Abdel Halim Hafez - HABIBATI MAN TAKOON? - HABIBAHA

Posted By MiOd On 6:05 PM 0 comments
Despite a fairly short career, singer/movie-actor Hafez was one of the most influential Egyptian stars of the 1950s and '60s. His mellow, resonant voice, subtle vocal style and notably clean intonation marked him out, along with a liking for long, seemingly endless musical phrases. When Mohamed Abdel Wahhaab switched from singing to composition, he pretty much stepped into his shoes. Born in 1929, Abdel Halim studied at Cairo's Institute of Arabic Music and the Higher Institute for Theatre Music, and began his career teaching and playing oboe before taking aim at vocal stardom. His first hit came in 1951, and he soon signed a contract with Abdel Wahhaab to sing his songs and appear in his films. During the 1960s, he started to sing colloquial poetry more colorful and meaningful and nearer to popular folk song than ordinary pop songs, and his work on these lines had a significant influence on popular song in general. He cofounded a film company and the Saut el-Fann record label in the early '60s, and remained a major star until he died in 1977 of Bilharzia, which he had caught as a child and which had begun to affect him intermittently from 1955 onward. ~ John Storm Roberts, All Music Guide

HABIBATI MAN TAKOON?
Lyrics: Prince Khaled Bn S'oud
Music: Baligh Hamdi

HABIBAHA
Lyrics: Kamel al-Shenawy
Music: Mohamed al-Mogy

320 kbps including Covers

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Let My Love Be Rom! (Musics of Turkey's Roma)

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Kalan Müzik tarafından yayınlanan “Roman Olsun / Türkiyeli Romanlardan Müzikler” albümünde, Mangosar, Yerli, Çingene, Cingen, Roman, Romni, Kirpi, Sepetçi, Çadırcı, Kalaycı, Cambaz ve bunun gibi onlarca isimle nitelendirilen Türkiyeli Romanlardan derlenen müzikler, zengin bir yazılı ve görsel malzemeyi içeren kitapçıkla birlikte dinleyicilere sunuluyor.

Ulaşılabilir Yaşam Derneği’nin 2006 Mayıs ayında Romanların Türkiye’deki durumlarını, geleneksel yapılarını gözlemlemeye, temel ihtiyaç ve sorun alanlarını belirlemeye yönelik düzenlediği Türkiye turu kapsamında yapılan derlemeler, Trakya’dan Ege’ye, Akdeniz’den İç Anadolu’ya kadar 28 ili kapsamaktaydı. Karakteristik yerel Roman müziği örneklerinin ağırlıklı olarak yer aldığı albümde, hecali, atışma, kına türküsü gibi kadınların icra ettiği geleneksel müzikler, Romanca söylenmiş ve göçerlik döneminden bu güne gelebilmiş şarkılar ile farklı bölgelerin folklorik müzikleri, enstrüman grupları ve icra tarzları yer alıyor.

Derleme gezileri sırasında Türkiyeli Romanların genel profilini tanıtmak amacı ile hazırlanan Roman Olsun adlı kısa film de DVD formatında, CD ve kitapçıkla birlikte dinleyicilere sunuluyor. DVD’de, Türkiyeli Romanlara yönelik fotoğraflardan da seçki sunuluyor.

01.Ille De Roman Olsun - Alemdar
02.Keci Kestim Bayirda - Edirne
03.Ciftetelli - Edirne
04.E Balkanengre Sudre Panola - Edirne
05.Lam Dir Dikos - Edirne
06.Calin Davullari - Tekirdag
07.Gayda - Tekirdag
08.Ada (Sile) Ciftetellisi - Tekirdag
09.Cevriye - Malkara
10.Harman Yeri - Kesan
11.Aci Meleke - Kesan
12.Corlu Roman Havasi - Corlu
13.Altiyol Roman Havasi - Luleburgaz
14.Zurna Taksim - Luleburgaz
15.Ograldan / Sipsi Satarim - Hayrabolu
16.Gayda - Bergama
17.Nazara - Cirpi
18.Devlam - Akhisar
19.Gelin Aglatma Havasi - Germencik
20.Akaya Bori - Mersin
21.Flamenko Dogaclama - Adana
22.Kali Romni - Adana
23.Ciftetelli - Ceyhan
24.A Be Mi Cay - Sarikoy
25.Sulukule Kavgasi / Yayli Yayli Icinde - Sulukule
26.Ciktim Ayva Dalina - Sulukule
27.Maniler - Kagithane
28.Roman Kizi - Alemdar

256 kbps including Covers

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Kitaro - Oasis

Posted By MiOd On 2:59 PM 0 comments
Kitaro is one of the leading sound designers in the new age community. He is also one of the leading composers and performers. Oasis is one of his older albums (originally released on Pony Canyon Records in 1979), and it is a gem. This is truly a rest stop in the middle of a storm. The atmospheres are light, airy, and lyrical without vocals. The sound design incorporates symphonic synths and gentle melodies. The soundscapes are dynamic and bold. This is a great CD from a great man. It will appeal to fans of Anugama, Vangelis, Suzanne Ciani, and Constance Demby. ~ Jim Brenholts, All Music Guide

Asa No Inori (Rising Sun)
Moro-Rism (Moro Rhythm)
Aratanaru Tabiji (New Wave)
Uchu Enerugi (Cosmic Energy)
Mugensui (Aqua)
Tsuki No Hikari (Moon-Light)
Chiheisen (Shimmering Horizon)
Shizen No Kaori (Fragrance of the Nature)
Mujaki (Innocent People)
Oasis (Oasis)

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Chinese Music Classics of the 20th Century: Erhu II

Posted By MiOd On 6:04 PM 0 comments
"Shi Ji Ledian" full 20 records, the selection of 208 well-known 20th century, the landmark Chinese instrumental classics; "World Jiyue Dian" of the selections to musical instruments as the key link, consider the ancient and modern, vertical and horizontal north-south, integrate things, a set of Le Code, the most representative collection of 20th century instrumental classic, described as "Bo", "Canton", "full", each of the first familiar, worth hearing a hundred works, the most outstanding performance by the master, the most prestigious references to play master of the most prestigious orchestras focused interpretation, complement each other; "World Ji Ledian" compiled by the music, not only people in the deep heart of a sound recording the history of the efforts of several generations, as well as international music language to write a gorgeous grand movement of Chinese music in the history of the 20th century's most brilliant page.

Erhu is the richest features of the national musical instrument. Since the twenties of the last century, the famous master Liu Tianhua country music's style and enhance the status of the erhu has been excellent work emerging, talented people. This episode not only collects Liu Tianhua and Hua Yanjun's handed down for, such as "Beautiful Night", "Moonlight," "disease Yin," "Space Mountain birds" and "Reflection of the Moon," and so on. Also present input on the famous "Ballad of North Henan," "The Sanmen Gorge Capriccio", etc., as well as "river water" and "Flower" and so full of inner emotional tension of the music. The accompaniment is also quite level, is divided into purely solo, with dulcimer accompaniment and band accompaniment. In particular, Shao Zhang, Qing Rui solo performers such as older, drew much of the charm of the original. In addition, the Kingdom of Tong and other famous musicians, all show their unique characteristics to the style.

The erhu (Chinese: 二胡; pinyin: èrhú), also called nanhu (南胡, "southern fiddle"), and sometimes known in the West as the "Chinese violin" or "Chinese two-string fiddle," is a two-stringed bowed musical instrument, used as a solo instrument as well as in small ensembles and large orchestras. It is the most popular instrument in the huqin family of Chinese bowed string instruments, together with the zhonghu, gaohu, banhu, jinghu, sihu, and numerous others. Used in both traditional and contemporary pieces, it is a versatile instrument.

[01].Sanmen Gorge Rhapsody
[02].On a Moonlit Night
[03].River Waters
[04].Battle Steeds Galloping Ahead
[05].Triratna Buddha
[06].Autumn Moon Over the Palace of Han Dynasty
[07].Great Changes of a Mountain Village
[08].Sprig of Flowers
[09].There Is a Golden Sun in Beijing
[10].Galloping in the Boundless Grassland
[11].Listening to the Soughing Wind in the Pine Forest

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Maftirim - Ilahiler Korosu

Posted By MiOd On 8:11 AM 0 comments
Maftirim - Ilahiler Korosu
Maftirim: Judeo-Sufi Connection
Maftirim is a collaboration between Jewish mystics and Mevlani Sufis. This is a rare recording of the music. The CD is beautifully packageed with a multilingual booklet with lyrics and historical perspectives.
"Those already familiar with the Sabbath singing of piyutim will find much that is familiar here: lovely sacred poems set to Turkish (in this case) music. The music is well-performed by the Maftirim Chorus, and the voice of Hazan Aaron Kohen Yaskak is one that should become more familiar to everyone already familiar with, say, Emil Zrihan. Those unfamiliar with the sanctuary offered by the Ottomans to Jews after the expulsion from Spain (and prior, after the Almohades conquered Spain and introduced an intolerant strain of Islam that ended the Golden Age and drove Jews north into Christian Spain, or East) will be pleasantly surprised to find Jewish compositions in the style of the Ottoman culture--Jews integrated deeply into the surrounding and initially welcoming culture. Those who are familiar with Ottoman music will be pleased and intrigued to hear it in a religious Jewish context, and performed so well...."

The source of Jewish religious music dates from the very early years of the history of the Hebrew tribes, from the times of the "Beith Hamigdash", the holy temple of which only the wall remains today. Incredible similarites have been found between the songs sung in the Bcith Hamigdash and gregorian tunes. Though no records are available, just identifying the similarities in the music created by the Hebrew tribes which could have had no contact with each other, such as the Yemenites, the Jews of Persia, Syria or Iraq will support the hypothesis that a very old tradition has survived over the milleniums. The hymns repeated on the special religious days, the Hizum, also have a lot of similarities in the way they arc sung by the Jewish which were dispersed all around the globe. No constant communication could be traced between them neither. The hymns repeated on the sacred days of Yamin Norayim the holy Jewish days of the beginning of the Hebrew year could be a very good exemple as to how tunes show very little variations.

Another point to note in the religious music created by Jewish people is the special way the passages from the old Testament are read and sung. The readings have special tunes mostly created by improvisations and these again have a lot of similarities with respect to melody end intonation when the ways they arc sung among different groups of Jewish people and compared. Each word is marked and given a certain musicality. The hymns sung on "Shabbath" have also been created by improvisations and Middle Eastern tunes such as Suzinak, Hicaz, Hüzzam, Rast, Hüseyni, Nihavend. Acemşiran have widely influenced the Hazan who composed them.

While reading the Old Testament the Hazzan have been influenced both by the tunes of the Middle Eastern music and by the historical Jewish hymns. The prayers of the Milha, Arvit, Avdala. Musafand Şahrit are also sung in the tune which carry the influences of both traditional Jewish music and Middle Eastern tunes. Though most prayers are in Hebrew some parts are sung in Ladino. a diversified form of the old Spanish language.

The Perek and the Maftirim hold an important part in diversity of Jewish religious music. These "unisound" and "akapella" songs can be said to be a kind of "0ratorium" sung collectively in tune. The Maftirim. the choral music performed every Shabath evening before the prayers, have a concert like quality. It dates back to 3°° years and is believed to have come to Istanbul from Edirne. its place of birth. The tradition of the Maftirim is still alive in the synagogues of Istanbul today. The music of the "Mevlevi". of followers of the leader Mevlana, a Turkish poet and founder of the mevlevi sect. has been very influential in the tunes of the Maftirim. Şemtov Şikar, Simon Aftelyon, Yomtov Hazar, Israel Nacar, Kemal Abiyatov, Ishak Macoro, Izak Algazi are some important names in the wording and composition of the Maftirim.

01. Ses Taksim
02. Azkir Hasde El
03. Yismah Ar Tsiyon
04. Hades Kekedem
05. Mizmor Sir LeYom Asaba
06. Meulal Sem
07. Maru Kol Sarim
08. Eloe Tsidki
09. Hisavti
10. Ahare Nimkar
11. Ya Salad
12. Yistmah Salom
13. Akav Birhateha
14. Yeme Levavi Biroti
15. Yislah Misamayim
16. El Ar BatSiyon
17. A_u E__u
18. El Selah et Tisbi
19. Hag Amakabim

Vocalists: Aaron Kohen Yasak, Viktor Afya, Yusuf Kaspi, Bensi Elmas, Selomo Ciprut, Menahem Eskenazi, Izak Behar, Avraam Varon, Sabetay Iyigor, Beni Albukrek, Robert Elmas

Musicians:
Ney:Aziz Senol Filiz
Quanun: Taner Sayacioglu
Bendir: Aziz Senol Filiz
Tanbur: Birol Yayla
Kudüm: Aziz Senol Filiz

Kalan Music | MP3 256 kbps | Front Cover

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Dastan Ensemble & Sima Bina - Flowers Of The Desert - Hanaie

Posted By MiOd On 6:45 AM 0 comments

Shushtari

1. Moggaddame (Introduction)& Avaaz Shushtari
2. Khush Haaye Gandom
3. Avaaz Bakhtiari
4. Joomeh Narenji (Folksong: Orange Dress)
Folk Melody & Lyrics Of South Khorasan
5. Aftaab Nimshab & Avaaz Bidad (Midnight Sun)
6. Avaaz Mansuri
7. Shakhatai Old Folk Song & Lyrics Of
North Khorasan

Esfahan

8. Taraneh Gol Zardom (Folksong: My Yellow Rose)
9. Taraneh Lalleh (Folksong: Tulip)
10. Taraneh Sout Kabootar (Folk Song: The Doves Call)

MP3 Bitrate: 231-242 kbps (VBR) Encoder: LAME 3.98

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Nusrat Fateh Ali Khan - Night Song

Posted By MiOd On 3:37 AM 0 comments
Canadian experimental guitarist Brook and the late, "shining star of Qawwal" come together for a second time to bring the music of Pakistan into a creative new realm. If you are a traditionalist who wants nothing but Pakistani music, stay away. This album is soaked in ambient electronic guitar noises and some of Khan's most out-of-the-tradition singing. These experiments are not to be confused with lots of the electro-noodling, however. Both artists were devoted to their gods and their music, and it shows in the potency of these tracks. Brook seems to have been a natural match for Nusrat and has drawn out an unusual performance that probably fulfills the ideas that were only hinted at in their first collaboration, Musst Musst. --Louis Gibson

Nusrat Fateh Ali Khan is best known for Qawwali music, the devotional music of the Sufis, taking it to incredible heights, but here we see perhaps his most successful cross-over album, with an excellent supporting cast, including Michael Brook on infinite guitar, keyboards and percussion, that gives Nusrat's music a broader feel. It was really a shame to lose Nusrat at the peak of his career. He had become involved in so many fascinating projects, including singing with Eddie Vedder on "The Face of Love," from the soundtrack to "Dead Man Walking." His soaring harmonics were a badly needed infusion into the world music scene, when it was beginning to grow stale.

I am writing a review of Night Music because I feel that Nusrat's music is very important to rock and roll. This Pakistani singer, who sadly passed away a few years back, had the power to touch the soul with his singing. Though I can't understand a word he said, Night Music's feelings are well received. I like to think of Nusrat's music as mesmerizing and hypnotic as well as emotionally raw. Michael Brook just enhances Nusrat's ideas, making this recording a haunting, painfully sweet listen. This is a must have for any rock collector. Thank you to Peter Gabriel for creating his RealWorld label in which we get to hear such fine musicians from other countries of the world.

1. My Heart, My Life
2. Intoxicated
3. Lament
4. My Comfort Remains
5. Longing
6. Sweet Pain
7. Night Song
8. Crest

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Renaud Garcia-Fons - Alborea

Posted By MiOd On 12:02 PM 0 comments
Jazz has taken some unexpected directions in Europe. Garcia-Fons is a double-bass player, and he leads a French quartet that consists of himself, another double-bass player, an accordionist and a drummer. In this arrangement, Garcia-Fons exploits the huge range of the bass to play melody, while the other bassist large plays the traditional low part.

The well-known artist closest to Garcia-Fons' sound would have to be Astor Piazzolla, and indeed Alboreá does contain one tango, anagrammatically entitled "Natgo." Garcia-Fons also makes use of other world music sources, such as the Moorish sound of "Secret Zambra." And many of the tracks, not surprisingly, seem to owe something to French musette. Although Garcia-Fons might like to say his biggest musical influence was Charlie Mingus, it sometimes sounds as if his real mentor was André Previn, not just as jazz musician but as film score composer. Some of the tracks on Alboreá, like the title track, are very "big" and dramatic. However, the real show is, of course, the bass playing. Just to give one example, on "Amadu" you will think they snuck in an electric guitar, distortion and all, without crediting the musician -- until you realize that it's Garcia-Fons plucking and bowing away on his bass. Both those coming to this disc out of the jazz world and those interested in international music will find something to latch onto in this substantial and passionate album. ~ Kurt Keefner, All Music Guide

Fenomenal música del mundo: Garcia Fons con los increíbles sonidos extraidos a su bajo, ya sea con sus dedos o su arco, nos sumergen en sonidos provenientes del jazz, mucho de tango afrancesado y texturas españolas flamencas y alguna oriental. Un fenomenal disco. Profundo, en donde a medida que se lo escucha reiteradamente, se descubre su calidad. Garcia Fons es un instrumentista fenomenal: Como Argentino, siempre pensé imaginariamente como hubiera sido la música conjunta de dos grandes: Garcia Fons y Astor Piazzolla. Sus extraordinarios acompañantes (acordeon, bajo, percusión) brillan exquisitamente. En suma, un Disco que formará parte de los clásicos, en cualquier discoteca que se precie de amar la excelente música, y sobre todo el de tener los sentidos abiertos a nuevas mixturas válidas.

01. Al Camarón
02. Alboreá
03. Natgo
04. Secret Zambra
05. Eosine
06. Gus's Smile
07. Amadu
08. Sacre Coeur
09. Rue De Buci
10. Fort Apache
11. Tropea

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Al Di Meola - Soaring Through A Dream

Posted By MiOd On 5:42 AM 0 comments
This recently reissued 1985 date has plenty of electric bombast, along with ample examples of DiMeola's piercing acoustic style. What it lacks is the energy and creative integrity that underscores DiMeola's World Sinfonia sessions and his classic Splendido Hotel. There are some pretty melodies, an entrancing moment or two, and too many interludes where it seems that something is about to happen, but things cool down or degenerate into blandness. The longer compositions drone on without establishing anything substantial, while the short pieces fade in and out, offering bits and pieces of fine playing, but nothing thematically distinguished. When the CD ends, you realize that DiMeola is an excellent technician, but nothing left any lasting impression. ~ Ron Wynn, All Music Guide

1. Capoeira
2. Traces (Of A Tear)
3. Broken Heart
4. July
5. Marina
6. Soaring Through A Dream

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The Meditative Music Of Pandit Jasraj

Posted By MiOd On 1:47 PM 0 comments
An exponent of the Mewati tradition which originated with the court musicians of the former princely states of Jodhpur and Bhopal, Pandit Jasraj has enriched his inheritance with a sweet and mellifluous voice, which is his natural endowment, and a prodigious and rigorous discipline, which is his act of will.

It was his eldest brother, Pandit Motiram, who was Pandit Jasrajs Guru, in the true sense of that word, and who imparted to the young aspirant the distinctive " Kan Gyaki" style oaf the Mewati tradition. To these assiduous schools, Pandit Jasraj adds a native imagination, sensitivity and spontaneity.

The unhurried unfolding of his alap, the tapestry of his bol-taan, his playful sargam, and the architecture of his taan patterns, make of Pandit Jasraj one of the most felicitous performers of recent times. If his classical music is engrossing, his devotional music takes the listener God Intoxicated.

Pandit Jasraj has widely traveled and performed in every major concert hall in the U.S., Europe and UK. He has inspired many in the younger generation to become musicians.

(01) [Pandit Jasraj] Raga Ahir Bhairav
(02) [Pandit Jasraj] Raga Darbari

Pandit Jasraj (Composer, Performer)
Zakir Hussain (Performer)

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Luis Delgado - El Sueño De Al-Zaqqaq

Posted By MiOd On 3:51 PM 0 comments
"...an album based on the Arabic poetry of 12th century Moorish poet Ibn Al-Zaqqaq"
Luis Delgado was born on 7/16/1956 in the quarter Chamberi in Madrid. At the age of fourteen he did his first concert with the orchestra of La?des, "Gaspar Sanz", whose director, D. Manuel Grand?o, taught him most of what he knows about music. Luis also took classes in Hindu, Iranian and Andalusian music, as well as in African percussion. The musical spectrum of the Spanish multi-instrumentalist, composer and producer ranges from Ambient to different kinds of traditional and ethnic music, and even includes medieval and ancient music. Luis Delgado has worked with all kinds of groups, like "Iman" (Andalusian rock), "Atrium Musicae" (antique music), "Babia" (east-west-fusion), "Finis Africae" (ethnic fusion), "C?lamus" (Spanish medieval music), "La Musga?a" (traditional music), Spanish-Moroccan group "Ibn Baya" etc. In the last years he has been touring in Europe, USA, Canada, North-Africa, Turkey, Egypt, Lebanon and many more countries. The most important prices he has been offered are the titulation of honorary member of the "Grand Ole Opry", highest entity of traditional American music, "Premio de la M?sica" and "Premio Trovador", both in 2001.

[01]. Balansiya
[02]. El Saludo :: Greeting, The
[03]. La Aurora Nocturna :: Nocturnal Dawn, The
[04]. La Luna Nueva :: New Moon, The
[05]. Bebiendo Al Alba :: Drinking At Dawn
[06]. El Cinturon Y El Brazalete :: Belt And The Bracelet, The
[07]. La Luz De La Axarquia :: Light Of Axarquia, The
[08]. Rosas En El Estanque :: Roses In The Pool
[09]. La Mirada :: Look, The
[10]. Amanecer En La Mar :: Dawn Over The Sea
[11]. La Ruta Del Marfil Negro :: Route Of Black Ivory, The
[12]. Epitafio :: Epitaph

Personnel includes:
Luis Delgado (vocals, lutes, banjo, tar, saz, baglama, santur, keyboards, darbuk, programming) ; Aurora Moreno, Mohamed El Arabi Serghini (vocals).

128 kbps including Covers

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Chinese Music Classics of the 20th Century: Erhu

Posted By MiOd On 12:30 PM 0 comments
"Shi Ji Ledian" full 20 records, the selection of 208 well-known 20th century, the landmark Chinese instrumental classics; "World Jiyue Dian" of the selections to musical instruments as the key link, consider the ancient and modern, vertical and horizontal north-south, integrate things, a set of Le Code, the most representative collection of 20th century instrumental classic, described as "Bo", "Canton", "full", each of the first familiar, worth hearing a hundred works, the most outstanding performance by the master, the most prestigious references to play master of the most prestigious orchestras focused interpretation, complement each other; "World Ji Ledian" compiled by the music, not only people in the deep heart of a sound recording the history of the efforts of several generations, as well as international music language to write a gorgeous grand movement of Chinese music in the history of the 20th century's most brilliant page.

Erhu is the richest features of the national musical instrument. Since the twenties of the last century, the famous master Liu Tianhua country music's style and enhance the status of the erhu has been excellent work emerging, talented people. This episode not only collects Liu Tianhua and Hua Yanjun's handed down for, such as "Beautiful Night", "Moonlight," "disease Yin," "Space Mountain birds" and "Reflection of the Moon," and so on. Also present input on the famous "Ballad of North Henan," "The Sanmen Gorge Capriccio", etc., as well as "river water" and "Flower" and so full of inner emotional tension of the music. The accompaniment is also quite level, is divided into purely solo, with dulcimer accompaniment and band accompaniment. In particular, Shao Zhang, Qing Rui solo performers such as older, drew much of the charm of the original. In addition, the Kingdom of Tong and other famous musicians, all show their unique characteristics to the style.

The erhu (Chinese: 二胡; pinyin: èrhú), also called nanhu (南胡, "southern fiddle"), and sometimes known in the West as the "Chinese violin" or "Chinese two-string fiddle," is a two-stringed bowed musical instrument, used as a solo instrument as well as in small ensembles and large orchestras. It is the most popular instrument in the huqin family of Chinese bowed string instruments, together with the zhonghu, gaohu, banhu, jinghu, sihu, and numerous others. Used in both traditional and contemporary pieces, it is a versatile instrument.

[01]. Moon Reflected in the Second Spring
[02]. New Year's Eve
[03]. Birds Singing in the Deserted Mountains
[04]. Song by a Sick Man
[05]. Spring in the South Yangtze
[06]. Ode to Our Soldiers
[07]. North Henan Ballad
[08]. Slow Three-Six
[09]. Horse Race
[10]. On the Grassland

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Nusrat Fateh Ali Khan - Shahbaaz

Posted By MiOd On 3:07 AM 0 comments
Named for 13th-century Sufi master Qalandar Shahbaaz, Shahbaaz is Nusrat at his most intense--just look at the CD's cover photo: facial grimace, closed eyes, sweat on the forehead, raised hand, and the open mouth from which the greatest qawwali singing of the 20th century sprang forth for some 25 years before his death in 1997. From the first seconds of tabla drumming and clapping on "Beh Haadh Ramza Dhasdha," Nusrat and party lose themselves in the divine Islamic chant whose lyrics recall ancient Sufi poetry and stories. The weave of harmonium, drums, and Nusrat's improvised vocals suck listeners into a repetitive, ecstatic vacuum of music while the steady throbbing drums and handclapping ground the divine mania. Some of the most amazing vocal work shines on this CD, both by Nusrat and his brother Farrukh Fateh Ali Khan, whose higher-pitched, metallic throat wailing forms a wild counterpart to Nusrat's fuller, lower register. The gem of this CD is the final song, "Jewleh Lal," a 20-minute melodic number that swings with especially powerful call-and-response praise for Qalandar Shahbaaz. Though Shahbaaz doesn't offer the full spectrum of Sufi traditional songs, this may well be the best taste of the passion and vocal artistry that this innovator gave to both the Eastern and Western worlds. --Karen Karleski

1. Beh Haadh Ramza Dhasdha
2. Shahbaaz Qalandar
3. Dhyahar-Eh-Ishq Meh
4. Jewleh Lal

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Kolektifistanbul - Krivoto

Posted By MiOd On 11:53 AM 0 comments
Kolektif Istanbul has been mainly based on such a purpose that is about musical variance of Eastern Europe in the sense of traditional repertories. By this intention which primarily refers to a subjective positioning on musical understanding through ethnic and traditional music is what the project aims to acknowledge cultural sharing and meetings in where the " traditionally repertory" represents the bulk of the marriages and to rituals that are surrounded by. The main context of the musical purpose is mostly focusing on the "meeting" of Anatolian and Balkan Cultures. The project has been coming to the result in which it have had two steps of musical springs, are both the five years traveling, coincidences and meetings of French saxophone player Richard Laniepce, and the "company" what is carried by a Kolektif of musicians who are attached to a specific character of music while appreciating musical explorations, as well. Nevertheless, the original characters of the melodies, inspirations, and so themes on the path of musical travel, has been overcome with "respect" and gaining ethical positions, in the other hand, while great freedom is taken with the orchestrations. Kolektif's Balkanatolia grew up from the meeting of musicians from villages, who are usually playing at fetes and marriage ceremonies in the "homeland", and musicians with improvisation backgrounds from different modern styles but all in Istanbul with the colours of Istanbul. “Kaval” (oblique flute), “gayda” (Bulgarian bagpipes), “kaba zurna” (large rustic oboe), “baglama” (Turkish lute with long neck), clarinet, saxophone, accordion, tuba, percussion, all these instruments make this a unit with a great richness of sound which combines both the Balkan fanfare dynamism and the Anatolian “blues” depth. The Ensemble gains in intensity and emotion with Asli Dogan, the voice of this project, which carries all the expressiveness and sensitivity of the popular song.

(01). Makedonsko
(02). Sürmeli Feridem
(03). Damda
(04). Bavna
(05). Romski Çoçek
(06). Gül Ali
(07). Nestinar
(08). Lamba da sisesiz yanmaz mi ?
(09). Agir Bulgar Intro
(10). Agir Bulgar
(11). Ergenski
(12). Dramanin Içinde
(13). Krivoto

256 kbps including Covers

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Antonio Mairena - Actuaciones Históricas

Posted By MiOd On 10:09 AM 0 comments
The label RTVE Música has released two compact dicks with the cantes of Antonio Mairena, a unique figure in the history of flamenco singing, taken from material recorded by Spanish national radio broadcasts of live performances in various appearances at festivals and 'peñas' between 1970 and 1981.

El sello RTVE Música, pone a disposición de los aficionados y público en general, dos discos compactos con el cante de Antonio Mairena, una figura irrepetible del Cante Flamenco, que en su día Radio Nacional de España le grabó en directo en sus distintas actuaciones desde 1970 hasta 1981.

CD1
1. Si me encuentras por la calle (Soleares)
Guitarrista: Enrique de Melchor 10'56''
2. El día que en capilla (Seguiriyas)
Guitarrista: Melchor de Marchena 12'00''
3. Es verdad que yo tengo una queja (Soleares)
Guitarrista: Enrique de Melchor 09'16''
4. Que tu no me querías (Bulerías)
Guitarrista: Melchor de Marchena 09'00''
5. Se me murió mi mare (Seguiriyas)
Guitarrista: Enrique de Melchor 11'05''
6. Yo nunca a mi ley falté (Soleá por bulerías)
Guitarrista: Melchor de Marchena 09'54''
7. Me gustan las canasteras (Bulerías)
Guitarrista: Melchor de Marchena 07'57''

CD2
1. Tengo mi corazón más negro (Bulerías) Guitarrista: Enrique de Melchor
09'24''
2. Mi camisa me la quito (Soleares) Guitarrista: Enrique de Melchor
09'04''
3. Serían las cuatro de la mañana (Cantes de fragua) 03' 09''
4. A la mujer que me busca (Seguiriyas) Guitarrista: Pedro Peña
09'44''
5. Señá María Dolores (Cantiñas-Alegrías) Guitarrista: Enrique de Melchor
09'30''
6. Curro Puya estaba durmiento (Cantes de fragua) 01'50''
7. Mal fin tenga este civil (Bulerías)
Guitarrista: Enrique de Melchor 08'23''

MP3 320 kbps including full scans

Part 1 || Part 2

Entre Amigos (Imbaya - South American Indian Flutes)

Posted By MiOd On 4:26 AM 0 comments
Track Listing
-------------
01. Jala Cuitzagu
02. Sueve viene Ilegando
03. Taquirari del verano
04. Yamor
05. Rumi Pamba
06. No mientas no hagas guerra
07. Cotahuasina
08. Na Yachanichu
09. Kori Canastita
10. Camino del Llano
11. Juyascha Huarmigu
12. Imbaya vientos Andinos
13. Conimista
14. Jinetes en el cielo
15. Suave viene Ilegando

WV (EAC Rip): 370 MB | MP3 - 320 kbs: 135 MB | Covers

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Kıbrıs'ın Sesi (Music Of Cyprus)

Posted By MiOd On 11:45 AM 0 comments
Music Of Cyprus ~ the album tunes are presented in section and play music with the output of the journey as an architect, Mehmet Ali Sanlıkol and his friends. Founded in music of Cyprus, cultural bridge between the two main ethnic element of neither the first nor the last to say that they should stand. Turkey's remaining music CD album, issued by companies in the program, Famagusta Festival the night before 10, the silence of the night of August divides Cyprus, the sound was full of bugs so envy...

Asmaların altında, evlerinin balkonunda, köy meydanlarında ya da canlarının çektiği herhangi bir yerde serinliğin tadını çıkarmaya çalışan adalıların Kıbrıs’a özgü binbir çeşit mezeyi içkilerine katık ettikleri, yasemin kokularına bulanmış keyifli ve sıcak bir Kıbrıs akşamıydı.

Salamis Antik Tiyatro’nun 3000 kişilik taş amfisinde, farklı bir keyfi yaşamak isteyen sadece 150-200 kişilik bir izleyici topluluğu vardı.

23 Haziran - 15 Temmuz tarihleri arasında toplam 8 etkinliğe ev sahipliği yapan 12. Uluslararası Mağusa Kültür Sanat Festivali’nin, 9 Temmuz akşamındaki konukları aslında bu festivalin sanatçı kategorisindeki ev sahipleriydiler de.

Mehmet Ali Sanlıkol (D. M. A. New England Konservatuarı - ABD) Dünya organizasyonu başkanı olup aynı zamanda besteci ve caz piyanisti olarak adından söz ettiren Kıbrıslı bir müzisyen. Sahneyi ve faaliyetlerini Amerika Birleşik Devletlerinde sürdüren müzik vakfı Dünya organizasyonundaki müzikal çalışma platformunu paylaştığı müzisyen arkadaşları Theodoulos Vakanas, Panayiotis League, Cem Mutlu, Noam Sender, Engin Günaydın ve Robert Labaree’yle Salamis Antik Tiyatro’nun görkemli atmosferinde, Kıbrıs’ın müzik geleneğinden süzülmüş ezgileri maalesef pek az Kıbrıslı izleyiciyle buluşturabildiler.

Türkçe ve Rumca ezgilerin bir arada sunulduğu Mağusa Festivali’ndeki Kıbrıs’ın Sesi başlıklı konser, 7’den 70’e hemen her Kıbrıslı’nın izlerken sıkılmayacağı, kâh neşeli ve oynak ritimleriyle yerinde duramayacağı, kâh eski bir aşkın ansıttıklarıyla hüzünle gözlerinin derinliğinde gökyüzündeki yıldızları kovaladığı, kâh bir Mevlevi sema ayininden ya da eski bir taş kilisenin duvarları arasındaymışçasına Aziz Yorgi’nin kahramanlık söylenceleri arasında mistik bir yolculuğa çıkaracağı türdendi.

Mehmet Ali Sanlıkol ve ABD’degerek akademik alanda, gerekse müzikal ortaklıklarda birlikte çalıştıkları müzisyen arkadaşlarının da içinde yer aldıkları Dünya müzik organizasyonu, kâr amacı gütmeyen, vergiden muaf eğitim amaçlı bir vakıf. Etkinliklerini ABD’nin Massachusetts eyaletindeki Boston kentinde sürdüren vakfın özelliği, birçok değişik Türk geleneğinin modern bir anlayış içinde, kimi zaman tek başına, kimi zaman da başka dünya gelenekleriyle tanıtılmasını hedefleyen bir kuruluş olması. Performans, kayıt, yayın ve diğer eğitim amaçlı etkinliklerle bu amacını gerçekleştirmeye çalışan Dünya müzik organizasyonu üyeleri, kültürel/dini organizasyon ve müzikal gruplarla çalışmak ve paylaşmak arzusunu sürdürüyor.

Geçen yıl Türkiye’deki Kalan Müzik şirketi tarafından yayımlanan CD albümündeki program, Mağusa Festivali’nde 10 gece önce, gecenin sessizliğini bölen ağustos böceklerini kıskandıracak denli Kıbrıs sesleriyle doluydu.

Salamis Antik Tiyatro’da sunulan programda Düğün Müzikleri (Kozan Marşı/Syrtos ve To Tragoudi Tou Gamou), Aşk Şarkıları (Sabahın Seher Vahdında ve Dolama/Na Sou Goraso Mihanin), Kıbrıs’ta Dini Müzik (T’ai Giorki ve Şem-i Ruhuna), Köy (Abdal Zeybeği), Kıbrıs’ta Geçmişe Yolculuk (Kartal ve Sousta), Zeybekler (Varys Zeybekikos ve Sarhoş Zeybeği/Ime Tze Ganomatzis) ve projeye adını veren Kıbrıs’ın Sesi (Agapisa Tin Pou Karkias, Feslikan/Syrtos, Orak/To Mashairin, Dillirga/Tillyrkotissa) başlıklı bölümlerde sunulan ezgiler ve oyun müzikleriyle çıkılan yolculuğun mimarları olan Mehmet Ali Sanlıkol ve arkadaşlarının, müzikle kurulan Kıbrıs’ın iki temel etnik unsuru arasındaki kültürel köprünün ne ilk ne de son ayağı olduklarını söylemek gerekir.

Nitekim, yukarıda adı anılan müziklerin hemen çoğunun onyıllar hatta yüzyıllar içinde söylenegelmiş ortak şarkılardan oluştukları düşünülürse, Kıbrıs’ta barış adına, iki toplumun yeniden birlikteliği adına atılacak adımların temel noktasında, kültürün birleştiriciliği unsurunun en ön planda olması gerektiğini vurgulamak isterim.

Bu konseri kaçıran Kıbrıslılar, Sanlıkol ve müzisyen arkadaşlarının CD albümünü edinerek en azından kendi özel ortamlarında da bu keyfe ortak olabilirler.

Mehmet Ali Sanlıkol ve arkadaşları, müzikle kurulan Kıbrıs’ın iki temel etnik unsuru arasındaki kültürel köprünün ne ilk ne de son ayağıdır. Albümlerindeki müziklerin hemen çoğunun onyıllar hatta yüzyıllar içinde söylenegelmiş ortak şarkılardan oluştukları düşünülürse, Kıbrıs’ta barış adına, iki toplumun yeniden birlikteliği adına atılacak adımların temel noktasında, kültürün birleştirici yanı ön planda tutulmalıdır.

Müzik çalışmalarını Mehmet Ali Sanlıkol’la birlikte ABD’de sürdüren farklı ülke ve uluslara mensup müzisyenler, geçen yıl yayımlanan ‘Kıbrıs’ın Sesi’ adlı albümle adanın iki farklı ya da ortak müzik geleneğinden örnekleri sunuyorlar.

(01). Düğün Müzikleri: Kozan Marşı / Syrtos
(02). Düğün Müzikleri: To Tragoudi You Gamou
(03). Aşk Şarkıları: Sabahın Seher Vahdında
(04). Aşk Şarkıları: Dolama / Na Sou Goraso Mihanin
(05). Kıbrıs'ta Dini Müzik: T'ai Giorki
(06). Kıbrıs'ta Dini Müzik: Şem-i Ruhuna
(07). Köy: Abdal Zeybeği / Aptalikos
(08). Kıbrıs'ta Geçmişe Yolculuk: Kartal
(09). Kıbrıs'ta Geçmişe Yolculuk: Sousta
(10). Zeybekler: Varys Zeybekikos
(11). Zeybekler: Sarhoş Seybeği / Ime Tze Ganomatzis
(12). Kıbrıs'ın Sesi: Agapisa Tin Pou Karkias
(13). Kıbrıs'ın Sesi: Feslikan / Syrtos
(14). Kıbrıs'ın Sesi: Orak / To Mashairin
(15). Kıbrıs'ın Sesi: Dillirga / Tillyrkatissa

256 kbps including Covers

HERE

World Groove

Posted By MiOd On 10:07 AM 0 comments
Deciding not to pigeonhole themselves with any single culture to work from as a base, the folks at Putumayo this time have put out an album of groove music from a sector no smaller than the world itself. Despite this original statement though, the focus of the music lies in Europe and Africa, with some small bits of disruption. The phenomenon of dance music has its core in Europe, so it's not terribly surprising that they'd be at the forefront of the world groove (aka world-tronica, aka ethno-trance) movement, as well as purely European dance music that features heavily here. The album opens up with the French DJs Rouge Rouge and a surprisingly catchy bounce. Turk Mustafa Sandal has a remix straight from mid- to late- '90s American R&B, and some very nice electro-pop from a German group leads into another French DJ collective, closing the first European pass with a surprisingly effective Cuban hook. Starting a tour of Africa, the current master of fusing the old and new, Issa Bagayogo, combines synths, koras, and ngonis on a hit from his Timbuktu album. Zap Mama bridges the gap between continents culturally, adding a deep thump under the usual vocal prowess, and a hip-hop hit from Cheb Mami's Dellali album follows, moving the focus north a bit. Finishing up the African pass is South African Brenda Fassie, remixed into some dub-like dance. Moving out of the main spheres a bit at the end, there's a piece of electro-son from Edesio, and a piece from the Middle East by Lebanese Ragheb Alama. Included with the disc is a stray Egyptian/Indian video from the Travel the World With Putumayo DVD, as well as a full album-length sampler taking from the full lines of groove and lounge CDs on Putumayo. Given the incredible beats and dance music on the primary disc, and some extra bonuses, this disc ranks highly among world dance releases for the year. ~ Adam Greenberg, Rovi

Deciding not to pigeonhole themselves with any single culture to work from as a base, the folks at Putumayo this time have put out an album of groove music from a sector no smaller than the world itself. Despite this original statement though, the focus of the music lies in Europe and Africa, with some small bits of disruption. The phenomenon of dance music has its core in Europe, so it's not terribly surprising that they'd be at the forefront of the world groove (aka world-tronica, aka ethno-trance) movement, as well as purely European dance music that features heavily here. The album opens up with the French DJs Rouge Rouge and a surprisingly catchy bounce. Turk Mustafa Sandal has a remix straight from mid- to late- '90s American R&B, and some very nice electro-pop from a German group leads into another French DJ collective, closing the first European pass with a surprisingly effective Cuban hook. Starting a tour of Africa, the current master of fusing the old and new, Issa Bagayogo, combines synths, koras, and ngonis on a hit from his Timbuktu album. Zap Mama bridges the gap between continents culturally, adding a deep thump under the usual vocal prowess, and a hip-hop hit from Cheb Mami's Dellali album follows, moving the focus north a bit. Finishing up the African pass is South African Brenda Fassie, remixed into some dub-like dance. Moving out of the main spheres a bit at the end, there's a piece of electro-son from Edesio, and a piece from the Middle East by Lebanese Ragheb Alama. Included with the disc is a stray Egyptian/Indian video from the Travel the World With Putumayo DVD, as well as a full album-length sampler taking from the full lines of groove and lounge CDs on Putumayo. Given the incredible beats and dance music on the primary disc, and some extra bonuses, this disc ranks highly among world dance releases for the year. ~ Adam Greenberg

1. Attention - Rouge Rouge
2. Aya Benzer - Mustafa Sandal
3. Ich Weib Warum - 2raumwohnung
4. Sous le Soleil - The Major Boys/Aurelia
5. Nogo - Issa Bagayogo
6. Miss.Q.In - Zap Mama
7. Parisien du Nord - Cheb Mami
8. Ama-Gents - Brenda Fassie
9. El Sopon de Yuya - Edesio
10. Saharony Ellil - Ragheb Alama

FLAC tracks(EAC Rip): 310 MB | MP3 - 320 kbs: 110 MB | Covers

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Musique Ancienne de Chang'an

Posted By MiOd On 3:10 AM 0 comments
Musique ancienne de Chang' An
capitale de la dynastie Tang
Ensemble du Conservatoire Superieur de Xian (Chang'An)
Up until 907, the year of the collapse of the Tang Dynasty (618-907), Chang'an was the Chinese capital for more than 20 centuries. Chang'an was with the Tang Dynasty an important center of commerce and art in all of Asia, where music from many regions could be heard (e.g., Central Asia, India, Korea). The source of the Chang'an music heard on this CD, called Chang'an guyue, is more than 1,000 years old, although it went through many changes over the centuries. It is still performed in Chang'an and the surrounding areas. This music has three formats: singing (solo voice accompanied choir and accompanied as well by a musical ensemble), solo instrumental pieces, or pieces performed by a small ensemble. The instruments are typical Chinese instruments, such as the dizi (bamboo transverse flute), sheng (mouth organ), guan (bamboo or wood oboe), p'ip'a (luth), ruan (round luth), zheng (table zither), and percussion. The interesting point about this music is that it is very different from other more commonly recorded Chinese music. A real surprise for fans of Chinese music. ~ Bruno Deschênes, All Music Guide

This is a fairly unique orchestral recording of music reconstructed from the T'ang dynasty. This was an era during which musicians from around the world took up residence at Chang'an, and the music produced had a lasting impact. Among other things, it was the root of Gagaku in Japan. Indeed, the relationship between these two repertories is only now being explored. The present recital remains conjectural in some ways, but this is an area in which many scholar continue to work. In many ways, the "early music" movement is nearly as active in China as it is in the West.

1. Man yuan chun (The garden is bathed in Spring sunshine) musique de cortège
2. Zhao jun yuan (Zhao jun's lament) solo de luth p'ip'a
3. Zhongnan shan (The Zhongnan mountain) Ge zhang, chapitre chanté (Buddhist)
4. Siji hua (Flowers of the fous seasons) Ge zhang, chapitre chanté (Buddhist)
5. Yu lin ling (The sound of the rain on the bell) hautbois guan, orgues-a-bouche shêng
6. Polomen yin (Noble and Pure) luths p'ip'a et ruan, cithare zheng [sanqu]
7. Meiguandi-shuang yunluo taoqu (Cycle for flute and double gong-chimes) ensemble

Lu ri rong, small cymbals (cha)
Yu zhu, large cymbals (bo)
Yuan ziu he, large cymbals (danao)
Feng ya lan, wooden drum (bangzi)
Liu an liang, drums and double grong-chimes (yunluo)
Cheng tian jian, gong (daluo) and mouth-organ (sheng)
Jiao jie, mouth-organ (sheng)
Yue hua en, mouth-organ (sheng)
Zhao hong bin, mouth-organ (sheng)
Lian jian qun, mouth-organ (sheng)
Qu wen yun, lute (p'ip'a)
Wei jun, zither (zheng)
Zhou you guo, lute (ruan)

Recorded 18-20juin 1991. Maison des Cultures du Monde
Total time: 48.47

FLAC (EAC Rip): 260 MB | MP3 - 320 kbs: 120 MB | Booklet Scans

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Moneim Adwan - Once Upon A Time In Palestine

Posted By MiOd On 2:36 PM 0 comments
Moneim Adwan - Il était une fois en Palestine
Moneim Adwan was born in 1970 at Rafah in the part of Gaza. He start to sing when he was child some populars and religious songs. At 17 years old, he was interesting to play 'Ûd and few years later, he left his country to go to Tripoli (Lybia) where he got a master of Musicology at the University of Arts, with the teachers Fateh el-Ramiz (songs) and Abdallah Sebaï ('Ûd). After a turn in Egypt, Tunisia, Jordania and Irak, he worked during 6 years for differents events of the palestinian gouvernment, Ministery of Education, theater, cinema. He composed a opening music for Bethleem in January 2000. Since 1999, he recorded 3 cds in France : Chicha (meeting with the musician Michel Montanaro and the music of Provence), Nawah (meeting with the singer Françoise Atlan and sefarads songs, Buda Musique), Motayem "ecstatic with love" (meeting with the group Pêcheurs de Perles, music from Irak). In june 2004, he sung for the Fès Festival of world sacred music in Marocco. The songs of Moneim Adwan are his own compositions with all the musical heritage of his culture (traditional palestinian songs and classical arabic music). The text of this musician speak about the history of his country, the feeling and the sawl of palestinian people, the love. His strong and warmer voice who continue to sing is the most beautiful bird to carry the message of peace and hope even the war and the destruction. Moneim would like to transmit the palestinian sawl and philopsophy as much by the traditional repertory Taha than his own compositions Darwish. His last meeting with the sefarad singer Françoise Atlan (Nawah) and the group with irakians influences Pêcheurs de Perles (Motayem) give to him rich exchanges for resonance, tones and meaning.

C’est à Rafah, dans la bande de Gaza près de la frontière égyptienne, que vit Moneim Adwan, chanteur et joueur de oud (sorte de luth). Il est difficile de résister aux émotions diffusées par sa voix qui, pour aller vite, n’est pas sans rappeler celle de Cheb Mami. Tous deux ont en partage cette saisissante aisance à monter vers les aigus. Accompagné d’un ensemble constitué d’un kânun, d’un violon, d’une flûte ney et de percussions, Moneim Adwan emploie ses très sensibles cordes vocales à servir des textes de poètes palestiniens contemporains. Ils expriment l’amour, la beauté des choses, bref tout ce qui apaise et incite à espérer vivre des jours meilleurs. En lançant de tels vers, cet artiste atteint plus sûrement le cœur et l’âme de ses auditeurs que s’il usait des canons de la propagande. Moneim Adwan appartient à cette courageuse confrérie d’artistes qui tissent des liens au lieu de les couper. On l’a par exemple entendu aux côtés de Françoise Atlan dans un répertoire mêlant chants spirituels musulmans et juifs séfarades. Ce rapprochement n’est pas illogique. La musique palestinienne, constituée à la base d’airs inventés par des bergers et de petits agriculteurs, a en effet été soumise à de multiples influences venues de tout le monde méditerranéen. Les uns ont légué un mode, d’autres une ornementation ou une figure de style, tout cela se mélangeant aux traditions bédouines et aux répertoires savants des grandes villes arabes de l’intérieur des terres. C’est de ce creuset que surgit le lyrisme fervent de Moneim Adwan qui, avec ce premier album édité sous son nom, s’impose comme un artiste avec lequel il va falloir compter.

De nos jours, dans les bacs des disquaires de Palestine, on trouve de nombreux enregistrements composés autour de l’actualité qui rythme la vie des Palestiniens depuis 50 ans. Moneim Adwan, grande voix et compositeur de Palestine, a choisi de sortir de cette vision politique de la musique pour proposer une autre musique, un horizon plus élevé, dans un style oriental moderne. « Il était une fois en Palestine » a été composé comme une série de petites chroniques musicales où l'artiste prend la place d'un conteur qui fait apparaître les souvenirs du passé, du présent et de l’avenir. Dans cette suite de petites fictions, les clichés réducteurs qui accompagnent la vision des « Palestiniens » sont mis en défaut car on y rencontre des gens comme les autres qui aiment l'amour, la paix et qui ne désirent que « retrouver le calme bonheur de l'odeur du pain fait à la maison ». Moneim Adwan a proposé à des poètes de lui écrire des textes aussi riches et divers les uns que les autres, qu’il a arrangés et orchestrés avec des musiciens palestiniens, arabes israéliens et égyptiens. Les improvisations du ney et du oud soulignent que dans ce territoire à l’avenir et au présent incertains, la plus belle des musiques est celle que l’on crée dans l’instant pour vivre dans l’esprit même de la musique…

1. Law Ani Moughani (Si j'étais chanteur) (If I Were a Singer) (5:17)
2. Seb'a Nejmat (Sept étoiles) (Seven Stars) (5:10)
3. Chat el Bahr (Le bord de mer) (By the Sea) (7:27)
4. Ana Darwiche (Je suis le derviche) (I Am a Dervish) (6:20)
5. Saher al Hawa (Amour ensorcelant) (Bewitching Love) (7:35)
6. Douzeni (Harmonie) (Harmony) (8:39)
7. Qalb (Coeur) (Heart) (5:48)
8. Waqfou Soufouf (Mise en rang) (Sequence) (5:55)

Moneim Adwan - vocals, 'űd
Mahran Moreb - kânun
Safwan Kenani - violin
Youssef Hebeisch - percussion
Adel Shams Eddine - percussion
El Sayed Shaban - ney, kawalâ

FLAC tracks(EAC Rip): 310 MB | MP3 - 320 kbs: 130 MB | Booklet Scans

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Katerina Papadopoulou - Kıyı (Aktes)

Posted By MiOd On 4:26 AM 0 comments
The Greek composer compositions Katerina Papadopoulou'nun second album, "Coast / AKTES" taste of music was presented. Album's music director who is Turkey's most important Lute artists Yurdal Tokcan. A total of 13 songs in the album is one of the interpreters. ”

(01). Ege'ye Yolculuk
(02). 7'de 7
(03). Derin Hatıralar
(04). Dialog
(05). Buluşma
(06). Kalp Fısıltılar
(07). Manolya
(08). Dalgalar
(09). Saçındaki Yıldız
(10). Yunan Dansı
(11). Türk Dansı
(12). Ermeni Dansı
(13). Ritimlerle Dans

256 kbps including Covers

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Amelia Cuni - Morning Meditation

Posted By MiOd On 3:00 AM 0 comments
Morning Meditation - a Dhrupad Recital
Amelia Cuni was born in Milan, and lived in India for more than 10 years studying Dhrupad singing from renowned masters like Ustad Fahimuddin Dagar, Dilip Chandra Vedi and others. She has been based in Berlin since 1992, where she and sound designer Werner Durand were awarded Artist in Residence grants by the Podewil-Zentrum für Aktuelle Kunst (1999). Cuni performs internationally, presenting solo concerts in Germany, London, Bombay and New Delhi, and participates in festivals such as the Festival of Vision 2000-Berlin and others in Hong Kong, The UK, Germany, Italy, France, Switzerland, Spain, India, China, Brazil and Holland. Cuni's style has both a traditional and experimental orientation; she draws elements from ancient Indian traditional music, yet reaches beyond the boundaries of classicism and form in attempt to explore a new musical terrain. Her experimental esthetic leads Cuni to collaborate with artists from various backgrounds, including early and new music, electronica, ambient, experimental, jazz, folk, dance and theater (composers such as Terry Riley have written especially for her voice). Cuni herself composes songs in Sanskrit, English and Italian. Currently engaged in preserving and fostering Dhrupad music, Cuni teaches Indian singing at the Conservatorio di Vicenza in Italy. Her music is featured on two solo CDs, several collaborative CDs, and on projects for radio and TV.

Dhrupad is an old form of North Indian classical music. It is more austere than the better-known Khayal style and has acquired a new lease on life after finding support in Europe. Dhrupad focuses on the melodic form of the composition and demands much of the artiste in sheer technique. Ms Cuni is startlingly good. It is noteworthy to find a woman singing Dhrupad; it is even more astonishing to find a Western vocal artiste intone Indian chants and verses with unimpeachable authenticity. The diva has a voice with great tonal clarity and range. Add to this her melding of the Dagar and Mallik styles and you have a very rare CD. She is every bit as good in her rendering of Shuddh Todi (a Dagar favorite) as any of their other disciples, if not better. There is a chautaal composition in this followed by a Dhamar. A chautaal composition in Nat Bhairav follows. I wish that the Alaaps were longer. For anyone interested in Dhrupad this album is simply a must. One wishes Ms Cuni every success and hopes to hear more Dhrupad from this young singer.

Great singing voice and vocal technique don't matter. Only raga does.

Every time a European or American musician sits down on the North Indian concert mat, many European and American listeners are beside themselves with hyperbole. Even if the poor soul is only a beginning or intermediate student (everyone gives concerts nowadays), the outrageous praise invariably runs along the lines of "has completely captured the soul of the young Ali Akbar Khan on the sarod", "has now also taken up the sitar like a native" or "easily as good as any Indian master". The Indian classical music tradition goes back many hundreds, arguably thousands of years; child prodigies have been known to undergo 20 years of gruelling training under the best of masters - but of course, any ponytail jazz muso from Jersey, after six months of lessons under some grand-student of Ravi Shankar, will outdo them with no contest as a matter of natural fact.

In this climate, just about any review of such an artist can be accused of racism. Exaggerated praise can be a symptom of a white-supremacy mindset; dismissal is also a tricky business because it is after all not unthinkable that some of these white persons have had to fight uphill battle against culturally conservative Indians, caste-conscious Hindus, who have judged them wholly unfairly on skin color or nationality.

But no balanced review of Amelia Cuni's dhrupad performance on this record could rate it among the best. It is a gimmicky alap, including huge but artless meends that span more than an octave without touching any particular swara on their way. The nomtom is bound to be technically difficult for women but I think her problems here are of a different nature altogether. She does it at multiple speeds but fails to make the parts come together to a coherent whole. And even in the straightest melodic lines her ragadari is not much to my liking. In that department she will probably never attain mastery, unless she devotes her whole life to it. (That's just how stiff the competition is today with giants like the Dagar brothers, Amir Khan, Abdul Karim Khan, Mallikarjun Mansur, Kishori, Kesarbai and Mogubai surviving in hundreds of recordings.)

Cuni's admirers hold her up as the best female dhrupad singer, the best foreign dhrupad singer, and sometimes as the best young dhrupad singer in existence! But as the serious listener will discover, she can not be compared at all to top level singers like the Gundecha brothers or Uday Bhawalkar. Criticised though these chaps have been (and THEY are up against some stiff competition - imagine being compared against old Dagar brothers records!) they are well above the level demonstrated on this album and this fact is evident on the level of handling individual notes and swaras, of shaping the notes. This will not be impossible for a foreigner to learn but it does take time. Long time. Much practice. Amelia is far from worthless, she shows promise, she has put in long and sincere practice and attained respectable results, just not the the level of master singer.

Even on the female side there IS a superior, I'm talking about dear old Ashoka Dhar; few had heard her before her guru passed away last year and she finally agreed to record a CD (Makar Records). She is an old lady, well past her prime and technically she has nothing to set against Cuni's youthful vocalising, but for all the flaws in her voice her ragadari is top notch, venerable old-school Dagarvani stuff, and in the dhrupad part we hear the greatest of differences. Each note of the melody, the soft meends and modulations of volume, is so carefully shaped with such natural ease that Cuni by comparison sounds almost like a machine, or indeed just like a foreign student who has not yet assimilated all the features of the very best.

What I wish all dilettante reviewers would get into their head is that the praise heaped on Cuni is an insult not only to Ashoka Dhar but to Cuni as well, since Cuni would be the first to throw herself on the ground to touch Ashoka's lotus feet.

Interestingly, the Indian audience on this CD is appreciative. In places they vah things like octave jumps in alap or even the odd octave-and-a-half meend. I think the audience is crazy. :) Much has been made of Amelia's training in both Dagar and Mallick style - common today in khyal but unheard of in dhrupad - but I think this is not really evident in her singing. An interesting feature is a kind of frilly trill or warble that sounds a bit unique - I'm not at all against it, I wonder if this element in this form can be traced to the Mallick style because it doesn't sound entirely Dagar.

All in all, the album is not without merit. I remember the days when you could count the available dhrupad recordings on your fingers. Today there have been dozens and dozens of releases, so music lovers no longer have to throw themselves over each and every new CD, but I still think each disc that comes out is interesting because usually the compositions on it have not been recorded before. I do not recommend against ordering this album, but please don't expect a master performance. It's closer to the bottom end of the dhrupad CD spectrum than it is to the top of the heap. Don't believe the hype.

1. Alap in Raga Shuddh Todi
2. Intro Verse to Chantal Raga Shuddh Todi
3. Chantal In Raga Shuddh Todi
4. Dhamar In Raga Shuddh Todi
5. Alap in Raga Nat Bhairav
6. Intro Verse to Chantal Raga Nat Bhairav
7. Chantal In Raga Nat Bhairav

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Sami Yusuf - Wherever You Are

Posted By MiOd On 11:05 AM 0 comments
I’m not shy to reveal that with this album I wish to reach a wider community; in the hope that I could, albeit in some small way, play a part in building bridges and breaking down the barriers and walls that have for far too long prevented us from truly loving and respecting one another. To convey one basic and honest truth; that ultimately, we are One and we are all from the same essence, and although we may feel ‘isolated’ and even frustrated by the things that tend to divide us, we should rejoice in knowing that through our common shared humanity there is in fact much more that unites and binds us.

To be honest, it scares me to see the amount of effort, sweat and time some people spend on trying to hurt others. Plotting away to taint the image of the ‘other’. Can we not see that although the ‘victims’ of such abuse may bear some pain for a limited time, ultimately however, the people who end up suffering the most are those very perpetrators?

It’s time for us to believe in our own healing power. Personally, I believe each and every one of us can be a healer “a smile can change a life, let’s start healing”

Regarding the album, let’s build on the momentum everyone. All the previous actions were meant to ‘damage’ and ‘slow’ us down. Let’s prove that we are ready to face any challenge and obstacle in pursuit of delivering the message of Peace.

Wherever You Are, isn’t just ‘my’ album, it’s OUR album. Share it with your friends, family and the rest of the world

Let’s get the word out everywhere iA.
Thank you all so much and God bless each and every one of you for the support.
Much love to you all

Sami



Track List
[01].Wherever You Are
[02].Salam
[03].Without You
[04].You Came To Me
[05].Give The Young A Chance
[06].Trials Of Life
[07].Worry Ends
[08].Fragile World
[09].In Every Tear, He Is There
[10].Make Me Strong
[11].No Word Is Worthy
[12].Healing (Bonus Track)

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Carpenters - Christmas Portrait

Posted By MiOd On 9:38 AM 0 comments
Originally released in 1978 and reissued on CD in 1984, expanded with tracks from the Carpenters' second Christmas album, AN OLD FASHIONED CHRISTMAS, A CHRISTMAS PORTRAIT is an excellent traditional Christmas album. The track list features stately orchestral arrangements of classic hymns and carols such as "O Come, O Come Immanuel," "God Rest Ye Merry Gentlemen" and "Ave Maria" alongside seasonal pop standards like "Have Yourself A Merry Little Christmas," "Sleigh Ride" and Mel Torme's "The Christmas Song."

There's even a Richard Carpenter original, the touching "Merry Christmas Darling." As always, Karen Carpenter is in excellent voice, singing with the dusky, almost melancholy style that gave all of her music a certain poignancy even before her tragic death in 1982. The original album also appeared in the import two-CD set A CHRISTMAS COLLECTION.

Additional personnel includes: Bob Messenger (tenor saxophone); Pete Morgan (acoustic bass); Joe Osborn (electric bass); Ron Tutt, Barry Morgan, Cubby O'Brien (drums).

The Carpenters: Karen Carpenter (vocals); Richard Carpenter (keyboards).




Track List

[01]. It Came Upon A Midnight Clear
[02]. Overture (Medley)
[03]. An Old-Fashioned Christmas
[04]. Christmas Waltz
[05]. Sleigh Ride
[06]. It's Christmas Time
[07]. Have Yourself A Merry Little Christmas
[08]. Santa Claus Is Comin' To Town
[09]. Christmas Song
[10]. Carol Of The Bells
[11]. Merry Christmas Darling
[12]. Christ Is Born
[13]. O Holy Night
[14]. Home For The Holidays
[15]. Medley - Here Comes Santa-Frosty-Rudolph-King Wenceslas
[16]. Winter Wonderland-Silver Bells-White Christmas
[17]. Ave Maria
[18]. Selections From 'Nutcracker'
[19]. Little Altar Boy
[20]. I'll Be Home For Christmas
[21]. Silent Night

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B.B King - A Christmas Celebration Of Hope

Posted By MiOd On 6:08 AM 0 comments

[01]. Please Come Home For Christmas
[02]. Lonesome Christmas
[03]. Back Door Santa
[04]. Christmas In Heaven
[05]. I'll Be Home For Christmas
[06]. To Someone That I Love
[07]. Christmas Celebration
[08]. Merry Christmas Baby
[09]. Christmas Love
[10]. Blue Decorations
[11]. Christmas Comes But Once A Year
[12]. Bringing In A Brand New Year
[13]. Auld Lang Syne

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Richard Clayderman - Christmas

Posted By MiOd On 6:04 AM 0 comments

[01]. White Christmas
[02]. O Tannenbaum He Was Born The Holy Child
[03]. Silent Night, Holy Night
[04]. Ave Maria (Gounod)
[05]. Christmas Concerto
[06]. Little Red Nose Reindeer
[07]. Little Drummer Boy
[08]. Moonlight Sonata
[09]. Jingle Bells
[10]. Leise Rieselt Der Schnee
[11]. Largo
[12]. Romance
[13]. O Tannenbaum
[14]. The Candles Twinkle On The Christmas Tree
[15]. Jesus Joy Of Man’s Desiring
[16]. Ave Maria (Schubert)

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Macadi Nahhas - Kan Ya MaKan

Posted By MiOd On 6:03 AM 0 comments

Track List
[01].Jaween Ahleno
[02].Khala Shakou
[03].Ji Mali Wali
[04].Sqhayra Kent Went Sghayroon
[05].Hatha El Helo Katelni Ya 'Amma
[06].Ji Mali Wali(With Oud)
[07].Khala Shakou (With Oud)

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Macadi Nahhas - KhilKhal

Posted By MiOd On 6:02 AM 0 comments
Macadi Nahhas is a leading light among the young Jordanian artists, has a sparkling talent, distinguished voice and an astonishing presence. With her own special style she revived music and songs from the Middle Eastern Heritage and folklore that was long forgotten. Macadi Nahhas, born in Amman 1977, obtains a Diploma in music from the Music Conservatory of Beirut. Her music career began after her first live performance at Jerash festival in 1997, Since then Macadi has been active in the music scene where she performed in various cultural festivals and events in Jordan, Lebanon, Tunisia, Dubai, Denmark.

In 2004, she released her debut album “Kan Ya Ma Kan”, a project from the Iraqi Heritage. In the same year, and under the patronage of H.E Minister of Culture, she presented a joint work with the well-known Lebanese poet Zahi Wahbeh in Poetry readings accompanied by Acapella singing.

Then the Greater Amman Municipality produced a song titled “Amman” composed by Charbel Rouhana, and by the end of the year she participated in the song “Inti El Shams”, dedicated to victims of the November terrorist acts in Amman, with Ruba Saqr and Sawsan Habib the composer of the song.

Her latest Single is a song for Jordan titled “Sourouh Al Urdon”, composed by Sawsan Habib, lyrics by Poet Mohamad Damra, arrangement by Abboud Al Saadi, and was presented to H.M. King Abdullah II, on the occasion of his birthday, at the launch ceremony of “Saraya Al Aqaba” Project 2006.


Track List
[01]. W Rahal
[02]. Natalie
[03]. Mweil El Hawa
[04]. Ammi Ya Bou El Fanous
[05]. Irzal
[06]. Marrain
[07]. Leila
[08]. Hayya A'La Hayya


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Ustad Fateh Ali Khan - Bandish

Posted By MiOd On 3:59 AM 0 comments
Ustad Fateh Ali Khan With Lahore's Greatest Musicians - Bandish
Ustad Fateh Ali Khan (Gwalior Gharana)

A descendent of the Gwalior Gharana, Ustad Fateh Ali khan comes from a great line of musicians. His training in classical music came from his father, Ustad Ghulam Rasool Khan and his uncle, Ustad Umeed Ali Khan, well known for their music in the subcontinent.

Ustad Fateh Ali Khan began performing on Pakistan radio at an early age. Today, he is regarded as one of the best exponents of classical music and has received acclaim both nationally and internationally. Ustad Fateh Ali Khan has performed at numerous international venues, including the United Nations and for the king of Norway. He has been the recipient of many awards, including the President's Award for pride of performance in 1991.

Ustad Fateh Ali Khan has a unique style of classical singing and possesses knowledge of a vast array of classical compositions.

Bandish

The idea of "Bandish" is to bring classical music to all, especially to the younger generation with full splendour of Ustad Fateh Ali Khan's voice. This is perhaps the first time that such classical compositions have been supported by orchestral arrangements played by the great musicians of Lahore, while keeping the purity of the raga intact.

“Bandish” has nine raga-based compositions that make the age- old tradition of classical singing more accessible to many who have lost the need to listen to classical music. It is an endeavor towards something fresh and timeless.

1. Raga Bhoop Kalyan
Beyqdaran naal laiyan akhiyan jal bhariyan...
2. Raga Gandhari Todi
Hey Maa jiya ra larje mora...
3. Shabad and Dhrupad in Raga Sorath
Mittar Piyaray noun hal mureedan da kehna...
4. Raga Zila
Gaali Daind Ni hall ni mera kamli da Ranjha
5. Raga Bihari [Thumri]
Kaisay guzaroun saari rayn...
6. Raga Bindrabani Sarang
Dekho kaisa kaisa naach banaya..
7. Raga Kamod
Baje Rey newar baje...
8. Raga Durga
Mainay wohi rang rangaya...

Vocals - Ustad Fateh Ali Khan [Gwalior Gharana]
Music arranged by - Akhtar Hussain Akhian,
Mian Sheheryar, Wazir Afzar
Conceived and Produced by - Izzat Majeed and Mushtaq Soofi
Recorded at - Raja Harisson at Wave Studio, Lahore
Final Mixing and Sound Engineering - Christoph Bracher, London
Final Mastering - Christoph Bracher, London
Project Consultant - Jay Visva Deva

FLAC(EAC Rip): 410 MB | MP3 - 320 kbs: 185 MB | Booklet Scans

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Katerina Papadopoulou - Anatoli, Anatoli mou

Posted By MiOd On 7:17 PM 0 comments
Track Listing
-------------
(01). ANATOLI MOU (My Sunrise) - Katerina Papadopoylou
(02). YIATI M'AGAPISES (Because you loved me) - Pelagia Nikolaidou
(03). KODA SOU (Close to you) - Katerina Papadopoylou
(04). TA PSEMATA (Lies) - Pelagia Nikolaidou
(05). INE AITENS (An eagle) - Stathis Nikolaidis
(06). POTE KE PADA (Never and always) - Pelagia Nikolaidou
(07). AH, I KARDIA MOU (Oh, my hearth) - Pelagia Nikolaidou
(08). PODIAKO MOU YIASEMI (My jasmin from Black Sea) - Giorgos Xiloyris
(09). MES STIN KARDIA MOU (Inside my hearth) - Katerina Papadopoylou
(10). AGRIMAKI (Little wild thing) - Pelagia Nikolaidou
(11). ANAMONI (Waiting) - Pelagia Nikolaidou
(12). EKINI POU INE LISMONIMENI (The one who is forgotten) - Katerina
(13). ONIRO (Dream) - Pelagia Nikolaidou

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Shankar - Pancha Nadai Pallavi

Posted By MiOd On 5:19 PM 0 comments
As if playing one violin within the Western art music tradition wasn't difficult enough, the virtuoso L. Shankar has made it his trade to both sing and play a customized double violin within the contexts of Hindustani, Carnatic, Western, and experimental musical sensibilities. On this 1990 ECM release, Pancha Nadai Pallavi, he lays down two tracks, the first without percussion and the second in collaboration with Zakir Hussain on tabla and Vikku Vinayakram on ghatam. Caroline also accompanies the L. Shankar with the drone setting sruthi (a small one-note hand-pumped reed organ) and talam (a pair of small hand cymbals). With the first track L. Shankar performs the ragam "Sankarabharanam" (a ragam is the Carnatic equivalent to the Hindustani raga). For nearly 30 minutes he elegantly articulates an innumerable series of variations on traditional forms, melodies, and rhythms. The double violin allows him to imitate the sounds of a multi-octave string ensemble. On the CD's second cut a serpentine nine and one-half beat rhythmic cycle, the Mahalakshmi Tala, provides the temporal framework for the performance. An original creation by L. Shankar himself, this tala is realized by tabla superstar Zakir Hussain and the celebrated ghatam (clay water pot) player Vikku Vinayakram. Both of these percussive masters draw a myriad of tones and conjure up a fortified stew of rhythmic cadences from their respective instruments. In sum, Shankar's Pancha Nadai Pallavi is a smashing CD that represents virtuosic creativity and experimentation at work in both solo and collaborative contexts. ~ John Vallier, All Music Guide

1. Ragam: Sankarabharanam
2. Talam: Mahalakshmi Tala (9 1/2 Beats) /Pancha Nadai Pallavi

Shankar: double violin, vocals
Zakir Hussain: tabla
Vikku Vinayakram: ghatam
Caroline: talam, sruthi

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Women of Africa

Posted By MiOd On 7:40 PM 0 comments
Women have always been at the center of sub-Saharan music, as they were the keepers of the hearth, intimately involved in the life-sustaining mysteries of agriculture, food preparation, birth, and death. However, Africa, like the rest the world, is in the throes of social change. Female roles are evolving and the artists heard here represent a confident, worldly sensibility. The roster encompasses Dorothy Masuka's comfortable, gospel-flavored South African jazz, Maria de Barrios' sensual Cape Verdean morna, and a liltingly tonal ballad from Paris-based Algerian refugee Souad Massi. But a major reason to purchase this album is the track by Khadja Nin of Burundi; her deep-toned, knowing, unpolished voice transforms a Stevie Wonder tune into an ecstatic anthem of empowerment. Despite the occasional overuse of easy-fix electric keyboards, each singer emerges as a force to be reckoned with as, one by one, their voices salute the earth and soar into the heavens. --Christina Roden

01. Tshephile Mang
02. Bahia
03. Mi Nada Um Ca Tem
04. Mayihlome
05. Retany [Radio Edit]
06. To Ndje
07. Mfan' Omncane
08. Hima
09. Abiani
10. Raoui
11. Sina Mali, Sina Deni
12. Vimba

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Dood-e-Ood - Shajarian

Posted By MiOd On 4:40 AM 0 comments
One of the best Shajarian album, with greatest iranian masters : Parviz Meshkatian (composer), Asghar Bahari (kamantche) and Dariush Talaï (tar)

Composer : Parviz Meshkatian
Arrangement : Kambiz Roshan Ravan
Lyrics : Attar and Rumi
dastgah (musical mode) : Nava

Mohammad Reza Shajarian : vocal
Dariush Talaï : tar
Asghar Bahari : kamanche
and Tehran symphony orchestra

1. pishdaramad
2. avaz
3. chaharmezrab-e nahoft
4. avaz-e nahoft
5. tasnif

224 kbps including Front Cover

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Dalida: Les années Orlando Vol.1 - La rose que j'aimais

Posted By MiOd On 12:32 PM 0 comments
Although best known as a pop singer, Dalida also appeared in a dozen movies during an entertainment career lasting just over 30 years. Born Yolande Christina Giglioti in Cairo, Egypt, in 1933, she won the title of Miss Egypt in 1954, which included a role in a movie as part of the prize. She made her first credited screen appearance in the Egyptian-made feature Sigarah Wa Kas, directed by Niazi Mostafa. At that time, Giglioti started using the stage name Delila, owing to a resemblance between her and Hedy Lamarr in the role of Delilah in the Hollywood epic Samson and Delilah. Having quickly risen as far as she could in the Egyptian film industry, she went to Paris in hopes of expanding her movie career and got a role in the feature Le Masque de Toutankhamon, directed by Marco De Gastyne. She also altered the spelling of her stage name to Dalida and it stuck. She was discovered by Bruno Coquatrix, a producer at the Olympia Theater, radio producer Lucien Morisse, and record company owner Eddie Barclay, and was transformed over the next year into a singing star -- her second single, "Bambino", sold over a million copies in France and throughout Europe during 1956. Dalida continued appearing in movies through the late '50s and early '60s, playing straight acting roles in vehicles ranging from the spy thriller Rapt Aux Deuxieme Bureau (1958) to frothy sex comedies such as Menage Italian Style (1965). Most of these were not released in America (or were given only the most limited distribution), but were major successes in Europe. Although music was the major focus of her career from the early '60s onward, she never entirely gave up movies and, in 1986, the year before her death, she returned to her native Egypt to make a film, The Sixth Day, with director Youssef Chahine, an old friend from her early career, in which she gave what critics felt was a superb performance. Dalida was a larger-than-life presence in French and European popular culture. Vocally, she was somewhere between Petula Clark and Astrud Gilberto, but her personal life was closer to that of Judy Garland, marred by divorce, the suicide of one lover and also of her ex-husband. In 1967, she was hospitalized following a suicide attempt. Twenty years later, while seemingly in the midst of another comeback, she took her own life with an overdose of barbiturates. ~ Bruce Eder, Rovi

(01) [Dalida] La rose qui j'aimais
(02) [Dalida] Ils ont change ma chanson
(03) [Dalida] Lady d'Arbanville
(04) [Dalida] Comment faire pour oublier
(05) [Dalida] Avec le temps
(06) [Dalida] Si c'etait a refaire
(07) [Dalida] Jesus bambino
(08) [Dalida] Darla dirladada
(09) [Dalida] Pour qui pour quoi
(10) [Dalida] Mamy Blue
(11) [Dalida] Tout au plus
(12) [Dalida] Mon frere le soleil
(13) [Dalida] Entre les lignes entre les mots
(14) [Dalida] Les jardins de Marmara
(15) [Dalida] Une Jeunesse
(16) [Dalida] Diable de temps
(17) [Dalida] Ram dam dam

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Shankar - Nobody Told Me

Posted By MiOd On 6:48 AM 0 comments
In this album, Shankar displays that he is adpet at the carnatic vocal as well as the (double) violin. The alapana in Chakravakam is one of the rare of its kind. It is a sheer joy to hear Shankar improvising in this song. This goes onto show Shankar has the range of voice that suits him for carnatic music. An album of three carnatic songs - with one Tilana in Hindolam 1. Chittham Irangaayo (Ragam: Hamsadhvani / Talam: Adi) 2. Chodhanai Thanthu (Ragam: Chakravakam / Talam: Adi) 3. Nadru Dri Dhom - Tillana (Ragam: Hindolam / Talam: Adi) FLAC (EAC Rip): 170 MB | MP3 - 320 kbs: 95 MB | Covers Archives have 3% of the information for restoration FLAC HERE OR MP3 320 kbps HERE

New World Party

Posted By MiOd On 8:05 PM 0 comments
The Putumayo label has sometimes been guilty of a certain overweening multicultural earnestness in its presentation of various ethnic music traditions. On this winning compilation, though, it's all about the groove. Leading off with a cool, beat-heavy remake of Miriam Makeba's "Pata Pata" and proceeding through examples of, among other things, Senegalese funk ("Xel" by Aby N'Dour), reggae-inflected Haitian creole hip-hop (Wyclef Jean's exceptionally fine "Sang Fezi"), and bouncy South Asia-influenced pop (Dissidenten's "Lobster Song"), New World Party delivers a pretty flawless combination of cultural edification and booty shakification.Los Mocosos, a San Francisco-based Latin band, contribute a sort of salsa-reggae fusion on "La Boa"; Algeria's Hamid Baroudi delivers straight-ahead funk that George Clinton could be proud of (albeit with a quavering Arabic vocal accompaniment); Daude combines downtempo hip-hop with Brazilian soul on the lovely "Vamos Fugir." The album title says it all. ~ Rick Anderson, All Music Guide

In celebration of the millennium, Putumayo, known for its roots, folk, and international musics, casts a wider net than ever with New World Party. A thoroughly digable collection, these 11 songs not only go global, but hit the club circuit as well, spinning out a rockin' celebration of Algerian funk, Brazilian rhythm & blues, Haitian-Creole rap, and Senegalese hip-hop. Loaded with fat beats and pumping with energetic melody, the offerings of New World Party get the good times started and keep the booties shaking long past midnight. Chico César's "Da Licenca M" (or "Excuse Me, Dude") brews up some reggae-inflected Brazilian pop music, Miriam Makeba updates her signature South African song (a hit in 1967) to "Pata Pata 2000," and things kick into high gear when Los Mocosos refresh the classic Mexican tune "La Boa" with a raunchy salsa style crossed with modern swing. New World Party is terrific for those wishing to branch out, yet not knowing where to begin sampling more exotic fare. The Fugees' Wyclef Jean scores some points with "Sang Fezi," which, with the Refugee Allstars' fine accompaniment and Lauryn Hill wailing an English chorus, is one of the record's strongest tracks.

01. Pata Pata 2000 - Miriam Makeba
02. Lobster Song - Dissidenten
03. Caravan II Baghdad (Sodi Mix) - Hamid Baroudi
04. Kel - Aby N'Dour
05. Na - Ramata Diakite'
06. Habib - Gal Costa
07. Da Licenca M - Chico Cesar
08. La Boa - Los Mocosos
09. Mev Amor Mev Bem Me Ame - Zeca Baleiro
10. Sang Fezi - Wyclef Jean
11. Vamos Fugir - Davde

FLAC(EAC Rip): 305 MB | MP3 - 320 kbs: 105 MB | Covers

Archives have 3% of the information for restoration

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Part 1 | Part 2

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