Music in the World of Islam, Vol.1- Human Voices, Lutes

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Track List
01. Recitation Of Verses Of The Qu'ran (Al-Ateuf, near Ghardala, Algeria)
02. Dhikr (A Sufi Ceremony: Fayoum Oasis, Egypt)
03. Houri (Secular Vocal Musci: Sandandaj, Kurdistan, Iran)
04. Bedouin Wedding Songs (South of Wadi Musa, Jordan)
05. Ghazal, Or Love Song (Tarif, Abu Dahbi)
06. Gurdum Gurdum (Love Song: Daulatabad, North Of Balkh, Afghanistan)
07. Song At The Feast After Ramadan (Near Nagfa, Eritrea, Ethiopia)
08. Haddadi (Muharraq, Bahrain)
09. Kavali (A Devotional Song: Hyderabad, Deccan, India)
10. Abu Zeluf (Beirut, Lebanon)
11. Leader / Chorus Song (Jijiga, Harar Province, Ethiopia)
12. Radha / Ga's (Bedouin Song, Sharjah, UAE; Ga's - Fayoum, Egypt)
13. Love Song (Aqcha, Afghanistan)
14. Tahlil (Baghdad, Iraq)
15. Taqsim In Maqám Iraq ('Ud, Baghdad, Iraq)
16. Taqsim In Maqám Hejaz ('Ud, Baghdad, Iraq)
17. Hausi In Makám Iraq (Kuitra, Tlemçen, Algeria)
18. Tar Solo In Dastgah Mahur (Teheran, Iran)
19. Tambur Solo (Daulatabad, Afghanistan)
20. Gunbri (Lute, Foum el Ançur, Morocco)
21. Taskim In Makám Nishaburek (Ankara, Turkey)
22. Solo In Dastgah Af-Shari (Sehtar, Teheran, Iran)
23. Wedding Song (By A Village Ensemble, Aqcha, Afghanistan)

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Hossam Ramzy and His Egyptian Ensemble - Best Of Om Kolthoum

Posted By MiOd On 6:50 AM 0 comments

Biography: Hossam Ramzy was born in Cairo, Egypt to a very prominent Egyptian family which emphasized education and art. Ramzy's musical career began at the age of three when he was given his first drum, an Egyptian traditional tabla. Hossam was encouraged by his artistic family to master his craft and studied under leading Cairo music teachers. When he moved to Saudi Arabia he joined several Bedouin tribes which gave him a rich insight into the cultural origins of Middle Eastern music and became the inspiration for many of his later rhythmic directions. In the mid-1970s Hossam moved to London, England and enjoyed a lot of success as a jazz drummer, working with many respected jazz musicians including Andy Sheppard and Geoff Williams. As he began looking for new dimensions of percussive sounds, he turned back to Egyptian Drums, and traditional dance rhythms of the Middle East. Hossam also creates many new sounds from the old traditional grooves and Arabian & North African samples and loops using his state-of-the-art digital studio in London. Hossam's No. 1 hit Edony that topped the dance charts worldwide in 2001. His percussion, North African string arrangements and exciting rhythms caught the attention of Peter Gabriel who invited Hossam to perform on Passion and later Us. Hossam collaborated on eleven albums with Peter Gabriel since 2001. Hossam worked with many musicians including Joan Armatrading and Mary Wilson. Hossam creates string arrangements and percussion, and produces many songs for world artists such as: Yesim Salkim, Celick Erici, Khaled, Tarkan, Rachid Taha, Faudel, The Gipsy Kings and Youssou N'dour.

Om Kolthoum was born in Egypt to a family of singers. At 5 her voice was talked about all over Egypt. Later Om Kolthoum sang a live concert every last Thursday of the month and all of Egypt gathered around their radios to hear her and be enchanted by her songs. All the top Egyptian composers have composed songs for her. She was called "Kawkab El Sharq" (the Shining Star of the Middle East).

Oum Kalthoum, c l'essence même de la musique orientale. Elle vous fait vibrer dès les premières paroles même si cette magnifique langue qu'est l'égyptien n'est pas toujours comprise. C'est la langue de l'amour, de l'espoir, de la déchirure parfois mais de la vie et Kalhoum la manie avec une grâce vocale inégalable qui fait briller mes yeux, reflet de cette star.

[01].Enta Omri - I (You are my Life)
[02].Enta Omri - II
[03].Enta Omri - III
[04].Ansak da Kalam (Forget you? What kind of talk is that?)
[05].Ana Fintizarak (While waiting for your return)
[06].Ghannili Sheway Sheway (Sing for me a little by little)
[07].Yamsahharny (I'm loosing my sleep over you)

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Twin Piano Oldies Love Vol.2

Posted By MiOd On 8:08 AM 0 comments

[01].Knock Three Times
[02].The Beauty And The Beast
[03].Will You Still Love The Tomorrow
[04].Rhythm Of The Rain
[05].Take Me Home Country Road
[06].How Can I Tell Her
[07].I Cant Stop Loving You
[08].The Beauty Heart
[09].Unchained Melody
[10].Am I That Easy To Forget
[11].The Sunrise
[12].All I Have To Do Is Dream

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Music From Yemen (Aghany Min El Yemen) LP

Posted By MiOd On 7:18 AM 0 comments

Track List
A1 You Said That You Would Forget Me
A2 Wa Seed Ana Lak Min Al Khodan
A3 Ana Mush Areemak
B1 Tabal Samar
B2 Wa Mogarred Bi Wadi Aldoore
B3 Ya Sabooh al Enab

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Hayri Tumer - Mystique Ney - Arabesques

Posted By MiOd On 7:05 AM 0 comments

Track List
A1. Makam Rast
A2. Makam Hicaz
A3. Makam Ferahfeza
B1. Makam Segah
B2. Makam Nikriz
B3. Makam Hicaz

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Gypsy Music of the Balkans

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Gypsy Music of the Balkans - Langa, Sarr-e-Roma, Zoran Predin & Šukar…

Wild and fiery Balkan 7/8 rhythms as well as heart-rending ballads and everything in between! Played by some of the best-known Balkan Gypsy Bands.

ARC has put out a series of gypsy recordings from throughout the expanses of Eastern Europe (and Western Europe as well, really). In and of itself then, this one shouldn't be much different than the plethora of albums on the market. However, this album of music from the Balkans provides a series of surprises, not holding to the stereotypical and traditional bands and their styles. Certainly there are hints of the fiery Eastern European groups and their ilk (Taraf de Haidouks, Fanfare Ciocarlia, etc), but the music here goes beyond that. The album opens with Sarajevo's Sarr-e-Roma and a song with a sultry, slinky vocal laid over the top of an ultra-high-tempo bounce and vocal accentuations that almost push it into the Eastern European dancehall form. A few songs later, Sarr-e-Roma returns with a deep and mournful piece of music almost in the realm of flamenco. Speaking of flamenco, Langa, from Northern Slovenia, plays some excellent romping music reminiscent of the "flamenco" from Southern France (as popularized by the Gipsy Kings). More relaxed and traditional pieces come from the likes of Vlatko Stefanovski and Ezerki (hailed in the Croatian press as the Macedonian analog of the Chieftains or the Buena Vista Social Club). Before the album is over, Sarr-e-Roma returns with some rock-influenced sounds, Langa commandeers a dulcimer for a more contemplative number, and the ebb and flow of energy between the contemporary iconoclasts and the somber clarinet of Vlatko repeats a couple of additional times. The album goes beyond what many would think of as traditional gypsy music, incorporating more modern sounds but also keeping an eye on those a little truer to the original forms (largely from Macedonia). For a quick and basic overview of Balkan gypsy music, this is really a fine choice. ~ Adam Greenberg, All Music Guide

(01) [Sarr-e-Roma] Tuda sreca
(02) [Vlatko Stefanovski] Demko, Demile
(03) [Langa] Ruoma grastenca
(04) [Sarr-e-Roma] Kameno srce
(05) [Zoran Predin & Sukar] Mentol bonbon
(06) [Ezerki & 7-8] Proseta se Jovka Kumanovka
(07) [Sarr-e-Roma] Padajte snjegovi
(08) [Vlatko Stefanovski] Piravelo mile
(09) [Langa] Zaigrajte mi cigani
(10) [Sarr-e-Roma] Povratak
(11) [Langa] Ederlezi avela
(12) [Vlatko Stefanovski] Hajri mate dike daje
(13) [Langa] Cori Romni
(14) [Sarr-e-Roma] Zivote moj
(15) [Langa] Le, le, lej

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Hossam Ramzy - Kouhail "Traditional Saaidi Dance Music"

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This is a must for all fans and connoisseurs of authentic Egyptian dance music! Hossam Ramzy gathered around him the top musicians of Cairo’s famous Mohammed Ali Street such as Moustafa Sax and Farouq Mohammed Hassan and many others and created great music of his home country with dancers in mind. You can find here original styles from various regions of Egypt.

1. Ala Hesb Wedad Galbi
2. Ala Nur El-Ain
3. Ya Nakhletin
4. Eddalla ya Gamal Hemdan
5. Mahla Layali El-Amar
6. Faris El-Foursan
7. El-Ourban
8. Raqset El-Assaya

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Belly Dance Vol.3

Posted By MiOd On 10:26 AM 0 comments

Track Listing
[01]. Wardeh - Nicolas el Dick
[02]. Bouyout el farah - Nicolas el Dick
[03]. Nada - Nicolas el Dick
[04]. Ourak el nakhil - Nicolas el Dick
[05]. Gara eh ya ozzalna - Farid el Atrache
[06]. Fok ghossek ya lemona - Farid el Atrache
[07]. Lakteb aa werak el chagar - Farid el Atrache
[08]. Kolli ma bchoufak - Mohamed Abdel Wahab
[09]. Aala Allah teoud - Farid el Atrache
[10]. Toomor aal ras wel eyn - Farid el Atrache
[11]. Hebbina - Farid el Atrache

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Belly Dance with Warda & Abdel Halim Hafiz

Posted By MiOd On 5:03 AM 0 comments
Setrak And His Belly Dance Orchestra
Belly Dance with Warda & Abdel Halim Hafiz

Warda al Jazairia - The Rose of Algeria: She was born near Paris in Puteaux in July 1940. The youngest of five children. Her father, Mohammed Ftouki was one of the first Algerian immigrants to France, ran a hostel for migrant workers at Boulogne-Billancourt then became the owner of an Arabic music cabaret in the Quartier Latin called the Tam-Tam (named after the three initials of the three Maghreb countries, Tunisia, Algeria, and Morocco). She used to sneak out of her room every night and hide in one of the corners for two or three hours to listen to the band while they were playing or rehearsing in her father's night club below and then she would sing for her self the next morning. In those days Warda was unable to write any Arabic, she always had to ask her older brother to write out all her Arabic songs in the Latin alphabet. From time to time Warda's father was tolerant enough to allow his daughter's brief appearance on a stage of his club at the request of a friend. Warda's mother was a Lebanese born in Beirut in a Moslem family of good social position. She had taught Warda every Lebanese song of some importance. Thus the girl's liking for the Middle Eastern song had developed. She was only a little girl when she would sing songs by Abdelwahab or Farid Elatrash. Ahmad Tejani, a friend of Warda's father, was working for a famous record company, Pathè Marconi-EMI (now EMI France), which used to produce children's programs for North African Arabs in France on the Paris radio station. During one of his visits to the TAM TAM club he heard her singing and liked her voice so much that, shortly after, he presented her to the radio and she participated in the show with a song called "Song for the Mother". In 1958, as Paris was more and more concerned by the development of the Algerian War of Independence, the whole family had to seek refuge in Beirut where she went on singing militant songs. The whole family lived in a small apartment in Al Hamra Street in Beirut. When Warda started singing in Tanyos, a famous night club in Aley, she was only 17 and her national songs were hardly the style for night clubs. On one of the nights when she was performing Mohamed Abdul Wahab was among the audience. At the end of her performance he approached her and proposed that he compose for her, such a proposal she could not refuse. He was to become, throughout her career, her "godfather". His extremely demanding, almost tyrannical, working methods would change her forever. For the "Oustaz" (The Master) the only price of glory was hard work and dedication, and this was a challenge for Warda for she had to learn how to write Arabic and to erase her Algerian accent. In 1959, in Syria, the great composer, Riad al Soumbati heard her performing a nationalistic song called "Koulouna Jamila" during Damascus Festival and was seduced by her voice. He decided to invite her to Cairo where he was to compose many songs for her among them "Loubat el Ayyam" and "Nida el Dhamir". When she arrived in Cairo in 1960, Riad Sombati was willing to help her: he set two music poems by an Egyptian poet: "Ya huria ana bendahlek" (I am calling you, O Liberty), "Dalia Djamila", in honor of Palestine, and he also composed the musical part of a play "Alikhwa thalata Deir Yassine" (The three brothers from Deir Yassin). In 1961/1962 the Egyptian President, Gamal Abdel Nasser asked that she participate, as the representative of Algeria, in a song for the Arab world called "Al Watan Al Akbar". This song was composed by Mohamed Abdel Wahab and Warda had the chance to appear alongside other famous singers such as Abdel Halim Hafez, Sabah, Fayza Ahmed, Najat al Sagheera and Shadya. The film director Helmy Rafla heard Warda and put her forward for a major role in his film "Almaz Wa Abdu Al Hamoly". For this film both Mohamed Abdel Wahab and Farid el Atrache were to compose her songs. In 1962, Algeria became independent. In 1963, she flew there for the first time to marry a former high ranking officer in the National Liberation Army (ALN) she had met during her stay in Lebanon. Her husband asked her to give up singing to look after her family - which she did for ten years but was very, her career seemed to be definitively over. But in 1972, Houari Boumedienne, the President of Algeria, asked her to participate in the celebration of the 10th Anniversary of the Independence. She agreed, with the result that her marriage broke down. ElMassia Egyptian orchestra was sent to accompany her singing her comeback song: "Ad'uka ya amali", a poem by the Algerian poet Salah Kharfi, music by Baligh Hamdi. In December of the same year she left for Cairo where she became very rapidly one of the most famous Arab singers with "Elûyûn essûd", "Khallik Nena" and other songs in the same vein composed by Baligh Hamdi, whom she had just married. She began working with the most famous composers of the time, Riad al Soumbati, Baligh Hamdi (whom she was later to marry and who was to compose so many of her successful songs during ten years), Kamal al Tawel, Said Mekkawi and of course, the "Oustaz" Mohamed Abdel Wahab. She played a part in two films: "Sût elhob" (The voice of love) and "Hikaiti maa ezzaman" (My fate and me), in which she sang works by M. Abdelwahab, Kamal El Tawil, Mohammed Elmûgui and by her husband Baligh Hamdi. In recent years she has worked particularly closely with the composer Salah el Sharnoubi, the lyricist Omar Batiesha, the musician Tarek Akef and producer Mohsen Gaber (Alam El Fan), an association which led to three of her albums receiving the award of "Best Album of the Year" in 1991, 1992 and 1994. Warda al Jazairia - The Rose of Algeria - has always brought joy and pleasure, through her art, talent and magical voice, to her many fans and admirers across the Arab world and globally through more than 300 carefully chosen songs and with concerts booked all over the world.

Abdel Halim Hafez: 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.


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Super Belly Dance with Farid El Atrache Vol.1 (Habbina)

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Daniel Der Sahakian presents Super Belly Dance with Farid El Atrache Vol.1 (Habbina)



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Kucschel Jazz - [2003]

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Disc: 1
[01]. Norah Jones - Come Away With Me
[02]. George Michael - Roxanne
[03]. Natalie Cole - What A Difference A Day Made
[04]. Nat King Cole - Unforgettable
[05]. Dinah Washington - Mad About The Boy
[06]. Miles Davis - Time After Time
[07]. Sade - Love Is Your King
[08]. Eva Cassidy - People Get Ready
[09]. Steve Tyrell - As Time Goes By
[10]. Alison Moyet - That Ole Devil Called Love
[11]. Al Jarreau - Your Song
[12]. Oleta Adams - New York State Of Mind
[13]. Luther Vandross - Killing Me Softly
[14]. Kenny G - Silhouette
[15]. Ella Fitzgerald Louis Armstrong - They Can't Take That Away From Me
[16]. Jane Monheit - Over The Rainbow
[17]. Astrud Gilberto Feat. Stan Getz - Corcovado
[18]. Robbie Williams - Mr. Bojangles

Disc: 2
[01]. Jazzamor - Way Back
[02]. The Style Council - The Paris Match
[03]. Patricia Kaas - Un Homme Et Une Femme
[04]. Stan Getz - Misty
[05]. Andy Williams - The Look Of Love
[06]. Keiko Lee - Saving All My Love For You
[07]. Till Brönner - Just The Way You Are
[08]. James Taylor - It's Only A Paper Moon
[09]. Carmen Cuesta-Loeb - Dreams
[10]. Silje Nergaard - Blame It On The Sun
[11]. Billy Joel - In A Sentimental Mood
[12]. Chris Botti - Lisa
[13]. Joy Denalane - I Cover The Waterfront
[14]. Sarah Vaughan - Summertime
[15]. Tony Bennett K.D. Lang - What A Wonderful World
[16]. Ann Burton - I Can't Give You Anything But Love Baby
[17]. Malia Feat. Eric Truffaz - Yellow Daffodils
[18]. Simply Red - Ev'ry Time We Say Goodbye

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Kucschel Jazz - [2002]

Posted By MiOd On 7:26 PM 0 comments


Disc: 1
[01]. Paul Desmond - Easy Living
[02]. Louis Armstrong - What A Wonderful World
[03]. Miles Davis & Gil Evans - Summertime (from Porgy & Bess)
[04]. Dave Brubeck - What Is This Thing Called Love - Kuschel Jazz
[05]. Astrud Gilberto with Stanley Turrentine - Solo El Fin (For All We Know)
[06]. Toots Thielemans - Bluesette
[07]. Coleman Hawkins - Autumn Leaves
[08]. Nat King Cole - These Foolish Things
[09]. Miles Davis - Round Midnight
[10]. Stan Getz - Misty
[11]. Tony Bennett - Quiet Nights Of Quiet Stars (Corcovado)
[12]. Gerry Mulligan - Blue Boy
[13]. Lionel Hampton with Reeds & Rhythm - Satin Doll
[14]. Dinah Washington - Mad About The Boy
[15]. Chet Baker - What´ll I Do
[16]. Duke Ellington & His Orchestra - Mood Indigo
[17]. Oscar Peterson - It Ain´t Necessarily So
[18]. Roy Hargrove Quintet - Everything I Have Is YoursDedicated To You

Disc: 2
[01]. Paul Desmond - Wave
[02]. Antonio Carlos Jobim - Tereza My Love
[03]. Stan Getz - Forest Eyes
[04]. Mel Tormé & Orchestra - Born To Be Blue
[05]. Ben Webster - Stardust
[06]. Ella Fitzgerald & Orchestra Buddy Bregman - Night And Day
[07]. Carmen McRae - Manha De Carnival (Where Did I Go)
[08]. Toots Thielemans - Quiet Evenings
[09]. Marcus Roberts - In A Mellow Tone
[10]. Arthur Prysock - At Last
[11]. Dave Brubeck Quartet - When You Wish Upon A Star
[12]. John Coltrane - Like Someone In Love
[13]. Chet Baker - She Was Too Good To Me
[14]. Ben Webster - I Got It Bad (And That Ain't Good)
[15]. Billie Holiday, Ray Ellis And His Orchestra - You've Changed
[16]. Bill Evans, Konitz & Marsh - When I Fall In Love
[17]. Terence Blanchard - Detour Ahead

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Al Kindi - Aleppian Sufi Trance

Posted By MiOd On 12:42 PM 0 comments
Sheikh Habboush/El-Kindi Ensemble/Julian Weis

Sheikh Ahmed HABBOUSH Shaykh Habbush inherited his mystical knowledge from his father who was also a Sufi shaykh. He was initiated in several mystical traditions, but the tariqa Qadiriyya and the tariqa Rifa‘iyya are the main sources of his mystical teachings and of the ritual structure of his dhikr. The Rifa‘i influence on shaykh Habboush can be seen on the presence in his zawiya of the iron skewers used in the performance of the darab al-shish. While he is entitled by his initiation in the Rifa‘iyya to perform the darab al-shish in his disciples, he usually prefers other forms of evaluation of their advance in the mystical path.

Sufi Trance Music by the master Sheikh Habboush from Aleppo Syria, and Esemble Al Kindi. London, Nov 2005.

Le Chant du Monde appears to have taken a leaf from the book of the Network label for this double set. There's a long-box package, extensive notes in French and English, and a luxurious, artistic set of photographs. And, thankfully, the music to match. This is an outing into the traditional Sufi trance music, part of which involves the dancers known colloquially as "whirling dervishes." It's fascinating stuff, although definitely for converts or the very curious, as two and a quarter hours of music would prove taxing for the only mildly inquisitive. The ensemble, featuring the hammered dulcimer called the qanun, the oud, ney, riqq, derviche, and voices, truly does create mesmerizing music, whether for the dance or in their instrumental taqsims, where the players truly get a chance to shine. But no one ever forgets that this is ritualistic, sacred music, made for a higher purpose. The sense of beauty and awe is continuous, and draws the listener inward and onward. Don't play this when you're trying to do something else; it needs full attention. This is a case where the music deserves the package -- and vice versa. ~

Track Listings
Disc: 1
1. Taqsim Nay Maqam Rast, Improvisation On Flute, Tahtirat 'Qef Wastame Dhikra Man Anwaruhu Lama'at', Prayers, 'Listen To The Momory Of One Whose Lights Twinkled'
2. Bashraf Rast 28/4, Rythme Dawr Kabir, Ancient Instumental Prelude, Muwashshah: 'God's Messenger. O! You Who' Muwashshah: 'We Have To Start Working'
3. Sama I Maqam Rast, Instrumental Prelude, Musashshah: Measured Classical Song, 'Time Gave Me What I Wished'
4. Djoubi, Ostinato In Irakian Rythm With Taqassim And Qacida Mawzouna
5. Qacida Falet, Maqam Rast, Free Vocal Improvisation On A Classical Poem: 'I Ask Mercy For'
6. Ughniya, Popular Chants: 'People Likes You...', 'Muhammad, Light Of All', 'Muhammad'
7. Taqsim Nat Et Samai Houzam, Flute Solo And Instrumental Prelude
8. Qacida Falt, Improvised Poem
9. Fasl Aj Jalale, Muwashshahat Suite On Ascending Ostinato: 'If She Had Appeared To Me', 'Prayers On The Shaded'
10. Tarqiyat Madad, Recitation Of Soufi Saints, Muwashshah: When He Quenched My Thirst', 'My Brother', 'Be Generous, You Merciful', 'Separation', 'Me Dearest'
11. Qacida Mawzun, Improvised And Measured Classical Poem Maqam Bayati Re

Disc: 2
1. Taqsim 'Ud Maqam Bayati, Luth Improvisation
2. Qacida Falet Maqam Bayati, Vocal Improvisation On A Classical Poem
3. Fasl Maqsoum, Muwashshah Suite On Ascending Ostinato: 'Qui'il Soit Loue', 'Nostalgia', 'Our Lord', 'When I Approach', 'To Me', 'Splendor', 'Between Naqa And...', 'From Mekka', 'Extreme Beauty', 'My Friend I Lost Patience', 'My God A Sight'
4. Taqassim Qanoun Et 'Oud, Zyther And Luth Duo
5. Qacida Sheikh Habboush, Maqam Rast Re, Vocal Improvisation On Classical Poem
6. Fasl As Sawi, Muwashshah Suite On An Ascending Ostinato With Percussion: Daff, Drum, Cymbals, Riqq, Brotherhood Tabl. Taqassim Mazouna Nay, 'Oud Et Qanoun, Madadiyat Sheikh Habboush. Qacida Mawzouna. Maqam Rast Do, Improvisation On Classical Poem...
7. Fasl Khammar, Vocal Suite With Percussion: Taqassim Nay Et Qanoun, Qacida Sab'awi 'Maqam Nahawand Re, Maqam Hijaz - La'
8. Muwashshah: 'I'm Astonished', 'Canary's Song', 'You Who Sees And Is Not Seen'
9. Fasl Bahlul, Vocal Suite With Percussion: Taqassim 'Oud, Qanoun, Nay Et Qacida Mawzouna Sheikh Habboush Maqam Bayat - La
10. Muwashshah: 'My Heart, Trust In Allah', 'A Long Time Ago', 'Before Greatness'
11. Ritual Final Prayer Of Dervish Hamami

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Part One
Part Two

Al Andaluz Project - Deus et Diabolus

Posted By MiOd On 6:53 AM 0 comments
Al Andaluz Project - Deus et Diabolus The bewitching Deus et Diabolus (God and the Devil) threads together the voices of three women: Mara Aranda, from Valencia's L'Ham de Foc; Sigrid Hausen, from Munich's medieval music group Estampie; and Iman al Kandoussi. They are accompanied by a lively ensemble of flutes, qanun, ud, saz, rabab, fiddle, nyckelharpa, hurdy-gurdy, pandera tambourines and percussion. It's an inspiring encounter between the talented musicians of L'Ham de Foc and Estampie recorded in the old Cartuja Monastery, Cazalla de la Sierra, Seville. This is sprightly music, fusing Mediterranean, Oriental and medieval moods. The ethos underpinning their reinterpretations of Arab, Jewish and Christian cantigas to the Virgin Mary, their reimaginings of sensual dances and Arabic songs, is expressed by a line from poet Ibn al-Arabi, 'Wherever the caravan may bend its steps/Love is my religion'. While each exquisite piece speaks for itself, they flow together like a song cycle embedded in a utopian view of the past as one of dialogue and peaceful co-existence between religious cultures. The 13th-century 'Cantiga de Santa Marнa' is just one breathtaking moment, transporting in the way the timbres and textures of voices and instruments interweave. The arrangements for each of the 12 songs are stunningly varied, each 'voice' jewel like, distinctly within the fabric of pieces. SongLines Al Andaluz Project - Nassam Alaina Lhawa
[01]. Morena [02]. A Virgen Mui Groriosa [03]. Nassam Alaina Lhawa [04]. Pandero [05]. De Santa Maria [06]. Chamsse Lachia [07]. La Galana y el Mar [08]. Gran Dereit [09]. Atiny Naya - Solo Iman [10]. Lluna [11]. Arrachia Lfatan [12]. Las Suegras De Ahora FLAC tracks (EAC Rip): 440 MB | MP3 - 320 kbs: 180 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

Hossam Ramzy - Sabla Tolo, Journeys into Pure Egyptian Percussion Vol.1&2

Posted By MiOd On 7:21 AM 0 comments
[01].Hossam Ramzy - Sabla Tolo, Journeys into Pure Egyptian Percussion

A celebration, a fireworks of Egyptian rhythm and percussion! Powerful, exhilarating, with lots of groove and drive! Hossam Ramzy presents Egyptian rhythms like they have never been played before: thirteen new compositions of Tabla and percussion solos for belly Dance! Covering a wide range of rhythms from Egypt, the Middle East, all the way across to Morocco with new rhythms created by Hossam for the Egyptian dance. The booklet contains explanations for each of the solos with rhythms, time signatures, numbers of bars, etc. for dancers. This is THE standard for Egyptian percussion!

[01].West Naima (Naima's Hip)
[02].Kholkhal Taheyya (Taheyya's Ankle)
[03].Khatwet Serena (Serena's Step)
[04].Amiret El Sahara (Desert Princess)
[05].Sha-Awit Katie (Katie's Cheeky Playfulness)
[06].Samya's Solo
[07].Brazilian Pearls
[08].Belhadawa Walla Belshaawa (Rough or Cool?)
[09].Lucy, the Magnificent
[10].Dalloua (The Coy, Spoiled One)
[11].We Baadin Ommaal
[12].E Genneyya (The Djinni)
[13].Ghareeb (How Odd)

| MP3 320 Kbps | Incl. Covers | 110 MB |


[02].Hossam Ramzy - Sabla Tolo II, Further Journeys into Pure Egyptian Percussion

SABLA TOLO”, it has become very clear to me that a second one is needed, as I have so much rhythm that I want to share with you and so many new ideas and rhythmic places I wanted to take you to. Once again, this is an album of percussive vision into the Egyptian women’s solo dance. The Tabla Solo is an exciting feature in any dance routine, and it can also be the bucket of water tossed over the fire, if it is not done properly. Above all questions there is one that has been burning in my mind : WHY DO A TABLA SOLO? Many dancers do it to impress the audience, or to show off, or just because it happens to be what everyone else is doing at the moment. But.. Can a Tabla Solo be inspiring? Can it be emotional? Can it be musical in it’s concept as well as performance. Is it an aesthetic thing? Or is it just wild drumming followed by a sudden stop? The very first Tabla Solo was invented by the late Master AHMED HAMMOUDA. He was the brother of my beloved Tabla teacher, the late Master MAHMOUD HAMMOUDA. Ever since that first solo he did for Nagwa Fouad, many have copied the same solo over and over and over again with little variety or imagination. “SABLA TOLO 2” is another humble gift to the dancers of the world and is a collection of solos that have never been recorded before. Authentic, original, emotional, aesthetic and dynamic in their essence, covering a wide range of rhythms as well as regions from Egypt and the Middle East as far as from Kuwait all the way across to Morocco with various new rhythms created by Hossam for the Egyptian Dance such as : EL SETTATY (The one for the ladies /also meaning of the sixes = 6/8), ABU EL SEBAA (Father of the lions / also meaning of the sevens 7/8), TESAAWY(of the nines 9/4). EDDASTA ( The dozen 12/4 ) , MAHZOUZ ( Mr. Lucky 13/8 ), Just as he did with his original rhythm: ABU EL KHAMSA are his new gift to the world of Egyptian rhythm for the new millennium.

[01].Wana Be-Ied Annak (Whe I am not Near You)
[02].Harrira & Basboosa
[03].My Brazilian Pearl
[04].El Esma Wel Ma-Soom (Our Fate)
[05].Amar El Sahara (The Moon of the Sahara)
[06].Wady Sama Ala El Malfuf (Samba over Malfuf)
[08].Oyoun El Fallaha (The Eyes of a Fallaha)
[09].Ya Gama-a (Calling all the Group)
[10].Hawary Al Qahira (The Back Streets of Cairo)
[11].La' Bel Hadwa (No, Cool and Gently, Please)
[12].Ya Sha-Eyya (You Naughty, Playful Girl)
[13].Rakataka 3:59

| MP3 320 Kbps | Incl.Covers | 120 MB |


Debashish Bhattacharya - Calcutta Chronicles: Indian Slide Guitar Odyssey

Posted By MiOd On 7:30 AM 0 comments

Debashish Bhattacharya is an old hand at combining spirituality with outside-the-box adventuring and impish humor. For his ninth album released in the West, Calcutta Chronicles: Indian Slide Guitar Odyssey, he eschews outside collaborations but nonetheless pursues a multi-cultural agenda. The opening track, "Sufi Bhakti" merges two devotional paths, revealing each while slighting neither. Played upon anandi, a small slide ukulele invented by Bhattacharya, and flanked by Indian harp, tabla drums and a one stringed ektara, the piece has an Islamic flavor punctuated by pauses like polite bows. The title of "Gypsy Anandi" seems to refer less to Roma musical traditions than to their nomadic tendencies. The track, while constructed over a foundation of Indian raga, also encompasses Hawaiian and Afro-Andalucian influences. But on "Kolkata To Kanyakumari," a tribute to the philosopher Swami Vivekenanda (with whom Bhattacharya shares a birthday), he's back in the ancestral fold, combining aspects of North Indian and sacred Carnactic themes. As usual, Bhattacharya's flawless technique, astonishing as it is, takes a backseat to his inspired improvisations. Each tune unfolds in an urgent yet unrushed manner, revealing skeins of drone-laced song energized by ardent emotion and refined by uncountable generations of soul-deep musical intellect. --Christina Roden

Calcutta Chronicles: Indian Slide-Guitar Odyssey is a musical journey through the centuries of guitar playing in India. Using three unique guitars that BBC award winner Pandit Debashish Bhattacharya designed himself, each beautiful raga explores influences ranging from Gypsy to Sufi with deep sensitivity and free-flowing movement between past and present, tradition and innovation.

(01) Sufi Bhakti
(02) Amrit Anand
(03) Nivedan
(04) Ganga Kinare
(05) Gypsy Anandi
(06) Rasika
(07) Avishkaar
(08) Kolkata To Kanyakumari

Flac tracks (EAC Rip): 360 MB | MP3 - 320 kbs: 210 MB | Booklet Scans

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100% Best Of Piano Mood

Posted By MiOd On 8:04 AM 0 comments

Track Listing
Disque : 1
[01].Unchained Melody
[02].My Way
[03].Song For Guy
[04].Moon River
[05].Only Love
[06].Will You Love Me Tomorrow
[07].How Can I Tell Her
[08].La Mer
[10].All I Have To Do
[11].Sail Along Silvery Moon
[13].Take Me Home Country Road

Disque : 2
[04].No More Words
[05].Love Destiny
[08].I Am
[09].A Song For Xx

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Fall In Love With Piano

Posted By MiOd On 6:25 AM 0 comments

Track Listing
[01].Ballade Pour Adeline
[02].The Way We Were
[03].Big My Secret
[04].All I Ask Of You
[06].How Am I Supposed To Live Without You
[07].Another Day In Paradise
[08].How Deep Is Your Love
[10].Ebony And Ivory
[11].One Sweet Day
[12].Theme From Mahogany
[14].Chariots Of Fire

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Fateh Ali Khan - Magic of the Day

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Possessing a large collection of North Indian classical music on CDs produced by the two main labels Nimbus and Navras, I was intrigued to sample the Opus 111 series Treasures without frontiers. Ustad Fateh Ali Khan is a foremost master of Muslim classical music. From the admirably informative liner notes (a feature of this series) I learn that to qualify as a 'Ustad' one has to study for at least 30 years, practising thirteen hours a day or more, and studying each raga at its proper time of day! Moreover, the sarangi is so difficult that mastery requires forty years to earn the same accolade, therefore there are few players of this calibre.

This generous programme takes four ragas for different times of day, morning, afternoon, night and midnight and recorded accordingly, so I must presume. The distinctions may elude most of us, but the music iself speaks easily and directly. At 63, Ustad Fateh Ali Khan is at his professional peak, offering creative improvisations with a voice smooth and flexible over three octaves. The liner notes give a great deal of information about kyal performance and the rag system, with the notes in the different scales used, and details of the rhythms, also transcriptions of the poems set upon which the singer builds his fancies. He is echoed closely throughout by the sarangi and harmonium which, together with the tanpura drone, helps to maintain correct pitch. We are ven provided with a brief introduction to Pakistani culture and politics!

In striking contrast with the Indian classical CDs I have reviewed for MotW, this one has an informal feeling as if one is eavesdropping, the singer not close-miked but absorbed into the continuous and quite dense instrumental texture which surrounds him. The venue is a resonant Friary in Lahore, the 'cultural capital' of Pakistan. It is very atmospheric, even though detail is at times blurred, and it is best heard, not played loudly, on equipment with good stereo separation. You may find the tabla unduly prominent at times, and it may be worth adjusting the balance accordingly.

A very worthwhile introduction to a series which ranges as far and wide as Iceland, Russia and Peru, seeking out performances by the greatest masters reflecting rigorous ethnomusicological research. But approached purely for pleasure, this window into the ancient artistry still preserved in Pakistan satisfies well.

Recorded at St. Mary's Friary, Lahore, Pakistan in April 1998. Includes liner notes by Tariq Mahmood.

Recording information: St Mary's Friary, Lahore, Pakis (04/1998).

Personnel: Ustad Fateh Ali Khan (vocals); Ustad Alla Rakha Khan (sarangi); Muhammad Sabir (tanpura); Muhammad Aslam (harmonium); Khalifa Akhtar Hussain (tabla).

1. Rag Jaunpuri
2. Rag Bhim Plasi
3. Rag Bhopali
4. Rag Darbari

Ustad Fateh Ali Khan (singer) with Ustad Alla Rakha Khan, (sarangi) tabla, harmonium & tanpura

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Sabahat Akkiraz & Orient Expressions 'Külliyat'

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Ömrünü, Anadolu'nun türkülerini derlemeye, öykülerini dinlemeye, masallarina taniklik etmeye yani "Anadolu kültürünün kesfedilmesine" adayan Sabahat Akkiraz, serüvenlerini "elektronik müzigi dogu ile bulusturan yolda kesfedilmemise yolculuk" olarak özetleyen Orient Expressions'la bulustu. Ortaya "Külliyat" çikti... Külliyat'ta ozanlik geleneginden gelen Akkiraz, halk müzigini elektronik altyapi üzerinde yorumlayan Orient Expressions'la birlikte Anadolu müzigini dünyaya fisildiyor. Tarihin ezgilerini bugünün müziginin teknolojik olanaklariyla dinleyiciye ulastiran Külliyat, Anadolu'nun kültürel zenginligini yansitirken farkli eglenme ve hüzünlenme biçimlerinin türküler araciligiyla karsilastirilmasina da, Anadolu'nun küçük bir köyünde dinlenen uzun havanin bir ballad olarak yeniden yaratilmasina da imkan veriyor.

01. Gül Fidanı Kırılır 4:39
02. Kök Ve Dal 6:56
03. Mevlam Bir Çok Dert Vermiş 5:15
04. Ben Melamet Hırkasını Giydim (Leylim Leylim) 3:34
05. Akıttın Gözümden Yaşı 5:01
06. Kayalar Merdim Merdim (Karaşar Semahı) 6:02
07. Nokta 5:21
08. Kaleden Kaleye Şahin Uçurdum (Temir Ağa) 5:34
09. Ali (Methiye) 4:22
10. Eridi Kalmadı Dağların Karı 4:10
11. Ceylan Gözlerine

* Conch [Deniz Kabukları] – Steve Turre
* Flute [Shepherd's Flute] – Murat Toraman
* Hurdy Gurdy – Ben Grossman
* Percussion – Tarık Tüysüzoğlu
* Vocals – Azam Ali, Kani Karaca

Flac (EAC Rip): 560 MB | MP3 - 320 kbs: 170 MB | H.Q Booklet Scans

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Bustan Abraham - Pictures Through The Painted Window

Posted By MiOd On 8:26 AM 0 comments

This must be the middle-east peace!!!! ..Wonderful ethnic music performance from Israel...Arabic, Turkish,Persian,Indian melodies alltogether..It couldn't be better than this.Especially the percussionist Zohar Fresco shows a splendid musicianship.

I would suggest you to listen to all the albums of this band..The albums by Bustan Abraham named as Hamsa ,Fanar,Ashra are also very good..

They also appeared with very different musicians from all over the world.Such as Ross Daly(with him they have an album called Abadai..excellent!!!!!),Hariprasad Charusia.

The second album of Bustan Abraham, is another step foreword along Bustan's artistic journey.

Many attempts have been made by musicians to create a synthesis between Eastern and Western cultures. Generally the result is that either the Western or Eastern form dominates while the other is merely used for ornamentation. For the past several years Bustan Abraham has met this challenge and has succeeded in pioneering a unique form of instrumental music which combines elements of both these Eastern and Western forms without sacrificing the musical integrity of either.

Bustan (Hebrew and Arabic meaning, "garden of fruits and essences," in this case the garden of Abraham, father of Isaac and Ishmail) was founded in 1991 by Avshalom Farjun. It comprises seven distinguished Israeli musicians, both Jews and Arabs, who have combined their musical experience as composers, soloists and heads of musical ensembles to create original music on a very high international level.

The musical backgrounds of Bustan Abraham's members are very rich and represent an astonishing variety of musical cultures including classical Arabic music, classical European music, jazz, Turkish, Persian and Indian music, flamenco and American folk music.

The instruments played are unusually diverse. Middle Eastern instruments include the oud (Arab lute), qanoun (oriental zither) and a range of percussion instruments such as durbakkeh, daff, zarb and bandir frame drums to name only a few. These are joined by Western instruments including transverse flute, classical and flamenco guitar, contrabass, electric bass, and 5-string banjo. In addition the violin is utilized in both Middle Eastern as well as Western forms of playing. Also represented is an astonishing array of international percussion instruments too numerous to mention! The successful integration of this combination of instruments has never before been presented on the concert stage. The music which embodies this rich diversity is entirely original and was composed and arranged in a cooperative effort by all members of the group.

Bustan aspires to create a new musical form, which speaks to both Eastern and Western audiences, and to pave the way for other joint creative efforts between Arabs and Jews. The group has become a symbol of uncompromising instrumental composition, which has created a new standard of originality in Israeli music, and world music in general, and has received rave reviews to that effect from audiences and critics alike.

Bustan have toured extensively throughout the world between 1992 & 2003 it's powerful stage performance have been always greeted with standing ovations by audiences.

1. Gypsy Soul

2. Jazz Kar-Kurd

3. Fountainhead

4. Muwashah

5. Longa

6. The Walls Of Jericho

7. Sama'i Nahawand

8. Wallah

9. Pictures Through The Painted Window

Taiseer Elias-oud, violin

Amir Milstein-flute

Avshalom Farjun-qanoun

Emmanuel Mann -bass

Zohar Fresco-percussion

Miguel Herstein-classical guitar and banjo

Nassim Dakwar-violin

Yehuda Siliki-baglama & vocals

Flac tracks (EAC Rip): 315 MB | MP3 - 320 kbs: 140 MB | Covers

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Giuseppe Verdi - La Traviata (Opera Choices)

Posted By MiOd On 4:59 PM 0 comments
Disque : 1
[01].Preludio Atto Primo
[02].Dell' Invito Trascorsa E Gia..
[03].Dunque Attenti...Libiano Ne'..
[04].Che E Cio?
[05].Un Di Felice
[06].Si Ridesta in Ciel L'aurora
[07].E' Strano, E Strano
[08].Follie! Delirio Van E Questo
[09].Atto Secondo- Inizio: Lunge Da Lei
[10].De' Miei Bollenti Spiriti
[11].Madamigella Valery
[12].Pura Siccome Un Angelo
[13].Un Di'
[14].Dite Alla Giovine Si Bella E..
[15].Piangi, O Misera, Piangi!
[18].Di Lagrime Avea D'uopo
[19].Di Violetta! Perche Son Io Commosso?
[20].Di Provenza Il Mar
[21].Ne Rispondi D'un Padre All'affetto?

Disque : 2
[01].Atto Secondo (Fine) - Avrem Lieta
[02].Di Madride Noi Siam Mattadori
[03].Alfredo! Voi
[04].Inviato A Qui Sequirmi
[05].Che Volete?... Questa Donna Conoscete?
[06].Ogni Suo Aver Tal Femmina?
[07].Disprezzo Degno
[08].Alfredo, Alfredo
[09].Atto Terzo: Preludio
[11].Teneste La Promessa...Addio Del Passato
[13].Parigi O Cara
[14].Ah, Non Piu?
[15].Ah, Violetta!
[16].Prendi Quest'e L'immagine

MP3 VBR kbps including Covers, 2007


Souad Massi - Ô Houria (Liberty)

Posted By MiOd On 11:50 AM 0 comments

Track List
01. Samira Meskina
02. All Remains To Be Done
03. Kin Koun Alik Ebaida
04. Ô Houria(Liberty)
05. Nacera
06. A Letter to … Si H’Med
07. Everything I Love
08. Khabar Kana
09. Enta Ouzahrek
10. Stop Pissing Me Off
11. A Smile
12. Let Me Be In Peace (Feat. Paul Weller)

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Afro-Cuban All Stars: A Toda Cuba Le Gusta

Posted By MiOd On 7:45 AM 0 comments

A lively, spontaneous record that manages to sound both relaxed and forceful at the same time, A Toda Cuba Le Gusta shows off the talents of many of Cuba's elder statesmen of Afro-Cuban jazz. Over gently pulsating conga grooves and low-register ostinatos, such luminaries as pianist Ruben Gonzalez and singer Manuel "Puntillita" Licea float dramatic melodies, as their solo contributions are answered by brass section chords as thick and sweet as cane syrup. Although it is Ruben Gonzalez' presence on this album that gets the most attention, his tendency towards relentless chromaticism becomes tiresome early on, especially when it is contrasted with the exquisite phrasing and tremulous beauty of singers such as Licea, Raul Planas, and Ibrahum Ferrer. As would be expected, the trumpets blare with traditional Cuban bravado, evoking gentle romance and fiery passion with equal ease. Even the resident gringo, Ry Cooder, gets in some choice licks on "Alto Songo." The relative lack of dynamic movement in most of these songs may lead to them blending together in the ear of the listener, but the inherent tunefulness of each track, not to mention the sheer drive that this band is capable of summoning, cancels that complaint out nicely. An important collaboration and a promising debut. ~ Daniel Gioffre, All Music Guide

[01]. Amor Verdadero
[02]. Alto Songo
[03]. Habana Del Este
[04]. A Toda Cuba Le Gusta
[05]. Fiesta De La Rumba
[06]. Los Sitio' Asere
[07]. Pio Mentiroso
[08]. Maria Caracoles
[09]. Clasiqueando Con Ruben
[10]. Elube Chango

320 kbps including scans


Kenny G - Heart And Soul

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In a recording career that spans almost three decades and 23 albums, Grammy Award-winning saxophonist Kenny G has grafted elements of R&B, pop and Latin to a jazz foundation solidifying his reputation as the premiere artist in contemporary jazz. Since the early ‘80s, his combination of unparalleled instrumental chops and indelible melodies has resulted in sales of more than 75 million records

Multi-platinum selling, Grammy-winning recording artist Kenny G, returns with his 13th studio album entitled Heart and Soul. Kenny and renowned studio master Walter Afanasieff (Christina Aguilera, Michael Bolton, Mariah Carey, Cline Dion, Whitney Houston, Mika, Barbra Streisand) produced and arranged the album, the follow-up to 2008's Latin jazz collection Rhythm and Romance. Heart and Soul returns Kenny to his R&B roots including tracks with guest artists Robin Thicke and Babyface.

01. Heart And Soul
02. Deja Vu
03. Fall Again Feat. Robin Thicke
04. Letters From Home
05. The Promise
06. No Place Like Home Feat. Kenny 'Babyface' Edmunds
07. My Devotion
08. G-Walkin'
09. Sunrise
10. One Breath
11. Encore
12. After Hours

Flac tracks (EAC Rip): 370 MB | MP3 - 320 kbs: 140 MB | Scans

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Hossam Ramzy - Flamenco Arabe 2

Posted By MiOd On 8:08 AM 0 comments
Flamenco Arabe 2, Hossam Ramzy & Jose Luis Monton

Flamenco Arabe 2 is a unique recording by master Egyptian percussionist, composer and arranger Hossam Ramzy (Peter Gabriel, Ricky Martin, Chick Corea, Loreens McKennit, Rober Plant/Jimmy Page) - “Sultan of Swing” Rhythm (UK), and celebrated Spanish flamenco guitarist José Luis Montón - “…a stunningly intuitive musician…” ABC (Spain). This exhilarating CD fuses pulsating Arab rhythms and percussion with fiery Andalusian flamenco. The result is a captivating and romantic Spanish/Arabian sound. Recorded in Egypt, Spain and UK, this album crosses all the barriers between the Middle Eastern sounds and the world of Flamenco music, song and dance. It attempts to bring history into the present. Moorish migrations, North African flavours, passionate flamenco with Egyptian tabla, palmas (clapping), oud, nay, guitar, qanun and violin solos that melt the heart.

[01]. Caballo (Intro)
[02]. Caballo (On Horseback)
[03]. Awtar W' Haneen (Strings and Longing)
[04]. Nilo (Nile)
[05]. Men Teeba l' el Andalus (From Thebes to Andalusia)
[06]. Casa de Barry (Intro)
[07]. Casa de Barry (Barry's House)
[08]. Sahret Ghawazy (Gypsy Night of Celebration)
[09]. Arena (Sand)
[10]. Hombre y el Saidi (Intro)
[11]. Hombre y el Saidi (The Macho Man, The Saidi)
[12]. Pensando en Ti (Thinking of You)
[13]. Amil
[14]. Trompetta (Baby Trumpet)

320 kbps including Covers


Armand Amar - La Piste

Posted By MiOd On 6:41 AM 0 comments

Track Listing
(01) [Armand Amar] Premonition
(02) [Armand Amar] Prince and gary
(03) [Armand Amar] The Camp
(04) [Armand Amar] Child's Song
(05) [Armand Amar] Kadjiro and Grace
(06) [Armand Amar] Running
(07) [Armand Amar] Return to Africa
(08) [Armand Amar] Diamonds
(09) [Armand Amar] Quarrel
(10) [Armand Amar] Gipsy Raven
(11) [Armand Amar] By Starlight
(12) [Armand Amar] Waterfall
(13) [Armand Amar] Desert
(14) [Armand Amar] The Father
(15) [Armand Amar] Longing
(16) [Armand Amar] Storm

Ape (EAC Rip): 360 MB | MP3 - 320 kbs: 230 MB | Booklet Scans

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ABDO Abd El Rahman El Khatib - Salama LP

Posted By MiOd On 9:13 PM 0 comments
Abdelrahman “Abdo” Elkhatib, was an Egyptian musician who relocated to Sweden to go to school and ended up staying as a teacher.



Track List
A1 - The Oriental Express Train
A2 - Salma Ya Salama
A3 - Hela Hop
B1 - Ah Ya Zen
B2 - Atshan Yasabaya

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Perfect Relaxation

Posted By MiOd On 3:38 AM 0 comments

Track Listing
[01]. Satie - Gymnopedies
[02]. Satie - Gymnopedies
[03]. Goldmark - Violinkonzert Nr. 1-Andante
[04]. Satie - Gnossiennes
[05]. Mozart - Konzert für Flِte und Harfe-Andanti
[06]. Thuille - Blنsersextett-Larghetto
[07]. Bruch - Violinkonzert-Adagio
[08]. Bach - Sonate Nr. 2-Andante
[09]. Pachelbel - Canon und Gigue D-Dur
[10]. Czerny - Grande Sonate-Adagio
[11]. Schubert - Rosamunde-Zwischenaktmusik

[01]. Mozart - Sinfonie Nr. 36 "Linzer"-Poco Adagi
[02]. Prokofieff - Sinfonie Nr. 1-Larghetto
[03]. Mozart - Klavierkonzert Nr. 26-Larghetto
[04]. Ravel - Ma mère l'Oye
[05]. Satei - Rêverie du Pauvre
[06]. Rodrigo - Concierto de Aranjuez-Adagio
[07]. Beethoven - Klavierkonzert Nr. 2-Adagio
[08]. Brahms - Violinsonate Nr. 3-Adagio
[09]. Tschaikowsky - Andante cantabile

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Tekameli - Religious Gypsy Songs

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Chants Religieux Gitans (Religious Gipsy Songs)
The "Gitan canticle" is a comparatively recent musical genre that draws threads from many ancient traditions. The history of the Gitans in France dates from migrations from Spain in the 1400's. A century later, a large community settled in Perpignan, and has persisted to this day. Their music is an evolving tradition, with flamenco one of the most important contributions. In the 1950's, rumba and salsa influences from Spain and Cuba crept into the sound. In the 1960's, non-Gypsy pastors began teaching canticles to Gitan religious assemblies. Around 1980, the fervent religious music that became the Gitan canticle grew in the evangelical groups in the Gypsy community of Perpignan. The musicians on this release are the Espinas brothers, Moïse, Salomon, Jérémie, and their uncle Jérôme. They are sons and grandsons of pastors, and Moïse, Salomon, and Jérémie's father Trente has composed several well-known canticles (though not the ones recorded on this release). The most obvious comparison one will draw on first listening will be to the Gypsy Kings. The driving flamenco guitar, rumba-inflected rhythms, and emotion-laden melismatic singing are the legacy of the Gitan tradition. Combine that with ecstatic religious expression and the result is both intensely personal and expansively universal. What this group lacks of the Gypsy Kings' slick sheen they make up for in sincere emotional intensity. The voices are not always clear and spot-on pitchwise, but this rough-hewn quality adds to the overall impact. The sibling harmonies, however, are pure and accurate. The propulsive guitar playing by Jérémie and Jérôme is clean and expressive. Chants Religieux Gitans is refreshing in its unabashed ardor and unapologetic sense of spiritual longing. - Peggy Latkovich

[01]. Fill De Deu
[02]. Mis Hermanos
[03]. Gloria A Ti
[04]. Mi Lucha
[05]. Senyor Ajuda Me, Senor Ayudame
[06]. Cristo
[07]. Hijos De Dios
[08]. Tu Mujer
[09]. Que Viene
[10]. Tu Consuelo
[11]. Ten Piedad
[12]. Te Clamo A Ti
[13]. L'alegria Del Senyor, La Alegr

MP3 192 kbps, including Covers


Ravi Shankar - The Teacher - Key Works

Posted By MiOd On 8:33 AM 0 comments
Ravi Shankar has been described in many ways. He has been hailed as a mediator between a traditional musical form and modernity, a master melodist who bridged continents and cultures, a lightning rod and a pioneer. He is the man who introduced the sitar, directly or indirectly – and, in the process, Indian music – to a world beyond the Indian subcontinent. He did not necessarily do it all alone but he spearheaded the movement as far as millions of people were concerned. Even his tabla accompanists such as Chatur Lal, Alla Rakha or Kanai Dutt energised people’s imaginations with their wondrous rhythmical cycles, intellectual muscularity and proof that life existed beyond the bar length. Ravi Shankar changed lives either directly or through the work of the Byrds, the Beatles, Traffic, the Incredible String Band, Yehudi Menuhin, Philip Glass and Mickey Hart. In the early sixteenth century C.E. Mughal warriors began building a new empire in the subcontinent. These invaders not only breached the subcontinent’s ancient Hindu integrity but also broached a whole new julabmost (sherbet) barrel. They brought Islam, Arabic and Persian, and a system of modal music similar to the subcontinent’s improvised raga form but outlandishly different too. They brought strange foreign food like apricots, pistachios, walnuts and almonds but discovered delights like jackfruit, snake and bitter gourds and mangosteen. The passage of the years and the arrival of more tolerant, more culturally curious Mughal rulers created a new hybrid culture in the conquered regions of Northern India. The cultivators of this particular orchard grafted Islamic and Persian principles onto a Hindu and Sanskrit rootstock. Over millennia, the Indian subcontinent had honed a system for handing knowledge down the generations known as guru shishya parampara. It was a chain for transmitting knowledge from guru (teacher or master) to shishya (disciple or student), a continuity of transmission down a line of preceptors. The shishya learned everything by word of mouth, example and heart. Everything was taught orally. The system ingrained respect for the guru. Guru shishya parampara underpinned Hindu culture and conduct. It handed down the entirety of Sanskrit literature, Hindu observance and ritual, legal codes, philosophic tenets and the arts in all their manifestations. The guru-shishya-parampara method of teaching worked and remained the model for teaching in the North of the subcontinent. Regardless whether they were Muslim or Hindu, professional Hindustani or Northern Indian, musicians learned this way. And as similarly happened in Europe when German composers or Flemish painters learned from masters, it created schools of singing and painting (or, for example, wrestling) known as gharanas, a word rooted in ghar meaning ‘house’. Before radio and television linked communities the way it does now, the gharana system created oases of stylistic difference. Any given raga, no matter how basic to the core repertoire, might be interpreted with gharana-specific trademarks even if its chemistry of essential juices or rasas remained unique to that particular raga. Regional stylistic variations peculiar to Agra, Gwalior, Jaipur, Kirana or wherever, prospered. Ravi Shankar was not born into a family of hereditary musicians. His father was a minister in the court of the Maharajah of Jhalawar. He travelled abroad and encouraged his eldest son, Uday Shankar to experience other worlds. His youngest son, Robindro Shankaur Chowdhury – as it would be pronounced in Bengali - was born in April 1920. It wasn’t until around 1940 that Robindro adopted the Sanskritised version of his name, Ravi. He was only a boy when his father died in never satisfactorily explained circumstances in London. Robindro arrived in Paris in 1930 and his eyes went saucer-sized. His eldest brother Uday effectively became his teacher. He began dancing and playing a little incidental music in his brother’s internationally acclaimed dance troupe. He studied with, and got pointers from, various musicians but he dithered about becoming a musician. He could not make his mind up about being a dancer. Eventually, he took the plunge and asked to learn from Allauddin Khan, a formidable talent and a formidable man. He was accepted and began learning in the time-honoured guru shishya parampara manner. Side by side with Ali Akbar Khan and his sister Annapurna Devi (Shankar’s first wife), he learned at his guru’s feet. He soaked up the ‘house style’ and practised his ‘musical signature’. The next leap was to sign his playing with an individual flourish. The Hindustani tradition demands a balance of continuity and change. There are copycats everywhere and that applies particularly to art forms as improvised as the subcontinent’s classical music. But people can plagiarise themselves as well as others. That is called replication. Innovation within the tradition is what counts and Shankar created a signature style with a wonderfully romantic touch. Ravi Shankar’s sojourn in Paris and his wide travels in Europe, North America and Asia provided him with a cosmopolitan sensibility. He realised there was a gap in the teaching process. Non-Indian audiences probably had no notion of what a raga performance entailed, so he took time to explain key features that would assist comprehension and enjoyment. In so doing he created a new convention of stagecraft. Even if we never sat at Ravi Shankar’s feet and committed the route maps that are ‘Bhatiyar’, ‘Jhinjhoti’ or ‘Rasiya’ to memory or could not authoritatively pass the blindfold test and ‘name that raga’, millions learned from him. Surely, that is the mark of a teacher supreme. Along the path his music has enlightened, entertained, and, yes, educated millions. 1. Raga: Jhinjhoti 13’21” (Alap, Jod, Jhala & Gat: sitarkhani taal) ‘Jhinjhoti’ is a versatile raga usually performed late at night. 2. Raga: Patdeep 4’39” (Gat: sitarkhani taal) Raga is the melodic template that nourishes both the Northern (Hindustani) and South Indian (Karnatic) classical music systems. Raga also irrigates many folk and film music styles. As a historical generalization, the working repertoires of many Hindustani performers were smaller than those of their Karnatic counterparts. With the advent of radio, the potential of sound retrieval and a global market, many Hindustani musicians responded to the challenge with a new ingenuity. Raw material from light classical, folk and original sources was adapted. Ravi Shankar was no exception, as this relatively modern, afternoon raga illustrates. 3. Raga: Devgiri Bilawal 7’37” (Dhun: ek taal) Ragas are hymns to Nature and each raga has particular qualities that distinguish one from another. The majority are associated with a particular time of the day or a season. The appropriate time for the ‘Bilawal’ family, of which ‘Devgiri Bilawal’ is one, is from the late morning to noon. The great Alla Rakha (1919-2000) accompanies. 4. Raga: Rasiya 3’19” The arrival of recording technology meant rethinking how best to present a raga. This performance reflects one way in which microgroove EPs conditioned minds. 5. Raga: Rasia 20’56” (Gat: Vilambit teen taal) One step on, and a performance tailored to the opportunities of a performance lasting one side of a long playing record. 6. ‘Farewell, My Friend’ 12’30” Raga: Rajya-Kalyan (Alap, Jod, Jhala & Gat: teen taal) Years before the Beatles and the rest of the world’s youth went all sitary, Ravi Shankar’s name entered the western consciousness through the films of a fellow Bengali artist called Satyajit Ray (1921-1992). Shankar’s score for the Apu Trilogy was composed spontaneously to screen image. In April 1992, partway through recording an album he learned of his friend’s death. This performance is his reaction to Ray’s death with thoughts of his friend uppermost in his mind and music. Abhiman Kaushal accompanies on tabla. Ken Hunt

1. Raga- Jhinjhoti
2. Raga- Patdeep
3. Raga- Devgiri Bilawal
4. Raga- Rasiya
5. Raga- Rasia
6. Farewell, 'My Friend' Raga- Rajya-Kalyan

320 kbps including Covers


Sahara Lounge (New Sounds From The Orient)

Posted By MiOd On 6:08 AM 0 comments
Sahara Lounge is split in two cd´s, one called 'RED', musically more ethnic, giving a feeling of intense heat, dry soils and desert landscapes, the other called 'BLUE' the kind of oasis you always think of when you talk about a desert, more fresh and musically more electronic and up-to date.

(CD1 Sahara Red)
[01]. Natacha Atlas - Bahlam
[02]. Latif El Idrissi - Ya Rayah
[03]. Ishtar - Lamouni (Ligharou Meni)
[04]. Alabina - Vengan, Vengan (Ya Habayby, Ya Ghaybine)
[05]. Ratnabali - Bliss
[06]. Nasser Kilada - Ya Amarna
[07]. Gaia - Kasbah
[08]. Nomad - Cairo
[09]. Mas - Serpente Do Nilo
[10]. Potsch Potschka - Arabian Wedding
[11]. Mas - Ah Ia Zen
[12]. Nomad - Movimento Interior
[13]. Blast Ed Mechanism - Mahdatai (Urban Mix By Ragmanam)

(CD2 Sahara)
[01]. The Dum Dum Project - Inner Voices
[02]. Carlos Maria Trindade Feat. Natacha Atlas - Sky And Soul
[03]. Glow - Can't Catch The Wind
[04]. Setima Legiao - A Volta Ao Mundo
[05]. The Dum Dum Project - Air India
[06]. Karunesh - Punjab
[07]. Ratnabali - Breeze
[08]. Lue Da Asia - Ishiwara Allah
[09]. Ana Rita Simon-Ka - Sat Guru Omkara
[10]. Marsiano - Eter
[11]. Ylang Top - In Dub With The Moon
[12]. Atman - Amrita
[13]. Karunesh - Solitude

MP3 VBR kbps including Covers

Part 1
Part 2

Yitik Sesin Peşinde / In Search of the Lost Sound

Posted By MiOd On 3:06 AM 0 comments
Yitik Sesin Peşinde / In Search of the Lost Sound by Bezmara
Track Listings
[01]. Arazbar Peşrev - Besteci: Nefiri Behram, Fahte
[02]. Hüseyni Peşrev - Besteci: Gazi Giray Han, Zencir
[03]. Kanun taksimi
[04]. Evc Peşrev - Besteci: Acemler, Fetig Darbi
[05]. Arazbar Peşrev - Besteci: Eyyubi Mehmed Çelebi, Devr-i Revan
[06]. Çeng Taksimi
[07]. Nişabur Peşrev - Besteci: Hintliler
[08]. Çargâh Peşrev - Besteci: Derviş Mustafa
[09]. Kemançe Taksimi
[10]. Kürdi Peşrev
[11]. Buselik-Aşiranı Peşrev
[12]. Evc Peşrev
[13]. Muhayyer Peşrev
[14]. Mahur Semai

Ud: Akgün Çöl
Ney: Aziz Şenol Filiz
Kanun: Serap Aybar Çağlayan
Tanbur: Birol Yayla
Kemança: Kemal Caba
Kudüm: Kamil Bilgin
Kopuz: Birol Yayla
Santur: İhsan Özer
Çeng: Fikret Karakaya
Şehrud: Osman Kırklıkçı
Mıskal: Tugay Başar


A Musical Anthology Of The Orient - Afghanistan

Posted By MiOd On 9:39 PM 0 comments

Track List
Side A

A01 Song Of Kataran
A02 Song Of Badarshan (Turkestan)
A03 Melody For Flute From Turkestan
A04 Festive Music From Chardi (Region Kabul)
A05 Chant From Azarejot (Central Afghanistan)
A06 National Afghan Dance (Shah Mast)
A07 Chant From Farkhar

Side B

B08 Village Dance Melody (Region Kabul)
B09 Pushtu Quatrain (Charbait)
B10 Ancient Chant Of Kabul
B11 Ancient Chant Of Khodaman
B12 Tumbur - Lute - Solo
B13 Ghazni (Chant)
B14 Chorus From The Panshir
B15 Solo Of Sarinda
B16 The Dotar (Small Lute) Of Herat

Download HERE
Download HERE

Armand Amar - Nomad's Dance 3

Posted By MiOd On 3:25 PM 0 comments
Nomad's dance 3
Music for dance classes / musique pour cours de danse
Nomad's dance regroupe le travail que j'ai pu accomplir avec et aupres de professeurs tels que Peter Goss, Jose Cazeneuve, Myriam Byrns, Carolyn Carlson, Serge Ricci, Bruce Tayloor, Patrice Valero...
Sans eux ce disque n'existerait pas.
Armand Amar

(01) [Armand Amar] Cupide
(02) [Armand Amar] Quatuor
(03) [Armand Amar] Machine
(04) [Armand Amar] Force
(05) [Armand Amar] Sarah
(06) [Armand Amar] Loin
(07) [Armand Amar] Cellorobo
(08) [Armand Amar] Les Fleurs
(09) [Armand Amar] Cloches
(10) [Armand Amar] Rave
(11) [Armand Amar] Les Fleurs 2
(12) [Armand Amar] Fugue
(13) [Armand Amar] Irish Call
(14) [Armand Amar] ALG

Ape (EAC Rip): 330 MB | MP3 - 320 kbs: 150 MB | Scans

Archives have 5% of the information for restoration

Part 1 | Part 2

OR MP3 320 kbps
Part 1 | Part 2

Armand Amar - Nomad's Dance 2

Posted By MiOd On 10:52 AM 0 comments
Nomad's dance 2
Music for dance classes / musique pour cours de danse
Nomad's dance regroupe le travail que j'ai pu accomplir avec et aupres de professeurs tels que Peter Goss, Jose Cazeneuve, Myriam Byrns, Carolyn Carlson, Serge Ricci, Bruce Tayloor, Patrice Valero...
Sans eux ce disque n'existerait pas.
Armand Amar

Ape (EAC Rip): 360 MB | Scans

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3

Armand Amar - Nomad's Dance

Posted By MiOd On 5:52 AM 0 comments
Nomad's dance
Music for dance classes / musique pour cours de danse
Nomad's dance regroupe le travail que j'ai pu accomplir avec et aupres de professeurs tels que Peter Goss, Jose Cazeneuve, Myriam Byrns, Carolyn Carlson, Serge Ricci, Bruce Tayloor, Patrice Valero...
Sans eux ce disque n'existerait pas.
Armand Amar

(01) [Armand Amar] Variation 1
(02) [Armand Amar] Variation 2
(03) [Armand Amar] Variation 3
(04) [Armand Amar] Variation 4
(05) [Armand Amar] Variation 5
(06) [Armand Amar] Variation 6
(07) [Armand Amar] Variation 7
(08) [Armand Amar] Variation 8
(09) [Armand Amar] Variation 9
(10) [Armand Amar] 1
(11) [Armand Amar] 2
(12) [Armand Amar] 3
(13) [Armand Amar] 4
(14) [Armand Amar] 5
(15) [Armand Amar] 6
(16) [Armand Amar] 7
(17) [Armand Amar] 8
(18) [Armand Amar] 9
(19) [Armand Amar] 10
(20) [Armand Amar] 11
(21) [Armand Amar] Long and Repetitive Beginning
(22) [Armand Amar] Ambiance

Ape (EAC Rip): 330 MB | MP3 - 320 kbs: 170 MB | Scans

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3

OR MP3 320 kbps
Part 1 | Part 2