, opened his mouth and said to great Ishtar: “if I do what you desire. There will be seven years of drought throughout Uruk”. Ishtar opened her mouth and said to Anu: “Father, I have saved grain for the people, grass for the cattle. In case there are seven years of seedless husks. There is grain and there is grass enough.”Anu, the god, sent the Bull of Heaven down on to the earth; with his first snort, cracks opened in the earth and a hundred young men fell down to death. Enkidu doubled over but instantly recovered, he dodged aside and leapt on the bull and seized it by the horns. Gilgamesh followed the bull, seized the thick of its tail, thrust the sword between the nape and the horns and slew the bull, when they had killed the bull of heaven, they gave it to Shamash as an offering.

LAMENT OF ISHTAR

Then Ishtar called together the hierodules,

the prostitutes of the temple, the sacred courtesans.

Over the thigh of the bull of Heaven,

they began their lamentation.



RETURN OF THE TWO HEROES

Then they washed their hands in the Euphrates, they embraced each other and went away. They drove through the streets of Uruk where the inhabitants were gathered to see them. And Gilgamesh called to the singing girls:

“who is the most handsome of men?

Who is most magnificent among heroes”.

“Gilgamesh is the most handsome of men,

Gilgamesh is most magnificent among heroes”.



DREAMS OF ENKIDU

In his dream, Enkidu saw the gods taking counsel together to decide which of the two was to die. Fate fell on Enkidu. Enkidu lay stretched out before Gilgamesh, his tears ran down in streams. He set to cursing the hunter and the courtesan who took him away from innocence, the easy life he was living in the wilderness among the wild beasts, Gilgamesh opened his mouth and said to Enkidu: “My brother, my beloved bother, why did they choose you and not me?” Enkidu said to his friend everything he had in his heart: “Listen, my friend, to the dream I had last night: The heavens roared and earth rumbled back an answer. Between them stood I in front of an awful being. The somber-faced-man-bird. His foot was a lion’s foot, His hand was an eagle’s talon. He fell on me and his claws were in my hair, He held me fast and I smothered, then he transformed me so that my arms became wings covered with feathers. He turned his stare towards me and led me away to the house of darkness, to the dwelling of lrkalla¹⁴.

 

14 Irkalla :one of the names for the underworld

 

DEATH OF ENKIDU

“To the house from which none who inters ever returns,

down the road from which there is no coming back.

Dust is the food and clay the meet of the people of this house,

They are clothed like birds with wings for covering,

They see no light, they sit in darkness.

I entered the house of dust and I saw the kings of the earth, all those

who once  wore kingly crowns and ruled the world in the days of old’’.



WEEPING OF GILGAMESH

“Hear me, great once of Uruk,

I weep for Enkidu my friends,

Bitterly moaning like a woman in mourning.

O Enkidu my brother,

You were the axe at my side,

My hand’s strength, the sword in my belt,

The shield before me.

A glorious robe, my fairest ornament.

An evil Fate has robbed me.

O Enkidu, my friend,

We have climbed up the mountain together.

Together we have endured trials,

Taken hold of and slain the bull of heaven,

Have caused Humbaba, the powerful guard of the cedar wood, to fall.

What is this sleep which holds you now?’’

Gilgamesh laid a veil, as one veils the bride, over his friend. He began to  rage like a lion, like a lioness robbed of her whelps. This way  and that, he paced round the bed, he tore out his hair and strewed it around. Gilgamesh, weeping bitterly, travelled along journey in search of Uta-napishtim, the only survivor of the Flood. He went in search of him, hoping that Uta-napishtim would give him the secret of everlasting life.



“THE SECRET OF DEATH AND LIFE”

THE SCORPION MAN (guardian of the sun gate)


He set out hastily, reached the foothills of the mountain, That mountain which, every day, guards the coming and going of the sun. Its crest rises to high heaven. Its breast reaches down to the underworld. At its gate, the Scorpions stand guard. Terrifying is the awe they inspire, and to look at them is to die. Their terrible splendor spread over the mountains. The Man-Scorpion cries out to his mate: “this one who comes to us now is flesh of the gods.“ The mate of the Man-Scorpion answered: “Two thirds is god but one third is man” The Man-Scorpion addressed himself to the gods’ son: “why have you come on so great a journey?” Gilgamesh answered: “if I have travelled such a long journey, it is to find Uta-Napishtim, my ancestor, who  attended a gathering of gods and there found life, I want to question him on death and life!” The Man-Scorpion, Opened his mouth, and said to Gilgamesh: ”Nobody has ever trodden over this path but Shamash the hero”.

 

SHAMASH (The sun god)

Gilgamesh went on his way to the sun through the mountains. Deep was the darkness, he could see neither in front of him, nor behind him. When he had walked twelve leagues the dawn appeared, and at the end on twelve leagues the sun streamed out! He then made his way towards the marvelous garden where from trees hung precious stones instead of fruits. Shamash the god appeared in front of Gilgamesh and asked him: “Where are you going, wandering so in wilderness?” You will never find the life for which you are searching”. Gilgamesh, opening his mouth said to the glorious Shamash:

“when life goes out of my body,

Defeat, in fact will have overcome me.

Here I am, for fear of death, wandering in the wilderness.

Am I not to lie down for not getting up ever?

Let my eyes stare at the sun

Until they are dazzled with light.

That the one who is dead

May see the light of the sun”.

 

SIDURI (Barmaid of the gods)

Beside the sea, lonely she lives, the woman of the wine, in a house. Gilgamesh, after wandering a long time, arrives near her house. Astonished by his look, she asks him who he is, why he has come to this place, forbidden to the human race. Gilgamesh opens his mouth and says to the woman of the wine:

“My friend, my younger brother

Who  had endured dangers beside me,

Enkidu, my friend whom I loved,

The end of mortality has overtaken him.

Day and night I wept over him.

I would not let him be buried

To see if he would come to life again on hearing the sound of my sorrow.

I would not let him be buried

For seven days and seven nights,

till worms fastened on him.

With him dead, I could see life no more.

I walked here and there in the wilderness.

May I not see death which I cannot stop fearing.

 

THE HUMAN CONDITION

She answers Gilgamesh: “where are you hurrying to? You will never find that life for which you are looking.”

“When the gods created man,

They alloted to him death,

But life they retained in their own keeping.

As for you, Gilgamesh, fill your belly with good things.

Day and night, night and day, dance and merry,

Feast and rejoice.

Let your clothes be fresh, bathe yourself in water.

Cherish the little child that holds your hand,

And make your wife happy in your embrace:

For this too is the lot of man

 

URSHANABI (The boat of the gods)

Gilgamesh asked Siduri¹⁵ to reveal him the means to know one’s way to Uta-napishtim, the Far-away. Siduri told him to go and see Urshanabi – the ferryman-, The boat being ready, Gilgamesh and Urshanabi launched it out on the waves of the ocean. For three days they ran on as if it were a journey of a mouth and fifteen days, and at last Urshanabi brought to the waters of death.

 

UTA-NAPISHTIM(the immortal ancestor)

Once they had crossed the ocean, Gilgamesh asked Uta-napishtim questions on the secret of Death and Life

“For this I have wandered over the world,

I have crossed many difficult ranges,

I have crossed the seas,

I have wearied myself with travelling,

My joints are aching

and I have lost acquaintance with sleep,

which is sweet.”

What happened to Enkidu, my friend, lays heavy upon me. How can I keep silent, how can I rest, when my friend, whom I loved, has turned to clay. Am I not myself to be laid in the earth forever?

 

THE HUMAN LESSON

Uta-Napishtim told him: “Why is there so much anguish inside you, you who are made of the flesh of gods?

There is no permanence.

Do we build a house to stand for ever,

Do we seal a contract to hold for all times?

Do brother divide an inheritance to keep forever,

Does the flood-time of rivers endure?

Is there anyone who can ceaselessly stars at the sun?

From the days of old there is no permanence.

The sleeping and the dead, how alike they are,

They are like a painted death.

So does life end,

The lord and the serf are equal in the tomb.”

 

15 Siduri (Sâbît: its pronunciation sounds like the pronunciation of young girl in Arabic) Some texts identify her with Ishtar, some others with the Sibyl, and even with Calypso, the nymph.

 

The flood (plant of immortality)

Gilgamesh said to Uta-napishtim, the far-away: "I look at you now, Uta-napishtim, and your appearance is no different from mine; there is nothing strange in your features. Tell me truly. how was it that you came to posses everlasting life? Uta-napishtim said to Gilgamesh "I will reveal a mastery to you, I will tell you a secret of the gods. you Know the city Shurrupak, it stand on the banks of Euphrates. One day the gods agreed to exterminate mankind because there was too much of an uproar. Ea, who attended the council, warned me in a dream, whispered their words to my house: O man of Shurrupak, tear down your house and build a boat, abandon possession and look for life, despise worldly gods and save your soul. Then take up into the boat the seed of all living creatures.

 

When the tempest raged, gathering fury as it went, it poured over the people like the tides if battle; a man could not see his brother nor could the people be seen from heaven. Even the gods were terrified at the flood, they fled to the highest heaven, the firmament of Anu. For six days and six nights the wind blew, torrent and tempest and flood overwhelmed the world when the seven days dawned, I opened a hatch,  I looked at the face of the world and there was silence; the whole of mankind was turned to clay.

The gods gathered in a council and gave me everlasting life.

Uta-napishtim said: "As for you Gilgamesh, who will assemble the gods for your sake, so that you may find that life you are searching for?"

Gilgamesh and Urshanabi Launched the boat on to the water and boarded it. Uta-napishtim – the FAR-away – said to Gilgamesh: "Gilgamesh, you came here a man wearied out, you have worn yourself out.

What shall I give you to carry you back to your own country? Gilgamesh, I shall reveal a secret thing, it is a mystery of the gods that I am telling you. There is a plant that grows under the water , it has prickles like a thorn, like a rose. It will wound your hands, but if you succeed in taking it, then your hands will hold that which restores his lost youth to a man".

 

When Gilgamesh heard this, he went to seize the plant and took it back to Uruk. One his way back, he saw a well of cool water, and he went down to bathe. A snake sensed the sweetness of the plant. It rose out of the water, snatched it away, and immediately it sloughed its skin and returned to the well, Then Gilgamesh sat down and wept, and down his cheeks ran the tears: "Was it for this that I toiled with my hands, It is for this I have wrung out my heart's blood? For myself I have gained nothing. Not I, but the beast of the earth has joy now.

 

EPILOGUE (Uruk – Gilgamesh)

when at last they arrived at Uruk – the Enclosure – Gilgamesh said to Urshanabi, the ferryman: "Urshanabi, climb on to the wall of Uruk, inspect its foundation terrace and examine well the brickwork. See if it is not of burnt bricks. One third of the whole is city, One third is garden, and one third is field, with the precinct of the goddess Ishtar. This parts and the precinct are all Uruk."

 

I want my country to know of the one who has seen all things.

He who was wise and knew of everything,

He who saw secret things and disclosed what was hidden,

He who passed on to us a knowledge of days before the Flood,

Went on a long journey, came back weary but serene.

He, then, engraved on a stone the story of his labours.

 

Credits to "Calaf"



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