Slonovski Bal - Dzumbus

Posted By MiOd On 6:14 AM 0 comments
Slonovski Bal breathes a wind native to the central European Balkans. A perfumed wind blended with the centennial epic of the Gypsies and a unique mix of European, Slavish, Turkish and Mediterranean cultures. For the past ten years, Slonovski Bal have been setting the stage on fire, surprising with the singularity and authenticity of his music. Burning with the energy of a everchanging tradition, each member brings their unique musical background in order to create a decisively modern sound.
(01). Dzumbus
(02). Moscow Fever
(03). Darijeva Igra
(04). Karamele
(05). Medeni Slon
(06). Jos Samo Jednom
(07). Sandovo Gardarsho Oro
(08). Hora Stinga
(09). Papazicka Recenica
(10). Zapadni Vetar
(11). Istocna vatra
(12). Le Bal De La Marine

MP3 VBR kbps including Covers

HERE

Amabutho - Sikelela

Posted By MiOd On 1:45 PM 0 comments
It isn't hard to understand why someone who is exploring modern African pop for the first time might feel overwhelmed. There are at least 45 different countries in Sub-Saharan Africa (that is, Africa south of the Islamic Maghreb countries of Arabic North Africa), and African pop includes a long list of different styles of music. Amabutho embrace a form of African pop that is distinctly South African, which makes sense because South Africa is where they are from. Vocally, there are definite parallels between what this group does and what the well-known South African a cappella group Ladysmith Black Mambazo does, but Amabutho's debut album, Sikelela, is far from a cappella music. In fact, Amabutho's extensive use of the marimba is a crucial part of the musical identity that they project on this two-disc set, which consists of a DVD and an audio CD. Sikelela contains a 48-minute live-in-the-studio performance that was filmed/recorded in Johannesburg, South Africa; the same songs are offered on both the DVD and the audio CD, although the DVD contains some bonus material (including an interview and photographs). And whether one is enjoying the CD or the DVD, it is obvious just how important marimbas are to Amabutho's melodic yet consistently percussive sound -- which owes a lot to traditional South African tribal music but nonetheless falls into the South African pop category. The instrumentation is strictly acoustic, combining all those marimbas with various percussion instruments -- and between the Mambazo-ish vocals and the marimbas, Amabutho's sound is quite addictive. Amabutho show considerable promise on this excellent debut. ~ Alex Henderson, Rovi

(01) [Amabutho] Umoja (Unity)
(02) [Amabutho] Amabutho (The Warriors)
(03) [Amabutho] Satiwamina (My Wife)
(04) [Amabutho] Theletsha Meropa (Listen To The Drums Of Africa)
(05) [Amabutho] Ndzeleketsi (Accompany Me)
(06) [Amabutho] Sikelela (Blessings)
(07) [Amabutho] Tsotsi (Gangster)
(08) [Amabutho] Uyaclaima (Boasting)
(09) [Amabutho] Nomalizo (Naughty Young Girl)
(10) [Amabutho] Old NR 7

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

Archives have 3% of the information for restoration

FLAC
Part 1 | Part 2

OR MP3 320 kbps
HERE

Şirin Pancaroğlu - Barokarp (Solo Harp)

Posted By MiOd On 2:54 PM 0 comments
Şirin Pancaroğlu - Harpist:
At first glance, Turkey’s most renowned harpist, Şirin Pancaroğlu, is distinguished by her open approach to the music played on the harp. Convinced that the harp has a voice of its own strong enough to convey the full breadth of musical expression, Pancaroglu has been recognized in musical circles for her thorough interpretative skills and multifaceted musical personality. She regularly performs new music and traditional music originating from a variety of places and connects with audiences through her candid presence on stage where she often shares her insights on the music she plays. While contributing to the harp repertoire with new works commissioned by her or dedicated to her, she has also explored interesting instrumental combinations generally considered exceptional for the harp. In these collaborations she has set the harp next to percussion, to the Turkish harp, the “chang”, a jazz quintet, viola and voice. At the same time, Pancaroglu has continued to pursue an innovative repertoire for the harp and its more familiar companions such as the flute and violin as well as the harp duo. Indeed, discovering a variety of musical identities for the harp is one of her constant endeavors.

Şirin Pancaroğlu’s professional training is associated with two distinct French schools of harp, known as “Jamet” and “Renie”. While pursuing her harp studies, Pancaroğlu was greatly influenced by Susann McDonald, Frédérique Cambreling and Notburga Puskas. The latter offered valuable guidance during the earlier part of Pancaroğlu’s education, both technically and in the shaping of her musical personality. Today, Pancaroğlu explains that her relation to music is largely a result of McDonald’s approach to the harp as a solo instrument played with great clarity and brilliance and Cambreling’s rational approach to reading and interpreting music.

Born in 1968 in Ankara, Şirin completed the European part of her education at the Geneva Conservatory and subsequently received a Master’s degree from the Indiana University School of Music. Pancaroğlu began her professional music career in Washington D.C in 1993 by performing for a time in various settings with her instrument and experiencing the different aspects and layers of musicianship. Her debut concerts during the same year in the US and in Turkey elicited reviews in the press. Praised by the Washington Post in 1993 after a solo recital of French music for the harp as a “major talent of international caliber”, she received further acclaim in the Turkish press with the release of her first recording, “A String of Longing,” in 1998. The recording, comprising original and transcribed works for the harp was the first of its kind in Turkey and was received with enthusiasm by audiences at home. She followed with a duo recording in 2000 with violinist Ignace Jang titled “Under the Shooting Star” focusing on twentieth-century and contemporary dance and nocturnal music. Another solo album was released in 2005 with the recording, “Barokarp”. In 2009, Pancaroğşu released “Telveten” with percussionist Yinon Muallem, in which classical music dialogues with traditional music from various origins.

Pancaroğlu’s concerts have taken her around the world, including such prestigious venues as the Kennedy Center in Washington, D.C., Wolf Trap in Virginia, the Konserthuset in Stockholm, Sejong Cultural Arts Center in Seoul, Takemitsu Memorial Hall in Tokyo, the Atatürk Cultural Arts Center and the Cemal Reşit Rey Concert Hall in Istanbul. She was a guest at the Festival Printemps des Arts, Berlioz Festival, the Chirens Chamber Music Festival, the Semaines Musicales de Villeveyrac and the Trièves Festival in France; the Imagine New Music Festival, the Millenium Stage, the Ebb and Flow Arts Festival in the USA; the Belgrade Harp Festival in Serbia, the Rio de Janeiro International Harp Festival in Brazil, the Festival de la Cuidad de Mexico in Mexico as well as at all the major international festivals in Turkey. In addition, Pancaroğlu was a concerto soloist with the Tokyo Symphony Orchestra, the European Union Chamber Orchestra, the Memphis Symphony, Washington Chamber Symphony, the Hermitage Soloists Ensemble, the Bilkent Symphony Orchestra, the Istanbul State Symphony Orchestra, the Ancyra Chamber Orchestra, and the Akbank Chamber Orchestra under conductors such as Kazuyoshi Akiyama, Stephen Simon, Alexey Utkin, Antonio Pirolli, Rengim Gökmen, Isin Metin, Cem Mansur and Ender Sakpınar.

Since 1994, Şirin Pancaroğlu has collaborated in concert with violist Tatjana Masurenko, flutist Elif Yurdakul, baroque flutist Jean-Christophe Frisch, oud player Yurdal Tokcan, kemençe player Derya Türkan, percussionist Yinon Muallem, violinist Ignace Jang, and harpist Tine Rehling in innovative ways. During the same period, she has premiered and recorded works written for her by contemporary composers such as Franghiz Ali-Zadeh, Hasan Uçarsu, Gerardo Dirié, and Jeeyoung Kim. These commissions were made possible by the generous support of organizations such as the Istanbul Culture and Art Foundation and the Tekfen Foundation.

In 2006, Pancaroğlu’s interest in historical and native harps has led her to research the forgotten Near Eastern harp known as the “çeng”. On this journey, she received the support of the Tekfen Foundation for the re-making of the instrument and for the commissionning of a new work for çeng, harp and orchestra by Hasan Uçarsu whose “uninvited guests” she premiered with the Tekfen Philharmonic Orchestra at the 36th Istanbul Music Festival in June 2008. In July 2009, Şirin premiered her new project with the çeng, titled“The Sultan’s Harps” with the French early music ensemble “xii-21 Le Baroque Nomade” during the Turkish Season in France.

Aside from her concert activities, Pancaroğlu promotes the advancement of harp in Turkey, both through her teaching and as founder and current president of Turkey’s first harp association. In 2004, she introduced lever harps in Turkey and created the first ever non-pedal harp program for children there. Besides her determination to foster new interest in her instrument, Pancaroğlu shares her enthusiastic approach to her instrument as well as the engaging repertoire she has developed over the years with her students, caring as much for the mastery her students attain as for the depth of their bond to the harp. Pancaroğlu has also led international masterclasses and served as jury member in international competitions. She writes on topics ranging from harp pedagogy to performance techniques. Since 1999, she lives in Istanbul if only to be close to the deeply layered and inspirational sound cultures of Turkey.

Press:
“This is harpist Şirin Pancaroğlu’s latest album which is based on the idea that it is possible to seize the variety one traditionally finds in a concert program within the frame of a single period...Pancaroğlu took up on the difficult task of transcribing from the baroque era for the harp...I listened and thought she is convincing: it does sound good.”
Kutlu Özmakinacı, Hürriyet

Harpist Şirin Pancaroğlu’s Barokarp consists of beautiful pieces by major Baroque composers [...] Is there any need to mention the qualities of the harp as an instrument that makes us peaceful and calms our innerselves? Listening to a piece performed on the harp in the morning would enlighten your entire day.”

01. Anthoine Francisque / Pavan ve Bransles / Pavane and Bransles
02. Do Majör Sonat 1ci edisyon / Sonata in C Major
03. La Majör Sonat K208 / Sonata in A Major K.208
04. Fa minör Sonat K69 / Sonata in F minor K69
05. La Majör Sonat K209 / Sonata in A Major K209
06. Girolamo Frescobaldi / Aria detta la Frescobalda
07. Geleneksel / Traditional - Coventry Carol
08-13. Johann Sebastian Bach
Mi minör Lavta Süiti, BWV 996
Lute Suite in E Minor
14. Jean Baptiste Loeillet / Toccata
15-17. Carl Philipp Emanuel Bach / Sol Majör Sonat / Sonata in G Major
18.Geleneksel / Traditional

Classic Music | MP3 320 kbps | 160 MB

HERE

Ustad Rais Khan - Raga Ek Prakar Ki Kauns

Posted By MiOd On 11:27 AM 0 comments
Ustad Rais Khan has long enjoyed a reputation as a brillant sitarist. Considering he established his name back in the 1960s however, his followers might feel that he has been recorded all too infrequently. This live recording is therefore most welcome, and clearly illustrates the artist's lyricism and delicacy of touch, as well as an approach which may fairly be described as idiosyneratic, if not enigmatic.

Rais Khan was born in Indore in 1940, the son of the artist and bin (rudra vina) player Ustad Mohammed Khan. His family includes many illustrious musicians, both instrumentalists and vocalists, among whom may be counted his maternal uncles, the sitarists Ustad Vilayat Khan and Ustad Imrat Khan. Rais Khan has much common with Vilayat Khan himself, including a reputation as an outstanding singer, yet he is very much his own man, and has developed a distinctive style of his own.

This present performance was recorded live, at the Institute of Contemporary Arts (ICA) in London, on August 3rd 1985, Rais is accompanied by the late Manik Rao Popatkar, an outstanding tabla player with many friends and admires in the UK, where he settled and lived for several years. Manik Rao was a disciple of the great tabla maestro of Banaras, Pandit Shamta Prasad.

1. Raga Ek Prakar Ki Kauns - Alap, Jor, Jhala
2. Raga Ek Prakar Ki Kauns - Vilambit gat in Tintal
3. Raga Ek Prakar Ki Kauns - Drut gat in Tintal

Late Manik Rao Popatkar - Tabla

FLAC(EAC Rip): 380 MB | MP3 - 320 kbs: 200 MB | Booklet Scans

Archives have 3% of the information for restoration

FLAC
Part 1 | Part 2 | Part 3

OR MP3 320 kbps
Part 1 | Part 2

Sarband & Fadia El-Hage - Pilgrims Of The Soul

Posted By MiOd On 6:26 PM 0 comments

* 1. Lamma Badda (4:44)
* 2. Dum Pater Familias/ Laudemus Virginem/ Salve Virgo Regia/ Splendens Cep (6:59)
* 3. Tigera (9:35)
* 4. Ya Ra'i Z-ziba/ Salve Regina (8:34)
* 5. Mariam Matrem/ Ad Mortem Festinamus (6:55)
* 6. Zarani L'makhbub (6:06)
* 7. Ayyu-ha S-saqi (5:27)
* 8. Cuncti Simus Concanentes (5:27)
* 9. Nani Nani/ O Successores Fortissimi Leonis (9:03)
* 10. Polorum Regina/ Stella Splendens

Download

Ferahnak Mevlevi Ayini - Sermüezzin Rıfat Bey

Posted By MiOd On 11:46 AM 0 comments
Ceremonial Music of the Mevlevi Order Ayin in makam ferahnak by Rifat Bey - The liturgical music on this disk was composed by one of the most distinguished nineteenth century composers, Rifat Bey (1820-1988). Uncil recently, scores of this mevlevi ayin (ceremonial music of whirling dervishes) were not found in any Turkish source. A French musicologist, P. J. Thibaut first published this ayin, based on makam ferahnak, in 1902 La Revue Musicale ("La Musique des Mevlevis ou Derviches rourners", nos.8-9). This is the original version as written by the composer himself. Ironically, the lyrics of the ayin as appeared in the journal were translated into French, making it accessible to French readers but rendering it impossible to perform for Turkish musicians...

In 1990, I found the same composition in a collection of musical manuscripts (Ekrem Karadeniz Collection) donated to Suleymaniye Library in 1984. This version which fortunately was only slightly different from the original, included the Persian lyrics. I had to choose Thibaut's original version. The next step in my work was to set the Persian lyrics found in Karadeniz collection to the music found in the French journal. This process brought out a third version with complete lyrics and the scores. I published this new version of the composition together with the other two versions in my book entitled Sermuezzin Rifat Bey'in Ferahnak Mevlevi Ayini in 1992.

During the next decade the ayin remained unperformed. Finally, on the 729th anniversary of the passing of Mevlana Celaleddin (December 17th, 2002), the third version was performed by Istanbul Otantik Sema ve Mevlevi Grubu conducted by Gursel Kocak; performed exactly one century after it was published in France. The present disc is the world premiere of the Ferahnak Ayin composed by Rifat Bey.

The French musicologist Thibaut had given us the complete program of a mevlevi ceremony, including the scores of a taksim at the beginning, which is the oldest gotated taksim in Ottoman-Turkish music. Taksims, being improvisadonal forms, had never been notaced before, therefore, this taksim deserves special attention. The talented young musician Burcu Sonmez, ney player of the ensemble has successfully performed this "notated" taksim on makam ferahnak for this disc.

(01). Makam Rast Naat-ı Mevlana
(02). Opening taksim in makam ferahnak
(03). Peşrev in makam ferahnak and rhythmical cycle "zincir"
(04). Ferahnak Ayin-i Şerifi (1, 2, 3, 4. selams)
(05). Zakir's peşrev in makam eviç (the final peşrev); The final yürük semai in ferahnak
(06). Taksim on the kanun
(07). Traditional ilahis (hyms)
(08). Taksim on the Kemençe (the final taksim)
(09). Quranic
(10). Prayer

320 kbps including front cover.

HERE

Vishwa Mohan Bhatt, Salil Bhatt & Sandeep Das - Mohan's Veena

Posted By MiOd On 2:15 AM 0 comments
The Indian classical tradition of Jugalbandi, or duet playing, where two musicians perform one raga together, is a challenge demanding a high level of mutual respect and understanding. At its height it demonstrates two musical souls united, perfectly tuned into each others aesthetic vision. Father and son, Vishwa Mohan Bhatt and Salil Bhatt epitomise the true spirit of Jugalbandi in this live performance recorded at the 2002 Saptak Music Festival.

Historically, the relationship between father and son has played a key role in the development of Indian music. Over hundreds of years, several family dynasties have built up vast volumes of musical knowledge which has been carefully nurtured and orally passed onto the next generation. It has always been generally accepted that the most in-depth teaching is passed on to the son, who then bears the responsibility to carve out new musical paths, ensuring a healthy future for a music culture which has so far survived and flourished over centuries.

The young Salil Bhatt represents the eighth generation in a family of musicians which hails from Jaipur in Rajasthan. In this vibrant centre of traditional music, his father and mentor, Viswa Mohan Bhatt started his musical training with his eldest brother Pandit Shashi Mohan Bhatt, a renowned vocalist, before taking musical guidance from the legendary Sitarist, Pandit Ravi Shankar. Not only has Viswa Mohan Bhatt successfully imbibed a rich musical legacy, he has made one of the most significant contributions to Indian music in modern times.

His creation, the 'Mohan Veena' is a radical transformation of the western Hawaiian guitar, adapted to express the subtlest nuances required in Indian classical music.

The Mohan Veena consists of 3 melodic strings, 5 drone strings and a further 12 sympathetic strings and has been designed to ingeniously assimilate the sounds of the ancient Veena, Sitar and Sarod. The tuning of the instrument varies according to the particular raga being played.

Vishwa Mohan Bhatt is universally acknowledged as one of the most innovative Indian musicians today. He has successfully managed to incorporate both vocal and instrumental styles of playing into his music, and his versatility as an artist is reflected in scores of successful musical collaborations with top musicians from over the world. His capacity for invention and assimilation was globally recognised by the award of the coveted Grammy in 1994, for his recording with American slide guitarist Ry Cooder.

This performance captures father and son playing a musical set which reflects the variety of musical styles found in the Indian sub-continent. Raga Bageshri is one of the most popular ragas performed in Indian classical music. It is romantic in character, and its structure makes it suitable for extended improvisations.

The performance begins with the traditional alap (track 1), a slow, improvised elaboration of the main notes and melodic phrases of the raga, reflective and meditative in character. A gentle lilting tempo is introduced for the 'jod' section (track 2), which gradually gains pace as the phrases become more intense and exciting.

The first composition (track 3) is set to a slow rhythmic cycle of sixteen beats called 'teental'. Here, the tabla accompanist, Sandeep Das, is given the opportunity to demonstrate his virtuosity in a short solo which explores the colourful range of tonal qualities of his instrument. Sandeep Das is one the most exciting young percussionists in India, a disciple of Pandit Kishan Maharaj, and represents the Benares school of tabla playing.

The second composition (track 4) uses the same sixteen beat rhythmic framework in a much faster tempo. As the recital gathers pace, the three musicians skilfully echo the other's improvised phrases in expressions of spontaneity that can only be captured in live performance.

Indian classical musicians have always been able to draw on a vast, rich stock of regi

As a lover of, but not necessarily a student of Northern Indian Classical music, I find Pundit Bhatt's original instrument, his technical skills, and lyrical ability to interpret and create a masterful album in all its parts. He learned well from Pundit Shankar who wears many "feathers in his cap.

CD1
1.Raga Bageshri (Alap)
2.Raga Bageshri (Jod and Jhalla)
3.Raga Bageshri (Composition in Vilambit Teental)
4.Raga Bageshri (Composition in Madhya and Drut Teeental)

CD2
1.Lori Based in Raga Tilak Kamod in Deepchandi (14 Beats)
2.Rajasthani Folk Tune in Raga Mand in Dadra (6 Beats)
3.Raga Bhairavi in Dadra

Pandit Vishwa Mohan Bhatt, Salil Bhatt & Sandeep Das
Live at Saptak Festival 2002, Ahmedabad, India

FLAC (EAC Rip): 610 MB | MP3 - 320 kbs: 300 MB | Booklet Scans

Archives have 3% of the information for restoration

FLAC
Part 1 | Part 2 | Part 3 | Part 4

OR MP3 320 kbps
Part 1 | Part 2

Paco de Lucía - Entre Dos Aguas

Posted By MiOd On 4:51 PM 0 comments
Any and all of his albums have a great blend of traditional elements and virtuoso playing.
This is one of Paco de Lucia most poplar albums among modern Spanish guitar listeners. It's also a great place to start listening to De Lucia as the CD offers samples form both new and traditional Flamenco, plus other Spanish rhythms. Eight themes from De Lucia and six interpretations from other authors, among which we can distinguish two themes from the Spanish poet and also composer Federico García Lorca. "Entre Dos Aguas" is probably De Lucia's greatest hit world-wide. The success of this composition was an unexpected surprise to De Lucia as it was the last theme to be recorded and was composed as the group improvised and played in order to fill album space. "Rio Ancho" is a well known theme from De Lucia's trio efforts with Dimeola and Mc Laughing. The version recorded in this CD is the complete original version. De Lucia's guitar playing can be easily distinguished from the rest of the group's guitarists and his soloing will stand out from most of the world's wood guitar and nylon string players. De Lucia has added a great deal to the Flamenco music style and managed to grow further into the art of improvisation which lead him to enter into a fusion of styles and rhythms. This album specifically is closer to modern or nouveaux flamenco with very few moments of fusion, however if you understand about guitar playing you will appreciate that De Lucia's solos use tonalities and scales that are adventurous and challenging to the traditional player In summary, this album is a collection of different compositions and does not bear a defined style or a one music concept like De Lucia's last CD "Luzia". Nevertheless, the material is excellent and the instrument playing and ambience is superb. Flamenco music has a unique flavour and represents a life style. De Lucia is a main representative of this art and culture.

01. Entre Dos Aguas
02. Zorongo Gitano
03. Rio Ancho
04. En La Caleta
05. Convite
06. Monasterio De Sal
07. Panaderos Flamencos
08. Punta Umbria
09. Chanela
10. La Nina De Puerta Oscura
11. Castro Marin
12. Gua Iras De Lucia
13. Mantilla De Feria
14. El Vito

FLAC (EAC Rip): 275 MB | MP3 - 320 kbs: 130 MB | Booklet Scans

Archives have 3% of the information for restoration

FLAC
Part 1 | Part 2

OR MP3 320 kbps
HERE

Chinese Music Classics Of The 20th Century: Traditional Ensemble

Posted By MiOd On 7:08 AM 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.

"World Jiyue Dian" and "Collection of Chinese Folk Music Ensemble songs" were two albums, collected folk music ensemble, mostly after a famous well-orchestrated masterpiece. Handed down in the classic "Moonlit Night" to the delicate orchestration skillfully playing with great accuracy, mood even more profound. "Dance of the Yao" was originally made by the orchestra, adapted for the national musical instrument configuration, the national style is more intense. Classical music "High on children," more elegant and luxurious by the adapter. Two reflect the impressive ancient battle music; "turning the day," "Happy Year" and other strong ethnic flavor; "Clouds Chasing the Moon" and "Green Lake in Early Spring" fresh and beautiful melody, hear it is refreshing. There are many series in the first genre of songs and transcriptions, smooth melody makes quite a lengthy contented. The "radiant", "step by step", "Elixir of Love", "Zi Zhudiao", etc are a few of today's most frequently performed piece of music, worth hearing.

[01].Spring River and Flowers at the Moonlit Night
[02].The Moon Reflected in the Second Spring
[03].The Clouds Chasing the Moon
[04].A Happy Year
[05].Three-Six (San-Liu)
[06].A Spring Morning on the Emerald Lake
[07].Prince Qin Breaking through the Enemy Array
[08].Beijing Opera Tune
[09].Axi Dancing in the Moon Light
[10].Days of Emancipation
[11].The General's Order (Jiang-jun-ling)

APE (EAC Rip): 300 MB | MP3 - 320 kbs: 130 MB | Covers

Archives have 3% of the information for restoration

APE
Part 1 | Part 2

OR MP3 320 kbps
HERE

Mystische Sufigesänge (Ilahiler Ve Nefesler)

Posted By MiOd On 2:21 AM 0 comments
Sema's childhood in Ankara was attended by a thousand-year-old songs, dance and wedding songs of the fishermen and farmers to brooding epics of war and displacement. In the ritual chant of the Sufis are found next to items of Islam also shamanistic, Jewish and Christian tracks. The dervishes who danced to this music were called "Semanzen. With few exceptions they were men who recited this music. The double fracture - as a woman and as an artist - which is confronted with the expectations of a traditionally male-dominated society met Sema, by looking outside their culture to creative impulses. This CD is the live recording of a concert at the International Music Festival in Istanbul Rahmi Koc Museum in 2003.

01. Cün Sana Gönlüm Mübtela Düstü
02. Ey Garip Bülbül Diyarin Kandedir
03. A Sultanim Sen Var Iken
04. Nice Bir Uyursun Uyanmaz Misin
05. Nur-i Cemali Hakk'in Visali
06. Önüme Bir Cebel Düstü
07. Ey Rahmeti Bol Padisah
08. Aldanma Dünya Varina
09. Hak'dir Allahim

Sema'Zen, Henning Schmiedt & Ensemble
Mystische Sufigesänge (Ilahiler Ve Nefesler)

MP3 VBR kbps, No scans

HERE

The Pulse of Africa

Posted By MiOd On 2:00 AM 0 comments
An interesting concept album from the folks at ARC. Pulse of Africa focuses on drumming traditions of the continent, as many albums do, but there's a catch. Here, they not only focus on drumming, but do so to the point of exclusion of all vocals and other non-percussion instruments (marimbas are occasionally used, but sparingly). The works are completely stripped down from any full musical context and only the beat itself is left. On rare occasions, a small flute takes the place of the vocal lines, but in general it's left to the drums alone. This can work well to highlight the complexity of a number of styles (à la Master Drummers of Burundi), but at the same time it can set the album up for a fall, if the pieces chosen generally have more complexity to them, and the drums are largely the backing portions. This seems to be the case for a number of works here. As such, the album is somewhat interesting in its own right, but isn't the most energetic or even necessarily the most listenable of the multitude of African drumming albums on the market. For those who enjoy rarities, incidentally, it does include a couple of interesting works on a Zulu friction drum and a seldom-heard Venda drum. ~ Adam Greenberg, All Music Guide

01 Wo Mawu (Anlo-Ewe, Togo, Ghana)
02 Ngungu (Zululand)
03 Eboka (Bolamba Pygmies from Congo)
04 Basoga Lusoga (Uganda)
05 Mala (Senegal, Mali, Guinea, Gambia)
06 Soului (Accra Ghana)
07 Gboko Lia Yayari Kpamo (Central African Republic)
08 Nxai (Kalahari Bushman, Botswana)
09 Unwabu (Swaziland, Xhosa, Zulu)
10 Baba (Nguni-Xhosa, South Africa)
11 Zima Gaza Koo (Manza Music, Central African Republic)
12 Kekebu (Shangaan from Mozambique, South Africa)
13 Domba (Vanda, Northern South Africa)
14 Yolo Male (Central African Republic)
15 Mabo (BaKa Pygmy - Cameroon, Congo, Central African Republic)
16 Eshe Eyele (Yoruba from Nigeria, Benin, Togo)
17 Zanga (Mbum, Central African Republic)
18 Ibhungane (Zulu, South Africa)

APE (EAC Rip): 300 MB | MP3 - 320 kbs: 150 MB | Front Cover

APE
Part 1 | Part 2

OR MP3 320 kbps
HERE

Semada Raks (Raks at Sema Group)

Posted By MiOd On 4:15 AM 0 comments
Raks at Sema Group was established in 2002 the first album was released by Kalan Music. Raks at the sky, give way to the tune coming from the inside told him that his work was revealed. Only with their own intimate feelings, wanted to Raks Semâda few minutes ... Words music affects the power reaches unable Instrumental music, secret powers revealed aimed in the heaven Raks different emotions combining and Turkish music, the beauty part, albeit their own compositions to express a wide audience to reach the aims. Turkish music and western tunes and instruments of the language came to be accompanied by any instrument in the heaven of this increased power of expression of Raks. Raks and hopefully in the heaven, listening to those who pull their own world for a while in the heaven can be persuaded to Raks.

01. Evlere Senlik
02. Semada Raks
03. Kanlica'da Kahvalti
04. Bir Nefes
05. Zeybek
06. Kisla'da Bir Aksamustu
07. Avare
08. Istanbul
09. Baktagir'e Hediye
10. Ganita

Guitar:Suhan Irden
Percussion:Koray Ural
Ney:Emrah Hatipoglu
Quanun:Ozgur Yakinlar
Bass Guitar:Sabri Capanoglu
Tanbur:Kagan Ulas
Piano:Hilmi Yazici
Kemence:Emrah Tuncel

320 kbps, no scans

HERE

Chinese Music Classics Of The 20th Century: Cantonese Music

Posted By MiOd On 9:16 AM 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.

A wide variety of subjects, Guangdong music, fresh and beautiful melody, mood lively, cheerful, Chinese folk instrumental ensemble in the distinctive, unique. The music in this series received both traditional songs such as "Yudabajiao", "double the sound hate" , "Flying Butterfly", "Hungry Horse bell", they are also a great master Accent Cantonese music masterpiece, "step by step high" and "Red Beans Love" and so on. Other Areas of famous masterpieces have selected one superior. Both the thirties of last century recording artists, but also re-orchestration of the works. Players have been handed in Guangdong, when Hu is still famous Gan, there are quite a success of contemporary middle-aged performer Hu Yue Yu Qiwei. Yu Qiwei in 1989 was the first Chinese gold disc.

[01].Thunder in the Dry Season
[02].Birds Flying into the Woods
[03].Rain Pattering on Plantain Leaves
[04].The Autumn Moon over the Placid West Lake
[05].Regrets of the Lover Stars
[06].The Awakening Lion
[07].Raging Waves
[08].On Horseback
[09].The Clouds Chasing the Moon
[10].Rising Higher Step by Step
[11].Extolling Good Times with Singing and Dancing
[12].The Peacock Displaying Its Fine Plumage
[13].Dragon Boats Racing for the Champion
[14].Butterflies in Couple
[15].A Hungry Horse Shaking the Bell
[16].Two Dragons Fighting for a Pearl

APE (EAC Rip): 270 MB | MP3 - 320 kbs: 130 MB | Covers

Archives have 3% of the information for restoration

APE
Part 1 | Part 2

OR MP3 320 kbps
HERE

VILLANCICOS ANDALUCES

Posted By MiOd On 12:59 AM 0 comments
Villancicos y otros cánticos navideños

Es lo que tiene esta época. Y es que en Navidad no hay gran éxito de superventas que valga. Lo que más se tararea son unas canciones populares llamadas villancicos. Esta denominación apareció en el siglo XV, aunque hay evidencias de que ya se cantaban en el siglo XIII y XIV. Desde sus inicios hasta la actualidad, los villancicos no han cambiado demasiado.

¿Cuáles son sus características?

Su música es sencilla y sus letras son alegres y pegadizas. Pero aún hay muchas cosas que contar sobre ellos. El villancico es “la canción de la villa” y en sus orígenes sirvió para registrar la vida cotidiana de los pueblos. En el siglo XV se consagraría como una peculiar forma de entender las tonadillas populares de la España Medieval, dando origen y asentándose la costumbre de entonar villancicos durante las fechas navideñas. Algunas de las melodías europeas de los villancicos formaron parte de los misterios y representaciones teatrales medievales del Ciclo de Navidad. Al prohibirse éstas en los templos, quedaron como cantos sueltos que se ejecutaban con motivo de la Navidad. Pronto los villancicos se trasladarían del pueblo a la Corte, convirtiéndose en los siglos XV y XVI —junto con el romance—, en las composiciones poético-musicales profanas más interpretadas.

Su evolución histórica

La pieza gregoriana Puer natus est, por su alusión a la Natividad de Cristo, está considerada como uno de los primeros villancicos de la Historia. Y es que la traducción de los primeros versos latinos de este canto es: “Un niño nos ha nacido, un hijo nos ha sido dado”. Entonces, ¿cómo no considerarlo un canto navideño?

El villancico, que en sus inicios fue una forma poética española, significa como hemos mencionado con anterioridad "canción de la villa", o "canción campesina" ya que, al parecer, fue un canto rústico de villanos o aldeanos en sus fiestas; su estructura musical fue más bien sencilla y utilizada, a manera de cronismo musical, para registrar los principales hechos de una comarca.

Sin embargo, esto no impidió que, más tarde, el villancico no solo se consolidase como género, sino que se convirtiera en el arquetipo de la "canción de Navidad", hasta llegar a nuestros días como amplio repertorio de canciones (de diferente origen) que se entonan, casi universalmente, en la época navideña.

Los primeros villancicos en España fueron composiciones polifónicas a tres y cuatro voces que se encuentran recopiladas en los cancioneros españoles de la época: en el "de Palacio", el "de Medinaceli", el "de Upsala" (editado en Venecia en 1556 y denominado "de Upsala" porque el único ejemplar conocido se encuentra en la Biblioteca de la Universidad de dicha ciudad sueca), en el "de Sablonara", en el "de la Colombina", el "de Stúñiga", etc. Se recogen villancicos de los principales compositores de la época, como Juan del Encina. Su música es clara y sencilla, buscando la adaptación al texto. Nacido en 1469 probablemente en la provincia de Salamanca y muerto en León en 1529; realizó una creación con aproximación a la jugosa vena popular: la explotación hábil de los estribillos tradicionales. De su "Cancionero de Palacio" nos ha legado 68 composiciones vocales, entre las cuales existen villancicos.

Lo más curioso es que, en su origen, el tema del villancico casi nunca tenía que ver con la Navidad. Había villancicos de temática religiosa, aunque predominaban los de corte profano. Estos tenían el carácter marcado de las canciones pueblerinas: vivos, irónicos e incluso picarescos. De entre los de temática religiosa había algunos dedicados a la Virgen, a la festividad del Corpus, etc. Es importante señalar que los villancicos religiosos podrían haber formado parte de las representaciones medievales. Sin embargo, cuando éstas fueron prohibidas en los templos, quedaron como cantos sueltos navideños.

Estos cancioneros contienen buena cantidad de villancicos polifónicos cortesanos que poéticamente derivan del "zéjel" y de los géneros italianos "virelai" y "ballata", todos ellos conformados formalmente por estribillo (A), seguido de copla en dos partes (mudanza: bb - y vuelta: ba), al final de la cual se repite el estribillo (A) y sigue otra copla. Paralelamente al villancico polifónico se cuenta ya en el siglo XVI con el villancico a una voz y acompañamiento de vihuela que, a partir del siglo XVII, se acompañaría de guitarra. Desde fines del siglo XIX el nombre ha quedado exclusivamente para denominar a los cantos populares – religiosos o profanos – que aluden al misterio de la Navidad y que se cantan con el acompañamiento de instrumentos musicales populares. A partir de esta época, el villancico sufre grandes cambios pues su temática se va concentrando hacia la referencia de los elementos que intervienen en la fiesta de Navidad.

Se trataba de canciones que alternaban estribillo y estrofas. Eso no es todo. La estrofa tenía dos partes: la primera se llamaba mudanza y la segunda, vuelta.
Curiosamente, en la Andalucía árabe existía en tiempos de los troveros una composición de estructura parecida llamada zejel, que alternaba estrofas (cantadas por un solista) con un estribillo que era interpretado por el coro.

|WAV|422 Mb|MP3|182 Mb|2005|Flamenco|Covers|





[01]. Arriero a Belén
[02]. El Belén
[03]. El amor de la pastora
[04]. Fiesta de Nochebuena
[05]. La Virgen va caminando
[06]. Se guiaban por una estrella
[07]. A las 12 de la noche
[08]. Niño Jesús
[09]. En el arco de la Macarena
[10]. En el Portal de Belén
[11]. Gloria recién nacida, Gloria
[12]. Villancico gitano
[13]. Madre, en la puerta hay un niño
[14]. Voy a rezarle a la Virgen
[15]. Un pastor en su casita hizo tortitas de miel
[16]. Villancico sevillano
[17]. La Nochebuena de Jerez

Guitarras:
[3/11]. MANOLO BADAJOZ
[4/10]. NIÑO RICARDO
[05]. HERMANOS MORAO
[06]. RAMON MONTOYA
[09/14]. ANDRÉS BATISTA
[13]. MANUELL MORAO
[15]. ALFONSO "EL LABRADOR"
[16]. ISIDRO DE SANLÚCAR
[17]. PACO AGUILERA

WAV 1
WAV 2

MP3

Flamenco - Spanish Passion

Posted By MiOd On 12:15 AM 0 comments
Foreign Media's Flamenco: Spanish Passion spans two discs and collects 26 traditional flamenco pieces performed by a handful of masters, including Eduardo Martinez, Pepe Tovar, and Pepe Haro. This is pretty authentic stuff, relying on simple, stripped-down arrangements and passionate vocals. ~ James Christopher Monger, All Music Guide

Disc: 1
[01]. Soleares
[02]. Tango Flamenco
[03]. Silencio en la Noche
[04]. Granaina
[05]. Malaga Bombonera
[06]. Una Pastora
[07]. Bien Paga
[08]. Por Taranta
[09]. Seguirilla
[10]. Ja Vera
[11]. Ecos de Utrera
[12]. Tiento
[13]. Caracoles
[14]. Alegrias

Disc: 2
[01]. Morena Ven
[02]. Adios
[03]. Tanguillos de Cadiz
[04]. Fandagos de Huelva
[05]. Tangos - Eduardo Martinez, Eduardo Martinez
[06]. Peteneras
[07]. Tientos
[08]. Alegrias - Pepe Tovar, Pepe Tovar
[09]. Mi Madre
[10]. Vieja y un Viejo
[11]. Fandangos Natural
[12]. Bulerias

Eduardo Martinez (Guitar), Pepe Haro (Guitar), Pepe Tovar (Guitar)

FLAC (EAC Rip): 500 MB | MP3 - 320 kbs: 230 MB | 2CDs, Front Cover

Archives have 3% of the information for restoration

FLAC
Part 1 | Part 2 | Part 3 | Part 4

OR MP3 320 kbps
Part 1 | Part 2

Chinese Music Classics Of The 20th Century: Violin II

Posted By MiOd On 6:00 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.

Bright and beautiful violin sound, to show off the skills and rich expressiveness, all the audience dumping. This series was received very unique Chinese style music. Senior masters Sicong creation and performance of music, folk music with deep roots. Descendants of various styles of music creation, but also fully embodies the charm of Chinese music, but also the skills to play the violin. Especially the violin concerto "The Butterfly LIANG Taiwan," was born, marking the Chinese violin music creation and performance of maturity. Music and song not only the Chinese model of combining Western instruments, the music is the most important representative of contemporary China, one in the world with wide-ranging implications. This series also focused on the outstanding performance of Chinese contemporary artists are good at playing their respective tracks.

[01].Happy New Spring
[02].Spring Dance
[03].The Morning in the Mountain Villages of the Miao People
[04].Spring Bringing Us a New World
[05].The Golden Steel-Smelting Furnace
[06].The Sun Shining on the Tashikuergan
[07].Violin Concerto£؛Butterfly Lovers (Liang Shanbo and Zhu Yingtai)

APE (EAC Rip): 260 MB | MP3 - 320 kbs: 125 MB | Covers

Archives have 3% of the information for restoration

APE
Part 1 | Part 2

OR MP3 320 kbps
HERE

Nezih Ünen - Anadolu'nun Kayıp Şarkıları "Lost Songs Of Anatolia"

Posted By MiOd On 11:47 PM 0 comments
Nezih Ünen’in yedi yıldır yapımı süren “Anadolu'nun Kayıp Şarkıları” filminin soundtrack CD’si film vizyona girmeden önce Kalan Müzik etiketiyle müzik marketlerde. “Yüzyıllık sessizlik sona eriyor!..” sloganıyla 12 Mart’ta gösterime girecek olan film çeşitli festivallerde izleyenlerin dilinden düşmüyor…
Film gibi albümün temel özelliği Anadolu'nun ücra noktalarında provasız ve canlı kaydedilen otantik ses ve görüntülerin evrensel sound’larla düzenlenmiş olması. Anadolu’nun farklı kültürlerinden insanlar kaybolmuş şarkı sözlerilarını özgün haliyle söylerken Nezih Ünen ve arkadaşları onlara albümde eşlik ediyor..

Bu performansı aynı şekilde sahneye de taşıyan Nezih Ünen “Anadolu’nun Kayıp Şarkıları”nın gösteriminin yapıldığı Selanik Cannes ve Berlin’de de büyük ilgi gören konserler vermişti. Projenin yaratıcısı olan müzisyen Nezih Ünen filmin de yönetmeni. Konserlerde projenin müzik direktörlüğünü üstlenen Serhat Ersöz ile birlikte sahnede yer alırken grubun diğer üyeleri de nefesli çalgılarda Emre Sınanmış vokalde Devrim Kaya davulda Utku Ünal gitarda Tuncer Tunceli vurmalılarda Cengiz Ercümer ve bas gitarda Caner Üstündağ yer alıyor. Konserlerde Anadolu’nun kaybolmuş şarkı sözleriları özgün haliyle ekrandan söylenirken Nezih Ünen ve arkadaşları canlı olarak onlara eşlik ediyor.

01. Döne'm Zülüflerin Deste Deste
02. Eşrefoğlu Al Haberi
03. Geçti Gönül Baharımız
04. Kalktı Göç Eyledi Avşar Elleri
05. Baba Bugün Dağlar Yeşil Boyandı
06. Kewe Narine / Rebene (Nazlı Keklik / Yazıktır)
07. Beyköylü Ali Bey
08. Pamuk Tarla
09. Gam-ı Aşkınla (Aşkının Üzüntüsünden)
10. Köprü Ortasında
11. Kırtıl Semahı
12. Dulabe (Tezgahım)
13. Sema
14. Kartalların Dansı
15. Derenin Kenarına Yattım
16. Delale Mi Way (Sevdiğim Benim)

320 kbps including Covers

HERE

Wadih El Safi - Sings For Sirag Annaya (Saint Charbel)

Posted By MiOd On 10:10 AM 0 comments

Julia Boutros - Live At Casino Du Liban

Posted By MiOd On 9:46 AM 0 comments

Track List

[01.] Introduction
[02.] Libnan
[03.] Khawfi A'a Wladi
[04.] Menhebbak
[05.] Ta'awadna A'aleyk
[06.] Ana Mech Elak
[07.] Elak Hessab
[08.] Ya O'ssas
[09.] Habibi
[10.] A'ala Chou
[11.] Chi Gharib
[12.] Ma a'am Befham A'arabe
[13.] Sarkhat Moukawem
[14.] La Bi Ahlamak
[15.] A'ala Ma Yabdou
[16.] Nahna El Thawra Wel Ghadab
[17.] Betnaffas Horriye
[18.] Khalas Ntahayna
[19.] Entassara Libnan
[20.] Aheba'i
[21.] Lebnan Reprise

Download HERE
Download HERE

Nazife Güran - Nurdan Bir Hale (Light from a Halo)

Posted By MiOd On 11:33 PM 0 comments
Hüseyin Hilmi Pasha's grandson, elegant, a Turkish lady, the first female composer of our Nazife Guran's era of music style and innovation know them without copying, come from within, as written, and joy, fragility and longing of the simple and bold with sensitivity, expressed the naive composer of Featured works, soprano and pianist Idil Ece Ülkü's interpretation of the text as an album was released by Kalan Music...

Nazife Guran's approach to music, take the form of direct and sincere, true to form, and small pieces of Schubert lied to us in a romance is reminiscent. Liedlerinde has created the atmosphere, accompanied by the poetry of additives was used as a randomized line support, sometimes left alone to do as the poem ends where it could receive the head goes, the theme is combined with a symphonic poem structure. Lied naive and fragile that it becomes detached from most of the items on their Beyatlı Yahya Kemal, Ahmed Hashim said the poems composed by masters such as courage in the sentimentality found. Liedlerdeki inward and divine sentiments depicted therein, occurs spontaneously without any effort. Always in tune a little bit of Turkish, Ottoman and the smell a bit that is felt first and foremost women. In his work, the expertness of the piano as a small form again merely sets out a structure similar to mouvement'larına Schubert. Described the success of his music will draw a picture. This music is full of love for the country is like a light fragrance.

(01). Merdiven
(02). Şehit Çocuğuna Ninni
(03). Gece Deniz
(04). Yarını Bekleyen Köy
(05). Hayalimdeki Bahçe
(06). Titreşim
(07). Nurdan Bir Hale
(08). İbadet Sevinci
(09). Mehlika Sultan
(10). Dantel (Piyano için 3 Konser Etüdü)
(11). Göldeki Akisler (Piyano için 3 Konser Etüdü)
(12). Boğaziçinde Gezi (Piyano için 3 Konser Etüdü)
(13). Feraceli Hanım Nr.3 (1964, Damen mit Schleier) (Tarihten Yapraklar)

MP3 256 kbps, no scans

HERE

Romantic Violin

Posted By MiOd On 9:51 PM 0 comments
Track Listing
-------------
[01].Sayonara
[02].Tennesse Waltz
[03].I Dont Kow How To Love Him
[04].Take Me Home Country Road
[05].A Time For Us
[06].Tell Laura I Love Her
[07].A Dear John Letter
[08].My Way
[09].The Sound Of Silence
[10].You Light Up My Life
[11].Sealed With A Kiss
[12].Sunrise Sunset
[13].Love Is Blue
[14].Yesterday Once More
[15].Love Story
[16].Rain And Tears
[17].Raindrops Keep Falling On My Head
[18].More

MP3 VBR kbps including Covers

HERE

Chinese Music Classics Of The 20th Century: Violin

Posted By MiOd On 9:05 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.

Bright and beautiful violin sound, to show off the skills and rich expressiveness, all the audience dumping. This series was received very unique Chinese style music. Senior masters Sicong creation and performance of music, folk music with deep roots. Descendants of various styles of music creation, but also fully embodies the charm of Chinese music, but also the skills to play the violin. Especially the violin concerto "The Butterfly LIANG Taiwan," was born, marking the Chinese violin music creation and performance of maturity. Music and song not only the Chinese model of combining Western instruments, the music is the most important representative of contemporary China, one in the world with wide-ranging implications. This series also focused on the outstanding performance of Chinese contemporary artists are good at playing their respective tracks.

[01].Nostalgic Song
[02].Northern Frontier Dance
[03].A Folk Song
[04].Fishermen’s Song at Eventide
[05].Harvest Celebration
[06].On the Northwestern Grassland
[07].New Year’s Eve
[08].Pastoral
[09].Tone Poem at Seashore
[10].Spring Coming to Xinjiang

APE (EAC Rip): 225 MB | MP3 - 320 kbs: 110 MB | Covers

Archives have 3% of the information for restoration

APE
Part 1 | Part 2

OR MP3 320 kbps
HERE

Derviches Tourneurs de Turquie - La Cérémonie des Mevlevî

Posted By MiOd On 5:42 PM 0 comments
Here, the great Kudsi Erguner performs (in tandem with a number of other musicians) a sema ceremony in the Bayati mode. The compositions on this album were penned by Kochek Dervish Mustafa Dede, a Sufist from the 16th century. It stands as the oldest composition of Mevlevi Sufi music with a known composer. Not only that, but it's a relatively lively composition that's executed wonderfully on this album. The ney playing by Erguner is outstanding, as one would expect, and the vocals from the accompanying group work well within the framework set out by the ney and bendir. For someone looking to delve into the music of the dervishes, this album from a relatively small French label wouldn't be a bad place to start. There are countless other worthwhile albums available, but this one falls into the group of better ones. For a look into the breadth of Islamic music, of which this is only one part, one might wish to look into the Music of Islam series on Celestial Harmonies (which also includes an album from the Aissaoua sect of Sufism), but for sheer Mevlevi goodness, this album would be a good way to go. ~ Adam Greenberg, All Music Guide

1. NA'AT -I-MEVLÂNÂ (Praise to the Prophet) by Hafiz Kemâl Ozmutlu & Kudsi Erguner
TAKSÎM (Improvisation on the ney) by Kudsi Erguner

2. PESREV (Instrumental prelude)
BIRINCI SELÂM (First salutation)

3. IKINCI SELÂM (Second salutation)

4. UÇUNCI SELÂM (Third salutation)
DORDUNCU SELÂM (Fourth salutation)
TAKSÎM (Improvisation on the kemanche) by Mahmud Tebrîzîzade

5. NIYÂZ AYINI (Ceremony of the vow)
TAKSÎM (Improvisation on the ney) by Kudsi Erguner

6. RECITING THE KORAN by Hafiz Kemâl Oxmutlu

HALVÈTI Brotherhood
"NUREDDIN CERRAHÏ TÜRBESI VE MESÇIDI KORUMA DERNÈGI" Circle

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

Archives have 3% of the information for restoration

FLAC
Part 1 | Part 2

OR MP3 320 kbps
HERE

Muammer Ketencoğlu - Izmir Hatırası (Smyrna Recollections)

Posted By MiOd On 4:44 PM 0 comments
SMYRNA Recollections - Introduction - This is a short journey into the memory of Izmir before 1922. Throughout this journey you will be hearing only three languages out of many that had echoed on the streets during that period: Turkish, Romaic (Greek) and Jewish Spanish (Ladino). A multicultural folk song parade awaits you to help you visualise Izmir as an almost complete picture.

This is a short journey into the memory of Izmir before 1922. Throughout this journey you will be hearing only three languages out of many that had echoed on the streets during that period: Turkish, Romaic (Greek) and Jewish Spanish (Ladino). A multicultural folk song parade awaits you to help you visualise Izmir as an almost complete picture.
I have used various sources to select Turkish folk songs from an extensive area of Izmir that consists of many towns and villages: Folk songs that I have learnt from my mother, TRT Turkish Folk Music repertory, Ali Fuat Aydın's compilation of works and some historic 78 rpm recordings. It was quite difficult to choose the four Izmir Rum songs that are in the album, out of the hundreds I have listened to. Jak Esim assisted me in selecting Jewish songs of Izmir. There could not be a better source than his collected works that were made during the 1990's. So we had the chance to include two Jewish folk songs which have not been released before. Right here I should mention the "Izmir Trilogy" named by me, which serves as a summary of this album. I composed an original collage of three very similar pieces sung in Turkish, Greek and Judeo- Spanish by taking one section from each. Track 7, which I learned from my mother, was sung by my dear wife Deniz. This makes the album even more precious to me.
Despite my insistent research, I could not find any examples involving the Armenians or Levantines living in Izmir. I wanted to commemorate the Izmirian-born Armenian singer, composer, and great lutanist Markos Melkon Alemsherian. So I included in the album a widely known Romaic song "Dervisaki" sung by him. He was born in 1895 in Izmir where he spent his childhood in its unique multicultural atmosphere. Despite his Armenian origin, he recorded hundreds of 78rpms of Turkish and Greek popular songs in the United States after 1920. We have worked together with Nezih Öztüre and Cengiz Onural in a difficult but also exciting studiorecording process which took a year together; the enthusiastic and sincere contribution of approximately forty professional and amateur musicians, struggles with oneself, struggles with others, tiny resentments, many cab trips from Feriköy to Üsküdar.. Exchanges of opinion on prospective repertoires with close friends before the recording process; a tape cassette recorded by Mithat Arısoy in which he played and sang many folk songs for me, note- deciphering sessions with Ali Fuat Aydın at a Narlıdere house surrounded by orange trees...These are the reflections of the intensive efforts for this album that I still consider to be convicted incomplete..
Izmir has a great place in my heart with its sound and smell. Childhood journeys from Tire by five o'clock train to Izmir that had been impatiently awaited many days before.. Street sellers, my first instrument, a toy violin that was bought from Kemeraltı, carried me to the peak of happiness... I had the most beautiful days of my childhood at the Bornova School for the Blind. I had been attached to life with the help of my teacher Ms. Münevver and to music through Mr. Bayram. I first appeared on the stage at the age of 11, at the Efes Hotel. The Karşıyaka boat was a must! I used to get a boiled corn and throw the cob into the sea. I enjoyed the sound of its stroke over the sea. That's why I wanted to offer a unique gift to the old city that nourished me as I was growing up.
Many things have been written about the multicultural city of Old Izmir. Unfortunately, the books and albums which presented the rich and complex music tradition that the thousands of year's old city offered with completeness have not been published. I wanted to give a start to the completion of such works with this recollection of Izmir. I wanted the text of the album and studiously prepared fourteen folk songs to be the initial step. I took great care in determining the participating musicians in accordance with the multicultural and original structure of this album.
From now on, it's music's turn to speak for itself. And your turn to open your hearts to the Turks, Rums and Jews of Izmir who lived together for centuries along with their common and diverse characteristics. It's your turn to embrace Gavur Izmir*. Enjoy it.
Muammer Ketencoğlu
7 September 2007, İstanbul

*Gavur Izmir: Gavur is an adjective used to define a non- muslim person. Due to its crowded non- muslim population, Izmir used to be called as Gavur Izmir.

Muammer Ketencoğlu

The Accordion master Ketencoglu is the most famous name about Rebetiko, Balkan music and folk music of Western Anatolia in Turkey. He became a popular musician in the international music arena with his traditional music carreer world wide.
He was born in Izmir in 1964. He received a good music training in schools for the blind. He learned to play the accordion, the piano and the drums.
His first album "Sevdali Kiyilar" was released in 1993. Two Rebetiko compilations "Rebetika" and "Rebetika II" prepared by him appeared in 1994 and 1996. In 1995 he prepared an anthology, "Halklardan Ezgiler", comprising four albums, each containing folk songs that best represent the traditional music of Armenia, Azarbaijan, Georgia and Central Asian Turkic Republics respectively. Another anthology compiled by Ketencoglu and produced in 1995 was entitled "Pioneers of the Klezmer Music". The album brought together examples of Klezmer music based mainly on traditional eastern European Jewish music.
As from 1996, he participated in various activities both in Turkey and abroad with his two ensembles; Muammer Ketencoglu & His Zeybek Ensemble which performs Greek and Tuskish folk songs and Izmir style rebetikos and The Balkan Journey which performs folk songs and dance tunes from all over the Balkans. In 2005, he gave a start to his third project Muammer Ketencoglu & His Women Voices Ensemble to perform female folk songs from all over Turkey. His three projects perform simultaneously. Ketencoglu made his second personal album "Karanfilin Moruna" which is composed of West Anatolian zeybek songs and melodies in April 2001. He released "Ayde Mori"
in 2001 and "The Balkan Journey" in 2007 which he made with The Balkan Journey ensemble. He wrote many articles on traditional music from all over the world which were published in many different newspapers and magazines.
From November 1995 on he is the producer and announcer of the program "This Side of Danube" mainly focusing on Balkan music, which is broadcasted every week by the Acik Radyo 94.9 in Istanbul.

(01). Uçun Kuşlar / Fly, You Birds
(02). Medilimin Ucuna Sakız Bağladım Sakız / I Tied Mastic To My Handkerchief
(03). Hicaz Taksim / Tanbur Solo
(04). Esma
(05). İzmir Üçlemesi / Smyrna Trilogy
(06). To Salvari / The Shalwar (Şalvar)
(07). Alt'ay Oldu Ben Bu Dağı Aşalı / It's Been Siz Monts Since (Crossed This
Mountain)
(08). Hürmüz Hanım / Ms. Hürmüz
(09). Muhayyer Taksim / Kemenche Solo
(10). Milo Mu Ke Mandarini / My Apple, My Mandarin (Elmam, Mandalinam Benim)
(11). Segah Taksim / Trumpet Solo
(12). Üç Kemerin Dibeği / The Mortar Of The Three Arches
(13). Alma Miya / My Love (Canım Benim)
(14). Şu İzmir'den Çekirdeksiz Nar Gelir / From Izmir Comes Seedless Pomegranates
(15). To Dervisaki / The Dervish (Derviş)
(16). Gökşen Efe'm / Gokchen The Hero
(17). Yalo Yalo / From Coast To Coast (Kıyı Kıyı)

320 kbps including Front Cover

HERE

Ustad Rais Khan - Ragas Marwa & Bhairavi

Posted By MiOd On 1:01 PM 0 comments
Ustad Rais Khan
Ragas Marwa & Bhairavi
Live at the Kufa Gallery, Londdon
The sitar style of Rais Khan is distinctive for its delicacy and his fine control, as well as for the tremendous speed of his tans. He relies on inspiration more than organisation; this can make his performances unpredictable, but at their best truly outstanding. This CD was recorded live at the intimate Kufa Gallery. and it's clear from the music that Rais had many inspired moments.

The leading tabla player Anindo Chatterjee accompanies Rais Khan here. Anindo was born in Calcutta in 1954, and became a disciple of the widely respected musician and teacher Jnan Prakash Ghosh at a very young age. He is now one of the most popular tabla accomanists in the world, performing concerts and recording with most of the leading soloists of North Indian music. Even listeners who have become accustomed to the high technical standards of modern tabla playing will be impressed by some of Anindo's solos on this recording

1. Raga Marwa
vilambit gat in teental,
drut gat in teental

2. Raga Bhairavi
dadra tal

Rais Khan - Sitar
Anindo Chatterjee - tabla
Uma Mehta - Tanpura

FLAC (EAC Rip): 350 MB | MP3 - 320 kbs: 210 MB | Booklet Scans

Archives have 3% of the information for restoration

FLAC
Part 1 | Part 2 | Part 3

OR MP3 320 kbps
Part 1 | Part 2

Chinese Music Classics Of The 20th Century: Zheng

Posted By MiOd On 11:05 PM 0 comments
Track Listing
-------------
[01]. High Mountains And Flowing Waters
[02]. Jackdaws Playing in the Water
[03]. Wild Goose Hunting
[04]. Fishermen's Song at Eventide
[05]. The Singing Oriole
[06]. Lotus Out of Sludge
[07]. The Eagle Catching the Swan
[08]. Autumn Reflections
[09]. Horse-Bells Ringing at Night
[10]. Chen Xingyuan£¬an Envoy for Peace
[11]. Welcome for Guests
[12]. Lady Green Willow (Liu Qingniang)
[13]. Celebration of the Lantern Festival

APE (EAC Rip): 230 MB | MP3 - 320 kbs: 130 MB | Covers

Archives have 3% of the information for restoration

APE
Part 1 | Part 2

OR MP3 320 kbps
HERE

Zydeco

Posted By MiOd On 2:38 PM 0 comments
Zydeco is a satisfying survey of the fascinating fusion of French and African culture in Louisiana and features most of the genre's biggest stars including Clifton Chenier, Boozoo Chavis, Buckwheat Zydeco, Beau Jocque, Keith Frank, Geno Delafose, Chris Ardoin, Nathan and the Zydeco Cha Chas, Queen Ida, and Zydeco Force as well as regional favorites Rosie Ledet, The Creole Zydeco Farmers and Jude Taylor.

From the get-go, Putumayo Presents Zydeco is the down-and-dirtiest most-rockin' Saturday night at a sweaty bayou dance hall or juke joint a non-native can experience. Born of the Creole community in Louisiana's backwaters and moving outward to Texas and California, Zydeco bumps, grinds, and is a wang dang doodle of a big time. Youngblood Keith Frank & the Soileau Zydeco Band rip through "Co Fa" with their trademark double-kick beat, the low-end-amped-up sound making heartbreak sound like a raunchy roll in the hay. Rosie Ledet's "You're No Good for Me" is a wailer for all lovers scorned, featuring thudding bass, wiry guitar lines, and sax in a one-upmanship dance with her accordion. Beau Jocque growls, Jude Taylor trades accordion licks with his band's organist, and Queen Ida reigns supreme on "My Girl Josephine." As the Creole Farmers sing on the opening cut, "We gonna party 'til the cows come home!" --Paige La Grone

[01]. Creole Farmers Stomp - The Creole Zydeco Farmers
[02]. Co Fa - Keith Frank & The Soileau Zydeco Band
[03]. You're No Good For Me - Rosie Ledet
[04]. What You Gonna Do? - Beau Jocque
[05]. I'm In Love - Nathan And The Zydeco Cha Chas
[06]. Burnin' Flames Special - Jude Taylor & His Burning Flames
[07]. Lula Lula Don't You Go To Bingo - Boozoo Chavis
[08]. My Girl Josephine - Queen Ida & Her Zydeco Band
[09]. Calinda - Clifton Chenier
[10]. I'm On The Wonder - Buckwheat Zydeco
[11]. Bye-Bye Mon Neg - Geno Delafose And French Rockin' Boogie
[12]. Hoochie Coochie - Joe K K And Zydeco Force
[13]. Stay In Or Stay Out - Pass The Dutchie - Chris Ardoin & Double Clutchin'

FLAC (EAC Rip): 380 MB | MP3 - 320 kbs: 125 MB | Scans

Archives have 3% of the information for restoration

FLAC
Part 1 | Part 2 | Part 3

OR MP3 320 kbps
HERE

Greatest Jugalbandies - Ustad Ali Akbar Khan & Ravi Shankar

Posted By MiOd On 3:43 PM 0 comments
Indian Classical Sitar Sarod Duet Indian Raga World Music Ali Akbar Khan Ravi Shankar Greatest Jugalbandies aka Exotic Sitar Sarod

1. Raga Shree - Alaap, Jod, Jhala & Gat Jhaptaal
2. Raga Sindhu Bhairavi - Dadra & Gat Teentaal

Raga - Sindhu Bhairavi
Ustad Ali Akbar Khan, Ravi Shankar

FLAC (EAC Rip): 310 MB | MP3 - 320 kbs: 160 MB | Booklet Scans

Archives have 3% of the information for restoration

FLAC
Part 1 | Part 2

OR MP3 320 kbps
HERE