Cesaria Evora - Grand Collection

Posted By MiOd On 10:26 PM 0 comments

Commonly called "the barefoot diva" because she often performs on stage in bare feet, Cesaria Evora of the Cape Verde islands is the world’s reigning interpreter of a mournful genre of blues music known as morna. Morna is based on the Portuguese fado and features bluesy vocals set against a background of acoustic guitars, fiddles, accordion, and cavaquinho, which is a small, four-string guitar. "For years, the master of the morna has been Cesaria Evora, a Cape Verdean with a rich alto voice who has been accurately described as a cross between Edith Piaf and Billie Holiday," wrote Geoffrey Himes in the Washington Post. Evora’s repertoire over the years has featured the compositions of top Cape Verdean songwriters such as Nando Da Cruz, Amandio Cabral, and Manuel De Novas.

Largely unknown until she was propelled into international acclaim at the age of 45, Evora has attracted legions of fans with sentimental, intimate songs that are delivered "with a pitch-perfect, full-toned resonance," according to Himes. "My songs basically express feelings about relationships, love relationships, and they sing about the lack of rain in the country," Evora said in Pulse!. Singing in a Creole variation of Portuguese known as Criuolo, Evora has won over legions of fans who do not understand a word of her soulful ballads. "Well, now I’ve been to different countries and the way people respond to metells me that they really like the music, even though they don’t understand the language," Evora told the San Francisco Bay Guardian.

Many of Evora’s songs are filled with a sense of longing and homesickness that strikes a chord in her homeland, since over half of all Cape Verdeans have emigrated out of the country. "Life in the islands is not easy, because there are very few resources, and you could say that my life and life in the islands are related," she told Pulse!. "But in reality, the people are very happy. They enjoy life." Evora’s songs offer advice to young people, pay homage to the elderly, lament the loss of a lover, and address other nostalgic themes. Her shoeless performance mode has been said to be her way of symbolizing the plight of poor women and children in her native land, although some accounts indicate that her nickname stems from a visit to Paris when she refused to wear shoes. "I got that name because the first record I recorded in France was called ’Barefoot Diva, ’" claimed Evora herself in the New York Times.

Cesaria Evora was born in the porttown of Mindello on the Cape Verde island of Sao Vicente, and lived for many years under Portuguese colonial rule until the country gained its independence in 1975. Life was a struggle for her as a child after her father, a violinist, died at a young age and left her mother to take care of seven children. Most of her siblings emigrated to other countries, but Evora stayed in Cape Verde and has always felt strong ties to her homeland.

Surrounded by music as a child, Evora started singing at an early age. "I started singing in theneighborhood where I lived, just with my friends… It was just to amuse ourselves," she told Rhythm Music. She began performing in various bars in Mindello, and took up morna at age 16 after a romantic involvement with a guitarist. After a recording she made on national radio made the rounds, she began to be invited to sing in bars throughout the ten islands that make up the Cape Verde chain. According to Nonesuch Records, "With a voice conveying power, vulnerability and an emotional affinity for this style, Evora quickly found a niche for herself in Mindello’s musical life and through committed performances gained a distinguished reputation as the ’Queen of Morna.’" Evora’s frequent accompanist at the time was the well-known clarinetist Luis Morais. "In Cape Verde… I used to sing for tourists and for the ships when they would come there’" she said in the San Francisco Bay Guardian. "That’s why I always thought that maybe if I made it, people from different countries would love my music."

By age 20, Evora had achieved a measure of fame at her local radio station. A few tapes of her performances at the station made their way to Holland and Portugal in the 1960s and were recorded into albums. Despite this exposure, Evora never left Cape Verde for many years, and she stopped singing altogether in the 1970s. "There was no real progress," she acknowledged in Pulse!. "I

wasn’t making any money out of it, so I just stopped."

Found Fame in France
Evora came out of retirement in 1985, when she went to Portugal and recorded two songs for a women’s music anthology at the request of a Cape Verdean women’s organization. Her big break came in the 1980s when she met José da Silva, a Frenchman originally from Cape Verde who became entranced with her singing. DaSilva convinced Evora to go to Paris with him to record some of her music for his Lusafrica label. "Because I couldn’t find anyone to help me out in Cape Verde, I had to start recording in France in 1988," she told the New York Times. That year she recorded La Diva aux Pieds Nus, then followed with Distino diBelit. in 1990, and MarAzu. in 1991. Her 1992 album, Miss Perfumado, made her a major star in France and Portugal, and sold over 200,000 copies in France alone. This recording featured two of her most popular songs, "Sodade" and "Angola." "The record shimmers throughout as strings and accordions mingle deliciously around Cesaria’s sublimely relaxed voice," noted Banning Eyre in Rhythm Music. Evora’s reputation across the world soared after this release as she went on tour in Europe, Canada, Africa, and Brazil. At the age of 51, she had suddenly become a major star.

When Evora began her first major U.S. tour in the fall of 1995, she was greeted by sell-out performances across the country. She received thunderous standing ovations at the Montreal Jazz Festival that year. "I know this is my opportunity," she noted in Pulse. in discussing the tour. "They’re going to feel my message through my presence and my music." Her 1995 release, Cesaria Evora, on Nonesuch Records was cited by New York Timesmusl. critic Neil Strauss as one of the ten best albums of the year. In the San Francisco Bay Guardian, Josh Kun called the album "remarkable." The record went double gold in France and reached number seven on the album charts in Portugal according to Billboard Magazine, claimed Nonesuch Records publicity materials.

Simplicity has been a hallmark of the Evora style, as was emphasized by Jon Pareles in his New York Times review of a 1995 performance at the Bottom Line in New York City: "She [Evora] stated melodies almost unadorned, lingering with vibrato at the end of a phrase and sometimes languidly sliding down to a note." Pareles added, "In her tranquil contralto, there were painful memories and unsatisfied longings, a sense of pensive reassurance and of inconsolable loss." Evora also found a very appreciative audienceat a performance at Birch-mere in Washington, D.C. that year. Washington Post reviewer Mike Joyce said, "Evora projected an unusual combination of vocal power and emotional vulnerability." "At times Evora not only sang of heartache, she seemed to personify it, each gesture reflecting the weight of her experience and pain," Joyce also noted.

Personal Setbacks Influenced Music
Much of the emotion of Evora’s singing draws on her own experience. Known as a heavy drinker and smoker, she has endured three painful divorces and the blindness of her mother, in addition to her father’s untimely death. She vowed never to live with a man again after her third divorce, according to Neil Strauss in the New York Times. "I am married to my mother [with whom she still lives], my children [a35-year-old son and a27-year-old daughter], and their two children," Evora said in Rhythm Music.

Most of Evora’s albums have one or more morna songs written by her uncle, the well-known morna composer Francisco Xavier da Cruz. For a number of years her main performance venue has been The Piano Bar of Mindello on Sao Vicente where she lives. She has performed in numerous world music festivals, and as the opening act for top stars such as Natalie Merchant. Evora is dedicated to her Cape Verdean roots and has not been lured by the trappings of stardom or affected by the globe trotting and international fame of her later years. "I wasn’t astonished by Europe and I was never that impressed by the speed and grandeur of modern America," she said in World Music. "I only regret my success has taken so long to achieve."

(01). Angola
(02). Destino Negro
(03). Sodade
(04). Separacao
(05). Mar Azul
(06). Miss Perfumado
(07). Cabo Verde
(08). Cinturao Tem Mele
(09). Traz D'Horizonte
(10). Cumpade Ciznone
(11). Nova Sintra
(12). Tortura
(13). Tanha
(14). Cize
(15). Lua Nha Testemunha
(16). Cabo Verde Terra Estimada
(17). Fruto Proibido
(18). Odji Maguado
(19). Estanhadinha

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Salim Fergani - El manantial de tus ojos – Silsila H'sine

Posted By MiOd On 5:38 PM 0 comments
Salim Fergani/youcef bounas/Nabil Taleb...
The Silsila is a chained series of poems, it develops in up to four musical modes and a single rate or, at most, two.
Constantine is the cultural capital of eastern Algeria. The classical s'applelle the "Maluf" includes worship music, refined, classic, interpreted in a region that includes géograpjique Tunisia, the Libyan and the region of Constantine.

HISTORIA DE CONSTANTINA Y LA MÚSICA ANDALUSÍ
Constantina fue conquistada por los árabes siendo con los fatimíes en el siglo IX cuando se comienza a citar su existencia. Con los ziríes y hammadíes, desde finales del siglo X hasta la mitad del XII, fue cabeza de provincia. Durante la época de los almorávides la ciudad no tiene especial relieve, pero con los hafsidas, a mediados del siglo XII, cobra importancia y desde mediados del XIII hasta mediados del XVI es la ciudad más importante de la zona, tras Túnez y Bugía. Cuando Bugía es tomada por los españoles en 1510, Constantina se convierte en la capital de toda la región. Túnez es conquistada por los turcos hacia 1553, y desde entonces Constantina no dependerá de Túnez sino de Argel, como capital de la Argelia turca. Desde 1563 el gobierno del caid o wali toma el nombre de bey, siendo elegido por el dey de Argel.
La música árabe clásica nace en Bagdad con el califa Mahdi Ibn al-Mansur en el año 775. Importada a España por Ziryab, esta música se independiza del mundo oriental y crea un nuevo estilo en al-Andalus al mezclarse con la música existente en la península ibérica. Es Ibn Báya (Avempace, m. 1138) el verdadero creador de la escuela arábigo-andaluza, que se desarrolla hasta la caída de Granada en 1492 y se mantiene, con pérdidas y nuevas aportaciones, en todo el Magreb.
Constantina es una de las escuelas herederas de la música arábigo-andaluza y tiene un singular repertorio debido a sus características históricas, a su poetas autóctonos, como Ibn al-Jalúf (siglo XV), a los maestros del siglo XIX y XX y a las cofradías religiosas que han conservado la moaxaja y el céjel. Los turcos dejaron su impronta en la forma de la núba con la obertura llamada bashráf. La comunidad judía de Constantina, una de las más importantes en el norte de África, cultivó todo el repertorio arábigo andaluz, destacando en los géneros zdjúl y mahdjuz.

CONSTANTINA Y EL MALUF
Constantina es la capital cultural del este de Argelia. Su patrimonio musical, trasmitido por tradición oral, es conocido y memorizado por la totalidad de los músicos tradicionales de la región, incluidas las ciudades de Annaba y Guelma. Este patrimonio se asienta en dos repertorios: el clásico y el popular, ambos con un papel esencial en la vida social e intelectual.
El repertorio clásico es denominado maluf o música arábigo-andaluza. El origen y significado de la palabra maluf es discutido: obra de arte, composición, “ma´ulifa samá uhu” (lo que es costumbre escuchar). El maluf es la música culta, refinada y clásica, que se interpreta en un área geográfica comprendida por Túnez, Libia y la región de Constantina en Argelia.
En Constantina la base del maluf es la núba. Se trata de una composición con una introducción instrumental y múltiples canciones encadenadas, basada en un solo modo musical y cinco movimientos rítmicos. El repertorio clásico del maluf se complementa con otras obras denominadas silsila o madjmía, y el inqiláb o naclab, un tipo de núba pequeña. Las poesías de estas composiciones tienen la forma moaxaja (muwashshah) y céjel, que tienen su origen en la península ibérica. Normalmente anónimas, su temática versa sobre el amor, la ebriedad, la belleza de la mujer, la descripción de la naturaleza y los momentos del día y de la noche.
El repertorio de origen popular, cantado en dialecto argelino y con poesía del género melhún, se ha hecho de tradición urbana al ser en la actualidad una mezcla de música culta y popular. Tiene varias formas: hawzi, mahdjúz (exclusivo de Constantina y ausente de rima), ´rúbí y qadriya. También propio de Constantina es el género zdjúl, que lleva como soporte poético la forma gramatical céjel (zadjal).
Cada forma musical tiene aparejada una estructura orquestal particular. La formación tradicional clásica, además del canto, se acompaña de cinco instrumentos: ´ud al-´arbi (laúd de cuatro cuerdas dobles afinadas en quintas embrazadas), djuwáq o fhal (flauta oblicua pequeña de caña), kemandja (viola), darbuka (tambor en forma de copa) y tár (pandereta). En el repertorio popular la orquesta es similar siendo sustituida la flauta por la zurna (chirimía de lengüeta de doble caña). Para el género zdjul se añade la náqara (pareja de tamborcillos tocados con baquetas) y los zunúdj (címbalos de dedo).

LA SILSILA
La silsila (que significa cadena), es una sucesión encadenada de poemas, precedidos de un istikbar. A diferencia de la núba se desarrolla en hasta cuatro modos musicales y un solo ritmo ó a lo sumo dos. En Constantina hay dos silsila: h´sine (hsayn) y dhayl. La silsila h´sine compila poemas que son independientes, sin contar una historia secuenciada, se suele llamar por el principio del primer poema “Hal saqatní ar-ráh” La fuente de tus ojos. El ritmo es de 7/8 y se llama ´áub o sháyab.
El bashraf es una obertura instrumental que toma el nombre del modo en que se basa. En Constantina se conservan ocho bashraf y dos más singulares. El bashraf araissi es festivo.
El istikbar es un canto improvisado, hecho al aire y con el sentimiento del momento en el que se encuentra el cantor. Tiene cuatro partes: introducción, desarrollo, djwáb y cierre o qufla. Entre estas partes discurren respuestas instrumentales también improvisadas y que suelen estar ordenadas en esta secuencia: laúd, fhal y viola.

SALIM FERGANI
Salim Fergani proviene de una familia de artesanos y músicos. Su abuelo Hammou Fergani (1884-1972) fue maestro del hawzi. Salim nació justo antes de la trágica guerra de Argelia. En este duro medio social, desde los cinco años de edad aprendió de sus antecesores las maravillosos secretos del maluf. Su padre El Hadj Mohammed Tahar Fergani fue su primer maestro y su tío Zonaoui le introdujo el la interpretación del laúd arbí. Con estos elementos Salim ha logrado una nueva sensibilidad de interpretación de los antiguos poemas ejecutados en las tradicionales melodías, consiguiendo su propio estilo y personalidad. Giras por todo el mundo le han dado una dimensión internacional y el apodo de “El trovador de Constantina”. Salim interpreta magistralmente todos los géneros tradicionales del canto: maluf, silsila, hawzi, mahdjúz, ´rúbí, qadriya y zdjúl.

(01). Bashraf Araissi (introducción).
(02). Istikbar. Tú que me hiciste conocer el amor.
(Toi que m’as fais connaître l’amour. You Introduced Me To Love)
3/10 Inklabete H’sine “Hal saqatní ar-ráh”
(03). El manantial de tus ojos.
(A la source de tes yeux. Your Eyes Are Like a Mountain Spring)
(04). Mi llama. (Ma flamme. My Flame)
(05). Visita nocturna. (Visite nocturne. Nocturnal Visit)
(06). El amor somete a los leones. (L’amour asservit les lions. Love Tames Lions)
(07). Compañero en la embriaguez.
(Compagnon d’ivresse. Companion in Inebriation)
(08). La ausencia. (L’absence. Absence)
(09). Las flechas del amor. (Les flèches de l’amour. The Arrows of Love)
(10). Fulgor del claro de luna. (Eclat du clair de lune. The Light of the Moon)

Salim Fergani: Canto y ´ud al-´arbi (laúd de cuatro cuerdas)
Youcef Bounas: djuwáq o fhal (flauta oblicua pequeña de caña)
Nabil Taleb: kemandja (viola)
Bachir Ghouli: tar • Khaled Smair: darbuka


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Indonesia, Java - The Jasmine Isle: Gamelan Music

Posted By MiOd On 4:11 PM 0 comments

Jasmine and the exotic, subtle sounds of the orchestra called gamelan are inextricably linked in the life of Java, Indonesia's most populous isle. Sacred musical instruments, religious offerings, dancers, brides—all are decorated with jasmine. And where there is jasmine, there is the music of the gamelan: at religious ceremonies, at the theater, at popular entertainment. The rich, intricate texture of the Javanese gamelan is in sharp contrast to the extrovert brilliance of gamelan gong kebjar, found on the neighboring island of Bali. This record presents instrumental versions of pieces well known in Java.

[01]. Pangkur 3:03
[02]. Tjatrik 6:13
[03]. Tjatrik II 1:07
[04]. Bendrong 2:51
[05]. Sembung gilang 2:28
[06]. Senggot 4:34
[07]. Bendrong II 1:35
[08]. Sigromangsah 2:44
[09]. Kebo giro 1:32
[10]. Liwung

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Java - Palais Royal de Yogyakarta Vol.[1&2]

Posted By MiOd On 2:45 PM 0 comments
Java - Palais Royal de Yogyakarta, Vol. 1 - Les Danses de Cour

When music lovers talk of Gamelan music, they generally refer to Balinese Gamelan music, some important types of which came from Java to Bali around 14th or 15th century after Islam had taken root in Java. In the Western world, Balinese Gamelan music is more popular and more known than Javanese Gamelan. Although Balinese music has obvious similarities with Javanese, it as well evolved quite differently from it.

The word "gamelan" is a Javanese word meaning "orchestra," referring to the instruments that make up the ensemble. Although we find similar types of music and ensemble all around Southeast Asia, as in Thailand and Cambodia, for example, gamelan music as is known today is particular to four nearby islands: Java, Madura, Bali, and Lombok. There are a large number of different types of gamelan ensembles, as much in terms of instruments used as in sizes, as much in styles of music performed as for occasions when they are performed, as well for whom they perform. These ensembles can range from few portable instruments, played by three or four musicians, to a large ensemble with as many as twenty-five musicians and between ten to fifteen singers. Large gamelan are own by wealthy patrons, shadow play puppeteers or particular institution such as banks, schools or government offices. For their part, musicians own smaller and more portable ensembles. Javanese Gamelan music has been performed for and enjoyed by people of all walks of life, from beggars to kings, although the sizes and types of ensembles, as well as the styles of music differs depending from which social class the audience is and on the occasions. (Bruno Deschênes, details: http://pages.infinit.net/musis/matsu_take_eng/3_AMG_Java_Bali.html)

A series devoted to the Yogyakarta style is available on the Ocora label. These are older recordings, and feature musicians who grew up in the court atmosphere. Many of the newer recordings (as per above) use conservatory-trained musicians because of the changing economics of the kratons.

This is a very nice recording of Yogyakarta gamelan in the 'loud' style (mainly bronze). This is not to say the pieces are loud: they form exactly the kind of rippling, smoothly flowing sound for which the Javanese gamelan is famous. The complexity is just somewhat less daunting, consisting of the skeleton melodic line carried by the sarons. The bonang, bonang panerus & peking form patterns on top of it, the piece is supported by the gongs & kenong and led by the kendang.

1. Pembuka: Gending Prabu Mataram 7:09
2. Gending Gangsaran, Gending Roneng Tawan, Gending Bima Kurda, & Gending Gangsaran 19:07
3. Serimpi Lobong: Bawa Citramengeng, Gending Lobong & Gending Glebag, Ladrang Sri Kundur

Tracks 1 & 3 played on the gamelan Kangjéng Kyahi Sirat Madu, Madu Kentir (The Venerable Torrent of Honey, Venerable Madness of Honey).
Track 2 on Kangjéng Kyahi Guntur Sari (The Venerable Thunder of Flowers).
Recorded in Java between 1971 and 1973.

Java - Palais Royal de Yogyakarta, Vol. 2 - La Musique Instrumentale

Track Listings
--------------
1. Geding Dirada Meta
2. Geding Lingtang Karakainan
3. Geding Taliwangsa
4. Geding Tunjung Anom

192 kbps including Covers

Vol.1
Vol.2

Tranquility in Bali

Posted By MiOd On 12:15 PM 0 comments

Explore the beautiful nature of Bali from the Water Palace of Karangasem to the famous temple of Tanah Lot by the sea.
Audio selection is presented with natural sounds only or beautifully mixed with tranquil music.

(01). Butterfly Kisses
(02). Sunset After
(03). Tranquility & Serenity
(04). Sweet Dream
(05). Two Hearts as One
(06). The Wonders of The Deep
(07). Secret Garden
(08). Mountain Stream
(09). Sunrise Melody
(10). Rice Terrace Stream

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Guan Pinghu - GuQin

Posted By MiOd On 9:53 AM 0 comments

Guan Pinghu (管平湖) (1897–1967), was a leading player of the guqin (古琴), a Chinese 7-string bridgeless zither. Born in Suzhou, Jiangsu, Guan came from an artistic family, and started to learn the guqin from his father, Guan Nianci. After the death of his father when he was thirteen, Guan continued with his father’s friend Ye Shimeng and Zhang Xiangtao. He also studied with the leading players of three different schools; Yang Zongji (1865–1933), the leading player in Beijing, the Daoist Qin Heming, and the Buddhist monk Wucheng.

Before 1949, Guan did some teaching at the Yenching University, but had most of his meager income from selling paintings and repairing old musical instruments and furniture.

In 1952, he became a teacher and assistant researcher at the Zhongyang Yinyue Xueyuan (Central Conservatory of Music) and a leading force at the Beijing Guqin Yanjiuhui (Beijing Guqin Research Institute), both in Beijing. He also recreated and performed many pieces, including Guangling San (《广凌散》), Youlan (《碣石調幽蘭》- Secluded Orchid), and Hujia Shiba Pai (《胡笳十八拍》 - Eighteen Pieces for Barbarian Pipes), that only existed as notation through a process known as dapu (打谱) [1]. These pieces have become part of the core repertory of guqin music. Though he trained few prominent students, Guan's numerous recordings–notable for their austerity, subtlety, and bold presentation–have exerted wide and continuing influence.

In 1977, a recording of "Liu Shui" (流水; Flowing Water), as performed by Guan, was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecraft. It is the longest excerpt included on the disc (lasting seven minutes and 37 seconds) and the only excerpt of Chinese music.

1. Melody For Orchid in Jieshi Key
2. A Music From Guangling
3. Flowing Water
4. A Tune of Elghteen Beats From Tartar Reed Flute

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Korea - Seoul Ensemble of Traditional Music

Posted By MiOd On 6:28 AM 0 comments

The traditional music of Korea has only recently been discovered in the West. This ensemble, gathered from the most renowned soloists from the best universities and music schools, employs a full range of traditional instruments to unfold a rich panoply of Korean musical culture in their renditions of solo and ensemble pieces. The delicate sounds of zithers and bamboo flutes clash with dynamic blasts from bamboo oboes, hourglass drums and gongs to form dense jazz-like improvisations which are, in fact, closely linked to traditional shaman ceremonies. These selections are played with such technical brilliance and expressiveness that they will undoubtedly appeal to even the most untrained ear. International Phonographic Award

[01]. Chungkwangjigok
[02]. Suryong'um
[03]. Komun'go Sanjo
[04]. Yuch'osinjigok
[05]. Sangyongsan
[06]. Tae-Ch'wit'a
[07]. Ajaeng Sanjo
[08]. Shinawi

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Marcel Khalife - JADAL (Oud Duo)

Posted By MiOd On 5:14 PM 0 comments

I had every intention to move away from recommending another Middle Eastern CD for this week or one that has the same feel to it....but I'm sorry I can't. This just has to be it.

I got the CD about a week ago and literally have listened to it at least three a day (it is a double CD too). What a beauty....Of course, I am partial to Marcel since I just met him at the music retreat I went to a month or so ago (he was one of the instructors there)....his music takes on a whole new meaning when you know the person behind it....what a great guy.. .but that is another topic.

The CD is an instumental composition of four movements totaling about 80 minutes for mainly two ouds (the oud being the Arabic half egg-shaped lute with the short, unfretted neck). A bass guitar as well as a riqq (Arabic tambourine that is also a one sided hand held drum) complete the quartet which plays the music.

The word Jadal in Arabic means "argument or "bickering" and essentially that is what the two ouds are doing (wished all bickering sounded that way :-) The two ouds (played here by Marcel himself and his cousin (I think) Charbel Rouhana) don't however "bicker" back and forth in a question and response style, which is common in the performance style of solo instruments (taqsim), they mostly play simultaneously following different melodies and the tension between the two becomes the music....just wonderful. The percussion punctuates all this every once in while with just the right amount of rhythm that the music needs to keep the listener totally engulfed in it and waiting for what's to come. Added to the charm is the bass guitar which provide a nice cushion for all of it.

Needless to say, this recording would not be as great as it is without the mastership the performers command on their instrument. But beyond mastership, Marcel and Charbel are known to revolutionalize the way the oud is played (they say that there is oud playing and there is Marcel's playing). This is my first encounter hearing a Charbel' performance but, having heard Marcel live and on record, I can say that he plays it like three differe nt instruments wraped in one....the way we've been accustomed to hearing and a couple of others we have not. He makes you realize that we have been unfair to the oud over the years by not using it to its full potential.

In this composition you can hear the many different influences that Marcel draws from....classical and folk Arabic repertoire, Western classical and Flamenco music (a couple of blues bars here and there too). Phrases from his own previous compositions are used every once in a while as well . The combination is m...mm...mmm, good :-)

Don Heckman, Los Angeles Times, Nov. 13, 1995
... Jadal illustrates Marcel Khalife's sophisticated application of Western-styled instrumental composition techniques to music with elements deeply rooted in Arabic vocal sources. Khalife's fertile compositional imagination, which unleashed a striking array of colorful timbres and propulsive rhythms, needed no enlargement to establish its creative authenticity. ... Working with an almost symbiotic linkage, the two artists soared - individually and in tandem - through performances resembling the swirling, interlaced, endlessly fascinating richness of Arabic calligraphy".

A highly acclaimed Oud Duo with bass and Riq (Middle Eastern tambourine) by master Oud player Marcel Khalife. In the words of Mr. Khalife:
"Creativity in Arabic music means a symbiotic relationship between the composer and the musician. It is the result of a continuing harmony and struggle between them . No doubt the oral transmission of music in the East has been a determining factor in the development of the improvisational skills of the musician.

Jadal, however, is an attempt to find new methods of expressing the deeply-rooted spontaneity in Arabic music. It is at a level of artistry that departs from the past, presenting a new challenge to the composer and the musician. Jadal brings forth a unique richness in Arabic music through the search for a new law of aesthetics to replace the old. It is an openness toward an uncharted territory emanating from the familiar .

Jadal, a highly free musical idea, explores the utmost possibilities of the oud".

Disc: 1
1. 1st Movement Listen
2. 2nd Movement Listen

Disc: 2
1. 3rd Movement Listen
2. 4th Movement

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Zina Pavlova - Sing,Gypsy!

Posted By MiOd On 7:56 PM 0 comments

Track Listings
--------------
01. Don't Be Angry (Nye Serdis) / Gypsies (Tsyganochki) - (medley) - Zina Pavlova
02. Karapet (Russian Two Step) - Sasha Polinoff
03. The Gate (Kalitka) - Zina Pavlova
04. Love Has Passed (Lyubov Proshla) - Sasha Polinoff
05. Candies and Pretzels (Konfetki-Baranochki) - Zina Pavlova
06. Farewell Gypsy Camp (Proschai Moy Tabor) - Sasha Polinoff
07. All That Has Been (Vsyo Chto Bylo) - Zina Pavlova
08. Kazbek: Kazbek / Allah Verde / Shamil's Prayer and Lezginka (medley) - Sasha Polinoff
09. The Flowers are Lovely in the Spring (Khoroshi Vesnoi V Sadu Tsvetochki) - Zina Pavlova
10. Stenka Razin - Sasha Polinoff
11. He Went Away (On Uyekhal) - Zina Pavlova
12. In the Forest at the Front (V Lyesu Prifrontovom) - Sasha Polinoff
13. Autumn (Osyen) - Zina Pavlova
14. Where is the Street (Gde eta ulitsa, gde elot dom) / Snow Flurries (Metelitsa) / Dark Night (Nochka Tyemnaya) - (medley) Sasha Polinoff
15. Sing, Gypsies (Poite Tsyganye) - Zina Pavlova
16. Red Bricks (Kirpichki) / Street Lights (Fonariki) - (medley) - Sasha Polinoff
17. The Cornflowers (Vasilyochki) - Zina Pavlova
18. Oh, Those Dark Eyes (Akh, Eti Chorniye Glaza) / My Heart (Serdtse) - (medley) Sasha Polinoff
19. Bows and Ribbons (Chastushki) - Zina Pavlova
20. Days of Our Life (Dni Nashey Zhizni) - Sasha Polinoff
21. By the Fireplace (U Kamina) / Why Fall in Love (Zachem Bylo Vlyublyatsa) - (medley) - Zina Pavlova

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Loyko - Last Concert

Posted By MiOd On 3:49 PM 0 comments
The last concert of Loyko in Germany in 2000 (Unreleased)

The Russian gypsy trio Loyko was established in 1990. The band was established in 1990 by Sergey Erdenko (originally as a duet with Igor Staroselzev). It can be called a music laboratory. During the 14-year existance of the band, many high-class musiciants played in it, including Oleg Ponomarev (violin), Vadim Kulitzkiy (guitar), Leonsia Erdenko (vocal, percussion), Alexey Bezlepkin (guitar); each one influenced the development of the music style of group although throughout this period, Russian gypsy music formed the base style of the band. The current lineup includes Sergey Erdenk, George Osmolovskiy and Michael Savichev.

Frequent tours and meeting other musicians at concerts and fesivals have gavin Loyko a wide range of ideas from Celtic, traditional Romanian, traditional Hungarian, and European classic music. The band members compose their own material.

The offical website is http://www.loyko.net/. There are some videos here and some of their songs can be downloaded. Also some of their songs can be downloaded from the unofficial web site: http://loyko.gypsy.ru/

Track Listings
--------------
CD1
[01]. Gambrinus
[02]. Vagabond
[03]. Old fiddler
[04]. Frost
[05]. Smelkov
[06]. Your eyes are green,
[07]. Lives my joy,
[08]. Capsule
[09]. Malyarkitsa
[10]. Loyko,
[11]. It was Mae Milestones

CD2
[01]. Gypsy Street,
[02]. Christmas gift for Nurses
[03]. serum-serum
[04]. Tyrke
[05]. Midnight Cat
[06]. Moldova
[07]. bossa nova Karin
[08]. Good Day, Romale

Flac (EAC Rip): 450 MB | MP3 - 320 kbs: 220 MB | no scans

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Japan - The Very Best Of Japanese Music

Posted By MiOd On 12:04 PM 0 comments
The Very Best of Japanese Music - Shakuhachi, Koto, Taiko Drums…

A stunning compilation of Japanese music ranging from the powerful thunder of taiko drums to the haunting sounds of the shakuhachi flute and the delicate notes of the koto conjuring up scenes of delicate cherry blossoms as well as battles of 15th century samurai. Info about music, musicians and instruments in English, German and French.

1. YAMATO ENSEMBLE (koto, shakuhachi): Yamaji (Kozo Masuda)
2. WADAIKO MATSURIZA (taiko drums): Kabuki Gomen-Jyo! (K. Haishima/M. Takashino)
3. CLIVE BELL (shakuhachi solo): Komoro Bushi (trad. folk song)
4. YAMATO ENSEMBLE (jushichigen, koto, shakuhachi): Futatsu No Den-En-Shi I (Pastoral) (Nagasawa Katsutoshi)
5. WADAIKO MATSURIZA (percussion, taiko drums): Gaku (Let's Have Fun!) (Masaya Takashino)
6. RICHARD STAGG (shakuhachi solo): Kumoi jishi (Celestial Lion Dance) (anon.)
7. YAMATO ENSEMBLE (koto, shakuhachi): Hoshun (Spring Time) (Katsutoshi Nagasawa)
8. AYAKO HOTTA-LISTER (koto): Midare (Disarray) (Yatsuhashi Kengyo)
9. NIHON DAIKO (taiko drums): Dzauku (Hunter)

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The Musicians Of The Nile - Luxor To Isna

Posted By MiOd On 6:54 AM 0 comments
This album captures powerful and eerie melodies which can be traced back to the time of the Pharaohs.
Originating from the furthest reaches of Upper-Egypt, The Musicians of the Nile have criss-crossed Europe over the last 20 years. Like the ancient bards of time past, the difference is that they move through space and cultures as comfortably on an airplane as on the back of a donkey.

Discovered in 1975 by Alain Weber, who has been their artistic director ever since, the Musicians of the Nile is a group whose talent has always included some of the greatest figures of the Upper Egyptian tradition - among them, Metqal Qenawi Metqal, Shamandi Tewfiq Metqal and Muhammed Murad Mejali, all three of them members of the famous Mataqil clan of musicians.

Well before the World Music wave, the Musicians of the Nile were the first so-called "Arab Music" group to attain widespread popularity. Frequently imitated and sometimes plagiarized, the Musicians of the Nile have kept up with the parallel currents in music ever since the Chateauvallon Festival in 1975, where they met some of the greatest jazz musicians of the time including Sun Ra and Keith Jarret.

They were a part of the first WOMAD (World of Music Arts and Dance) in 1983, which brought World music to international attention. Their recording for the music of the Last Temptation of Christ and the album Passion brought them to the attention of Peter Gabriel and Real World Records.

In the film "Latcho Drom" directed by Tony Gatlif, which traces the great musical voyage of the Gypsies from India to Spain, has made even more listeners aware that the Musicians of the Nile are a part of the Gypsy tradition.

The Musicians of the Nile are a professional troupe of gypsy musicians hailing from Upper Egypt. Their dazzling mix of traditional songs is perfectly showcased on this early Real World release, which was taped in both France and England during the late '80s. With the dusky strains from the rababah (traditional fiddle), the mizmar (an oboe-like instrument), and the tablah (a hand drum similar to the darbouka) filling the air, the group delivers an array of trance-inducing long-players, including ensemble pieces as well as solo spotlights like the tablah feature "Zahrafat Al Sa'id" (Rejoicing in Upper Egypt) and the arghul (double-reed clarinet) vehicle "Kol Elle Qalboh Ankawa" (Everyone Has Had a Broken Heart). An essential disc for world music connoisseurs.

(01). Al Bahr Al Gharam Wasah (Love Is As Vast As A River)
(02). Zahrafat Al Sa'id (Rejoicing In Upper Egypt)
(03). Ya Tir 'ala Shadjarah (Oh Bird Upon The Tree)
(04). Horse Steps
(05). Al Nahla Al 'ali (The Tall Palm Tree)
(06). Kol Elle Qalboh Ankawa (Everyone Has Had A Broken Heart)
(07). Yunes Wa 'Azizah (Yunes And Azizah)
(08). Al-Aqsur-Isna (From Luxor To Isna)

Mohamed Abu Harãdji (Mizmar),
Shamandi Tewfiq Metqâl (Vocals),
Musicians of the Nile (Performer),
Mustafa Abdel Aziz (Performer),
Hanafi Mohamed'ali (Tabla),
Djad Al Rab Mahmud (Tabla Baladi),
Metqâl Qenâwi Metqâl (Rababah),
Shamandi Tewfiq Metqâl (Rababah),
Mustafa Abdel Aziz (Doholla),
Djad Al Rab Mahmud (?),
Alain Weber (Rababah),
Mustafa Abdel Aziz (Arghoul)

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Sufi Splendor - Music for Whirling Meditation

Posted By MiOd On 5:45 PM 0 comments

Like most religions that include a highly detailed and demanding ritual component, Islam has a mystical offshoot, the practitioners of which concern themselves more with achieving an ecstatic union with God than with the close observation of legalistic ritual. One subset of the Sufi sect, known as the Whirling Dervishes, achieves that state of mystical ecstasy by means of a spinning dance, followed by a period of prostrate contemplation. Multi-instrumentalist and composer Manish Vyas is joined by a small ensemble of Indian musicians on Sufi Splendor: Music for Whirling Meditation, a program of music inspired by the practice of these ancient mystics; each of the three tracks is a song based on one of the Sufi mantras, all of them simply and beautifully sung by Dina Awwad. Unlike his work with Prem Joshua, this music involves no Western club beats or lush synthesizer washes; the primary instruments are the santoor (a kind of hammered dulcimer), sarod, flute, and an African drum called a djembe. The melodies are haunting and lovely, and even the half-hour-long ones contain enough variation and complexity to make them seem to slip by quickly. Recommended. ~ Rick Anderson, All Music Guide

1. Allaho akbar, ya rahimo ya rahman
2. La illaha illa allah
3. Ya rabbi salli alal habib mohammaden

Manish Vyas (Santoor), Manish Vyas (Percussion), Manish Vyas (Keyboards)

MP3 192 kbps, no scans

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Anouar Brahem - The Astounding Eyes Of Rita

Posted By MiOd On 4:56 PM 0 comments

The Astounding Eyes of Rita rings to life on four resonant notes from Tunisian oudist Anouar Brahem, joined in short order by the deep, rich tone of Klaus Gesing's bass clarinet. The music sounds ancient, like something from an old civilization, full of past truths that still hold true.

Manfred Eicher, the man in charge at ECM Records, has been known to inspire, from talented artists, consistently beautiful and sometimes eccentric (American ethno-centricity speaking) music from unusual instrumental combinations. His ECM sound—with notable exceptions including Keith Jarrett's Standard Trio and Trio Beyond, to name two—leans toward spaciousness and subtlety with an egalitarian chamber music approach. The Astounding Eyes of Rita fits into that chamber aesthetic, its quartet teaming German bass clarinetist Gesing with Brahem's Middle Eastern oud, backed by Swedish bassist Bjorn Meyer—known best for his groove-heavy Zen-Funk work in Nik Bartsch's Ronin—and Lebanese percussionist Khaled Yassine, to make a tranquil world music that embraces the inspired introspection and organic breathing room that has become de rigueur with the German record label.

The oud, the ancestor to the Western lute, is not your everyday jazz instrument. The pear-shaped, big-bodied string instrument that, to the uneducated ear, doesn't sound hugely different from the acoustic guitar, is sharper in tone, perhaps, and more succinct in its notations. The bass clarinet adds a Western element; introduced to many by Bennie Maupin's dark wood moaning within the sonic conglomeration of Miles Davis' Bitch's Brew (Columbia, 1969), its divine sound, showcased here in a quartet setting, is too seldom heard in jazz. The darbouka—a Middle-Eastern goblet drum with a crisp, resonant pop—bolsters the world music flavor of the set.

"The Lover of Beirut" has a peaceful feeling—restrained, unhurried and spiritual. "Dance With Waves" gives off a glow of peaceful momentum, while "Stopover At Djibouti" evokes images of teaming streets, gregarious interactions and convivial equanimity, the richly mellifluous voice of the bass clarinet punctuated by the concise declarations of the oud and darbouka.

The title tune explores the mysteries and the beauty of "Rita's" eyes, sounding like a celebration of something holy. Indeed, the quartet's musical immersion in things revered gives the Astounding Eyes of Rita a feeling of deep spirituality expressed by these serenely gorgeous sounds.

(01) [Anouar Brahem] The lover of Beirut
(02) [Anouar Brahem] Dance with waves
(03) [Anouar Brahem] Stopover At Djibouti
(04) [Anouar Brahem] The astounding eyes of Rita
(05) [Anouar Brahem] Al Birwa
(06) [Anouar Brahem] Galilee mon amour
(07) [Anouar Brahem] Walking state
(08) [Anouar Brahem] For no apparent reason

Personnel: Anouar Brahem: oud; Klaus Gesing: bass clarinet; Bjorn Meyer: bass; Khaled Yassine: darbouka, bendir.

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Ouzbékistan : l'art du dotâr

Posted By MiOd On 1:36 PM 0 comments
Abdorahim Hamidov, Shohrat Razzakov, and Soltân-Ali Khodâverdiev, dotâr ; with Abdovali Abdorashidov, sato.

Track Listings
--------------
01. Chargah 2 Et 3
02. Tasnif Nava
03. Bayat-I Dotar
04. Nalesh
05. Andijan Kordi
06. Rahm Ayla
07. Monajat
08. Ufar-E Mirza Qorban
09. Sarbaz
10. Rak 1
11. Oynasin
12. Chol Iraq
13. Shafa At
14. Chupan
15. Dotar Navasi
16. Qosh Tari

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Shankar - Soul Searcher

Posted By MiOd On 5:41 AM 0 comments
Though rooted in the traditions of North Indian classical music, this album adds a subtle modern twist that makes it more digestible to Western ears. Soul Searcher consists of one 50-minute track that swells and recedes, evolving into an epic composition of almost otherworldly beauty. The music combines all the common elements of traditional Indian music -- syncopated tabla rhythms, droning tamboura, dazzling vocals -- with Shankar's breathtaking violin melodies, then adds keyboards courtesy of Peter Gabriel, who featured the violinist's talents prominently on Passion. Indian music has always had an influence over Western rock & roll bands, from the Beatles and Rolling Stones to Monster Magnet, and Soul Searcher is a wonderfully accessible introduction for newcomers looking to delve into the genre. ~ Bret Love, All Music Guide

Track Title
Ragam Tanam Pallavi/Ragam: Kapi/Seethalakshemi Talem: 6 3/4 Beats

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Japanese Traditional Music - Gagaku

Posted By MiOd On 9:31 PM 0 comments

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

(01) [Japanese Traditional Music] ETENRAKU - HYOUJOU NETORI
(02) [Japanese Traditional Music] ETENRAKU - ETENRAKU
(03) [Japanese Traditional Music] KISHUNRAKU - OUSHIKICHOU CHOUSHI
(04) [Japanese Traditional Music] KISHUNRAKU - KISHUNRAKU NO JO
(05) [Japanese Traditional Music] KISHUNRAKU - KISHUNRAKU NO HA
(06) [Japanese Traditional Music] SEIGAIHA - BANSHIKICHOU NETORI
(07) [Japanese Traditional Music] SEIGAIHA - SEIGAIHA
(08) [Japanese Traditional Music] KITOKU - KOMA ICHIKOTSUCHOU KONETORI
(09) [Japanese Traditional Music] KITOKU - KITOKU NO HA
(10) [Japanese Traditional Music] KITOKU - KITOKU NO KYUU
(11) [Japanese Traditional Music] AZUMAASOBI - MOTOMEKO NO UTADASHI
(12) [Japanese Traditional Music] AZUMAASOBI - MOTOMEKO NO UTA

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Graeme Revell - Vision II - Spirit of Rumi

Posted By MiOd On 4:18 PM 0 comments

Australian composer and keyboard artist Graeme Revell brings the words of the mystical Sufi Rumi to the groove, assisted by vocal artists from all over the world. As Enigma mixed Gregorian chants and sexuality in their ambient dance MCMXC A.D., so does Revell with Rumi's esctatic poetry. Similar albums are Richard Souther's Vision I and Illumination, both using the works of Hildegard von Bingen. Deep Forest used pygmy songs in the grooves. The familiar dance beats can be trance-inducing by themselves, and on Vision II, these are often morphed with gutsy Middle Eastern rhythms; seldom does Revell chose the more heady, yet stately, Sufi dance cadence. Nusrat Fateh Ali Khan, the world's prime exponent of qawwali, sings passionately on three tracks. Noa, an Israeli vocalist, sings a liquidy lullaby on "The Ocean," which she translated into Hebrew. Lori Garson speaks the poems in the now-obligatory sexy voice and British accent (she is from the U.S.). Is the blatant orgasmic breathing necessary on "The Breath (The Color of Dying)"? On the plus side, this album offers many incredible performances and trippy tracks. Surely, it will serve to introduce a new audience to the works of Rumi and the notion of ecstatic spirituality. Great lyrics, after all. ~ Carol Wright, All Music Guide

[01]. Seek In Your Heart
[02]. Don't Go Back To Sleep
[03]. The Ocean
[04]. Eye Goes Blind (Aya)
[05]. The Breath (The Color of Dying)
[06]. The Center
[07]. Lovers/At Night We Fall
[08]. Nine Layers of Illusion
[09]. Desert Dusk
[10]. Don't Go Back to Sleep (Reprise)
[11]. The Great Mystery

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HERE

Ravi Shankar & George Fenton - Gandhi

Posted By MiOd On 3:30 PM 0 comments
Gandhi - Music From the Original Motion Picture Soundtrack,Vinyl Rip

Track Listings
--------------
[01] - 31st January 1948
[02] - South Africa - The Beginning
[03] - Bands of the Raj
[04] - Discovery of India
[05] - Villages of Bihar
[06] - Massacre at Amritsar and the Aftermath
[07] - Intermission
[08] - Raghupati Raghava Raja Ram and Reflections of Early Days
[09] - Salt
[10] - Partition
[11] - End of the Fast
[12] - Remember this Always
[13] - For All Mankind - 1. Vaishnava Janato 2. Raghupati Raghava Raja Ram

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Syriana - Ten Days in Bilad Al Sham, Society of Sound Music

Posted By MiOd On 12:15 PM 0 comments
Syriana - Ten Days in Bilad Al Sham, Society of Sound Music

Much more than an ‘East meets West’ musical fusion project, Syriana are three friends who came together in creative protest pre-President Obama.

Nick Page (Real World regular, Trans Global Underground member and Dub Colossus mastermind), Abdullah Chhadeh (Syrian qanun virtuoso and musical innovator) and Irish born Bernard O’Neill (another Real World regular and in demand musician) are the three distinctive artists behind Syriana.

“We thought a new Cold War was being foisted upon the world,” says Page, “the Cold War and its iconography had divided East and West. We wanted to bridge it.”

Recorded at Chaddeh’s London base in Walthamstow and at Real World Studios in Box, the music was already a genre-defying mixture of Americana via Dick Dale and the traditional sonorous sound of the ancient 81 srting Arabic dulcimer, the qanun, but it was a 10 trip to Damascus that sealed its unique sound.

(01). [Syriana] The Road To Damascus
(02). [Syriana] Black Zil
(03.) [Syriana] Mount Qasioun
(04). [Syriana] Galatian Bridge At Dawn
(05). [Syriana] Checkpoint Charlie
(06). [Syriana] Ana Araby
(07). [Syriana] Sahet Al Tahrir
(08). [Syriana] Gharibb-Stranger
(09). [Syriana] Zain Al Shabab

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Pandit V.G. Jog & Zakir Hussain - Ragas Kirwani Kajri

Posted By MiOd On 8:02 AM 0 comments
Sublime classical performance featuring Hussain on percussion and violin master Pandit Vishnu Govind Jog in a live recital, recorded in 1991. The second track, "Rag Rageshri", is a gorgeous violin exploration which primarily features the melodic alap movement; the first track is a much longer full piece, which gradually whirls into a frenzied riff-swapping between the tablas and violin. Despite the breakneck speed, the rich melody is never lost. HIGHLY recommended.

Vishnu Govind Jog, better known as V. G. Jog (22 Fehruary 1922 – 31 January 2004),was an Indian violinist. He was the foremost exponent of the violin in the Hindustani music tradition in the 20th century, and is credited for introducing this instrument into Hindustani music.

Jog was a disciple of Baba Allauddin Khan. He performed and recorded with many of the greatest Hindustani musicians of the 20th century (including Bismillah Khan) and toured the world. He frequently performed for All India Radio's Calcutta division. He received the Padma Bhushan award in 1982.

He earned a master's degree in music from Bhatkhande College of Hindustani Music in Lucknow in 1944 and went on to teach there. He also taught at the Ali Akbar College of Music.

Beginning in 1999, he suffered from Parkinson's disease, and also suffered from respiratory problems in his later years.

Pandit Vishnu Govind Jog, whose name is almost synonymous with the violin genre in Hindustani classical music, is a performer with the unique distinction of having occupied the top rungs of the Classical Musicians' hierarchy with three consecutive generations of performers. His career as a highly active and successful performer has spanned almost five decades. Born in Bombay in 1921 (or 22 according to some), he received his early training from S. C. Athavale and the late Ganpat Rao Purohit. Subsequently, he had his training from Vishweswar Shastry, the renowned musician and musicologist Dr. S. N. Ratanjarkar, and for a short time from the celebrated Ustad Allauddin Khan.

Groomed in the Gwalior, Agra and Bakhle styles, Pandit Jog's virtuosity, mastery of ragas and an uncanny realisation of space and time in the construction and knowledge of rhythm are his hallmarks. At a very young age, he rubbed shoulders with all time greats at the Bhatkhande College of Music, Lucknow, in the 1930s--the first great attempt at institutionalizing traditional music instruction.

An unassuming person of infinite charm, he is also regarded as an incomparable accompanist. His duets with Ustad Bismillah Khan have met with spectacular successes in India and abroad. He is gifted with the remarkable ability to sense the pulse and mood of his audiences, and has toured extensively both in India and abroad, significantly in East Africa, Nepal, Sri Lanka, United Kingdom, France, the United States, and West Germany. In 1985, he performed to great acclaim under the auspices of the Festival of India in the United States.

Pandit Jog was awarded the Padma Bhushan in 1982. After prolonged illness Pandit Jog died on Jan 31, 2004 in South Calcutta. Some of his famous disciples are Mr. Pallab Bandyopadhayay, Shishirkana Dhar Choudhury, Mr. Utpal Chakrabarty, Mr Subal Biswas and so on.

1. Raga Kirwani - Alap
2. Raga Kirwani - Vilambit (Slow) Teentaal (16 Beats)
3. Raga Kirwani - Drut (Fast) Teentaal (16 Beats)
4. Kajri - Kaharva Taal (8 Beats)

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Eran Irmak - Sufi Music Of Türkiye (Dergâh)

Posted By MiOd On 4:11 PM 0 comments

Track Listing
-------------
[01]. Tekbir - TALEAL BEDRU ALEYNA - TAKSIM - EZAN - CAGRI FILM MUSIC -TAKSIM NIHAVENT - DEMEDIM MI?

[02]. Yunus - TAKSIM HICAZ - EY ASIKI SADIKLAR -SEVERIM BEN SENI - BULBUL - VEYSEL KARANI - TAKSIM

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Sevara Nazarkhan - Yol Bolsin

Posted By MiOd On 11:11 AM 0 comments



MP3 87.0 MB - Bitrate: 190 - 199 kbps (VBR) - Encoder: LAME 3.96

Kurdistan - Zikr et Chants Soufis

Posted By MiOd On 11:16 PM 0 comments
Qaderi Dervishes Of Sanandaj
TRACK LISTINGS

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

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

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Masters of Flamenco Guitar

Posted By MiOd On 6:38 AM 0 comments

Masters of Flamenco Guitar is an excellent collection that showcases four masters of the art: Sabicas, Niño Ricardo, Manolo de Huelva, and Melchor de Marchena. Each guitarist is represented by a selection of live cuts that demonstrates his prodigious talent. Even casual listeners will be able to draw differences between each musician, since each has a unique style -- Sabicas was both a songwriter and a player, Ricardo was often regarded as the finest accompanying guitarist in flamenco, de Huelva specialized in bulerías, and de Marchena was a gypsy accompanist. The beauty of Masters of Flamenco Guitar is how it allows even casual listeners to hear the differences between such styles, and as it does, it offers a good introduction to the entire genre. ~ Leo Stanley, All Music Guide

Many subtly varied kinds of music fall under the rubric of flamenco, which is a style of singing, dancing, and even living, as well as playing the guitar. This collection presents a good guitar selection, highlighted by the polished technique of Sabicas, the profundity of Manolo de Huelva, and the sheer brilliance of Melchor de Marchena. There is a drastic change of atmosphere in the transition from track 10 (a zapateado played by Nino Ricardo) to track 11: Manolo de Huelva accompanying the voice of Manuel Vallejo. Suddenly we are in a cuadro, the natural environment of flamenco, with a group of participants clapping, stamping their feet, and shouting encouragement to the musicians. No longer is it just a man sitting alone on a stage or in a studio, playing the guitar fluently and flawlessly; this is cante hondo, the heart of flamenco, intense and astringent, and the best of this disc's many flavors. --Joe McLellan

[01]. Zapateado [Live] - Sabicas
[02]. Camino de Linares [Live] - Sabicas
[03]. Con un Clavel [Live] - Sabicas
[04]. Salero Gaditano [Live] - Sabicas
[05]. Albacin [Live] - Sabicas
[06]. Serrana Juncal [Live] - Nino Ricardo
[07]. Marisma de Huelva [Live] - Nino Ricardo
[08]. Gitana Gaditana [Live] - Nino Ricardo
[09]. Velez-Malaga [Live] - Nino Ricardo
[10]. Zapateado [Live] - Nino Ricardo
[11]. Llego el Frutero - Manolo de Huelva, Vallego
[12]. Yo No Me Hubiera Perdido - Ruegale a Dios Por Salud
[13]. No Te Hagas Ilusiones - Manolo de Huelva
[14]. Ese Me Gusto Seria - Ni Hermosa Ni Dinero
[15]. Bulerias [Live] - Melchor de Marchena
[16]. Tanquillos de Cadiz [Live] - Melchor de Marchena
[17]. Sevillanas [Live] - Melchor de Marchena
[18]. Peteneras [Live] - Melchor de Marchena
[19]. Serranas [Live] - Melchor de Marchena
[20]. Soleares [Live] - Melchor de Marchena

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Jazayer plus Ali Jihad Racy

Posted By MiOd On 1:16 AM 0 comments
Jazayer Plus Ali Jihad Racy Vince Delgado Traditional Middle Eastern music with Lebanese guest artist Dr. Ali Jihad Racy.

Originally recorded by The Grateful Dead's Mickey Hart in 1979, this collection features traditional and contemporary Middle Eastern dance music performed with great spirit and skill by Racy in collaboration with the members of Jazayer, an American ensemble of Middle Eastern music enthusiasts. ~ Linda Kohanov, All Music Guide

The instruments used on this recording are: The nay, a Middle Eastern cane flute, the qanun, a 70-stringed zither played with small picks attached to the forefingers; the viola, similar to the violin but larger and deeper-toned a familiar instrument to Western musicians, too; the buzuq, a folk instrument popular in lebanon - it is a long necked lute with six strings and moveable nylon frets; the ud, a fretless lute having 11 strings; the darbukka, a clay drum with a goat or fish skin head; the daff, a tambourine with a fish skin head and brass cymbals; and the tar, a large frame drum with no cymbals. Recorded by Grateful Dead drummer & "Planet Drum" author Mickey Hart. A must for every MIddle Eastern collection! Beautiful new cover designed by Coralie Russo.

TRACK LISTINGS

(01) [Jazayer] Bayyati Suite "Ibrahim Al-Aryan"
(02) [Jazayer] Taqsim 'ud "Ali Jihad Racy"
(03) [Jazayer] Dance Routine Baladi Mambo "Farid Al Atrache"
(04) [Jazayer] Dance Routine Kurdi Bayyati "Muhammad Sultan, Riyadh AlSounbati" (05) [Jazayer] Taqsim Qanun
(06) [Jazayer] El Henna "Mohamed Abdel Wahab"
(07) [Jazayer] Taqsim Qanun
(08) [Jazayer] Balad IL-Mahboub "Mohamed Abdel Wahab"
(09) [Jazayer] Taqsim Buzuq "Ali Jihad Racy"
(10) [Jazayer] Longa Shahnaz "Adham Effendi"

Ali Jihad Racy (Clarinet),(Flute),(Lute),(Oud),(Main Performer),(Nay),(Buzug), Mickey Hart (Engineer), Jazayer (Main Performer), Devi-Ja Croll (Viola), Vince Delgado (Drums), (Darabeka), (Darbouka), (Taragat), Dan Healy (Engineer), Mark Jaqua (Drums), Mark Jaqua (Tambourine), Mark Jaqua (Taragat), Mark Jaqua (Daff), Lawrence Ruksnaitis (Engineer), Mimi Spencer (Zither), Mimi Spencer (Qanoun), Dave Turner (Mastering), John Angus (Graphic Design), John Angus (Design)

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Taj Mahal & Toumani Diabate - Kulanjan

Posted By MiOd On 6:23 PM 0 comments
Perennial blues road warrior Taj Mahal and Malian kora (harp-lute) ambassador Toumani Diabate join forces, blend textures, and intermingle idioms on this cleanly produced 12-song set, recorded in 1998 in Athens. Their common ground is best tilled on "Atlanta Kaira" and the title track, where the plucky filigrees and glittering tone of the kora sound right at home with Taj's darker, barking National Reso-Phonic steel. "Ol' Georgie Buck" and their canny cover of Muddy Waters's "Catfish Blues" are the album's blues banners, which find Diabate's kora delightfully incongruous, while the walking African ballad "Tunkaranke" leans most heavily toward the motherland. Fleshed out with fine vocals by Taj, Kasse Mady Diabate, and Malian chanteuse Ramata Diakate ("Queen Bee"), and other African instruments, the sound is defiantly acoustic, intimate, and surprisingly true. Like the 1997 release Sacred Island, Kulanjan sees Taj Mahal blending the blues with ethnic folk music. While the earlier album explored the music of Hawaii, however, here Taj and the Malian kora player Toumani Diabate seek to reveal the connections between the blues and the music of Western Mali. And these connections are apparent from the opening cut, a new version of Taj's "Queen Bee". Diabate's kora - plucked, according to the excellent sleeve notes, using a technique similar to the finger-thumb style of guitar playing Taj learned from earlier blues masters - drives this pretty, country blues while Ramatou Diakite's honeyed vocals on her improvised Wasulunke lyrics perfectly complement Taj's distinctive, gravelly voice. Other tracks that come from the blues, rather than the Malian, tradition are just as successful. Taj and Diabate's take on the traditional "Ol' Georgie Buck" sounds like the only way to play this song after just one listen. Curiously, this cut reminds me of Led Zeppelin's early '70s attempts to fuse their Willie Dixon-influenced electric blues with English folk ("Gallows Pole", "Bron-Y-Aur Stomp" and "The Battle of Evermore"), which either shows one of the many wonderful, hidden connections between the musics of the world, or that I'm losing my mind. "Catfish Blues", meanwhile, is the album's purest blues in form, yet it is Diabate's retuned kora that lifts the song far above the hundreds like it. The Malian cuts sound, perhaps only to this untrained ear, mostly like straight West-African folk music. Connections between the two traditions are still apparent here, however. "Fanta" takes the Malian tradition of the praise song and renders it as an infectious Cajun blues, sung in French by Taj and dedicated to Diabate's wife. And "Guede Man Na", although a million miles from the blues in form, has the heartfelt sadness of great blues music. Ultimately, though, deciding which of the album's tracks can be termed as 'blues' and which are 'Malian' is a fairly pointless exercise. Taj and Diabate effortlessly fuse elements of both musics, and in Kulanjan they have produced a superb release that succeeds on its own terms. Track Listing: 1. Queen Bee 2.Tunkaranke 3.Ol' Georgie Buck 4.Kulanjan 5.Fanta 6.Guede Man Na 7.Catfish Blues 8.K'an Ben 9.Take This Hammer 10. Atlanta Kaira 11. Mississippi-Mali Blues 12. SaharaPersonnelTaj Mahal - vocals, guitar, piano (5); Toumani Diabate - kora; Kassemady Diabate - vocals (2,4, 5,6,8,10, 12), guitar (8); Ramatou Diakite - vocals (1,6,, 9, 10, 12); Bassekou Kouyate - ngoni, bass ngoni; Dougouye Koulibaly - kamalengoni, bolon (6,12); Lasana Diabate - balafon; Ballake Sissoko - kora (3,6,7,9,10) 01. Queen Bee 02. Tunkaranke 03. Ol' Georgie Buck 04. Kulanjan 05. Fanta 06. Guede Man Na 07. Catfish Blues 08. K'an Ben 09. Take This Hammer 10. Atlanta Kaira 11. Mississippi-Mali Blues 12. Sahara Ape (EAC Rip): 330 MB | MP3 - 320 kbs: 130 MB | Scans Archives have 5% of the information for restoration Ape Part 1 | Part 2 OR MP3 320 kbps HERE

Le Mystère Des Voix Bulgares - Vol.2

Posted By MiOd On 1:35 AM 0 comments

Le Mystère des Voix Bulgares Vol. 1
A wonderful example of Bulgarian music, Le Mystere Des Voix Bulgares takes quality to the max. With a marvolous blend of voices and tone colors this music grabs you from the moment you put it in your cd player. I strongly suggest this album which is in many ways, too amazing to describe in words.

(01) [Kaval Sviri (The Flute Plays)]
(02) [Stani Mi, Maytcho (Get Up, My Daughter)]
(03) [Di-Li-Do]
(04) [More Zajeni Se Ghiouro (Ghiouro Marries)]
(05) [Tche Da Ti Kupim Bela Seitsa (I'm Going to Buy You Some White Silk)]
(06) [Ovdoviala Lissitchkata (The Fox Has Lost His Cubs)]
(07) [Messetchinko Lio (You, Little Moon)]
(08) [Ei Mori Roujke (You, Little Roujke)]
(09) [Dragana I Slavei (Dragana's Song)]
(10) [Atmadja Duma Strachilu (revolutionary song)]
(11) [Dve Tourlaski Pesen (Teasing)]
(12) [Trenke, Todorke]
(13) [Besrodna Nevesta (Young Childless Wife)]
(14) [Izpoved (Confession)]
(15) [Ghiore Dos (Teasing)]
(16) [Spis Li, Milke Le (If You Are Sleeping, Milke)]

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Le Mystère Des Voix Bulgares - Vol. 1

Posted By MiOd On 7:40 PM 0 comments
The Bulgarian State Radio and Television Female Vocal Choir / Le Mystère Des Voix Bulgares

Le Mystère des Voix Bulgares (translated as "The Mystery of Bulgarian Voices") is an album of Bulgarian folk songs performed by the Bulgarian State Radio & Television Female Vocal Choir (who later became better known by the album's title) released on the 4AD label in the UK, the Nonesuch label in the US and on the Philips label in other territories.

The first pressing of the album was the result of fifteen years of work by Swiss ethnomusicologist and producer Marcel Cellier and was originally released in 1975 on his small Disques Cellier label. Ivo Watts-Russell (founder of 4AD) was introduced to the choir from a third or fourth generation audio cassette lent to him by Peter Murphy, singer from the band Bauhaus. He became thoroughly entranced by the music, and tracked down and licensed the recordings from Cellier.

The Mysterious Voices of Bulgaria belong to The National Radio And Television Chorus, the premier women's choir popularized worldwide through the efforts of ethnomusicologist Marcel Cellier. His recordings, issued on various import labels before appearing on Nonesuch, made a big splash in western Europe and the US, cultivating vast new audiences for the group's dramatic adaptations of folk singing styles. Their spine-chilling harmonies, punctuated by whoops and quavers, are presented in full choral arrangements and smaller groups -- duos and trios -- with and without instrumental backing. ~ Myles Boisen, All Music Guide

[01]. "Pilentze Pee" [Pilentze Sings]
[02]. "Svatba" [The Wedding Procession]
[03]. "Kalimankou Denkou" [The Evening Gathering]
[04]. "Strati Na Angelaki Doumasche" [Haiduk Song]
[05]. "Polegnala E Pschenitza" [Harvest Song from Thrace]
[06]. "Messetschinko Lio Greïlivko" [Love Song from the Mountains]
[07]. "Breï Yvane" [Dancing Song]
[08]. "Erghen Diado" [Song of Schopsko] (Lionder)
[09]. "Sableyalo Mi Agontze" [The Bleating Lamb]
[10]. "Prïtourïtze Planinata" [Song from the Thracian Plain]
[11]. "Mir Stanke le" [Harvest Song from Thrace]
[12]. "Schopska Pesen [Diaphonic Chant]
[13]. "Polegnala E Todora" (Love Song)

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Selection Of Gheorghe Zamfir

Posted By MiOd On 9:16 AM 0 comments

Track Listings
CD 1
01. Sirba Lui Pompieru & Am O Mindra Militica
02. Breaza De La Dragodana
03. Muntilor Cu Brazi Inalti Si »Ferice Codre Di Tine
04. Briul De La Faget
05. Sirba De La Gaesti
06. Suita De Sirbe Oltenesti
07. Sapte Vai Si-o Vale-adinca & Hora
08. Invirtita
09. Asta E Poteca Mea
10. Joc De Doi
11. Frunzulita Lemn Adus
12. Cintec De Nunta
13. Pascui Calul Pe Razoare
14. Doina De La Visina
15. Mindra Mea Din Badulesti
16. Mindrele
17. Sirba Batrineasca

CD 2
01. Am doi Frati la Severin / Hora din Muntenia
02. Suita Oltenesca
03. Ca pe Lunca / Sirba Oltenesca
04. Doina / Hora Lautareasca
05. Doina de Jale / Ciocirlia
06. Hora din Muntenia & Cimpulung Oras de Munte
07. Balada Lui Costea Pacurarul
08. Coragheasca
09. Rustemul de la Listeava
10. Bocet

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That Christmas Feeling , Winter Wonderland

Posted By MiOd On 6:51 AM 0 comments

Track Listings
CD1 – That Christmas Feeling
01. Bing Crosby and The Andrews Sisters – Santa Claus is coming to town
02. Doris Day – Here comes Santa Claus
03. Frank Sinatra – White Christmas
04. Glenn Miller and his Orchestra – Jingle Bells
05. Perry Como – That Christmas Feeling
06. Nat King Cole – The Little Christmas Tree
07. Bing Crosby – It’s beginning ot look a lot like Christmas
08. Frank Sinatra – Have yourself a Merrt Little Christmas
09. Woody Herman and his Orchestra – Let it Snow, Let it Snow, Let it Snow
10. Ella Fitzgerald – Santa Claus got stuck in My Chimney
11. Nat King Cole – There’s a train out for dreamland
12. Peggy Lee, Art Lund, Benny Goodman Orchestra – Winter Weather
13. Bing Crosby – I’ll be home for Christmas
14. Anne Shelton – Merry Christmas
15. Margaret Whiting and Jimmy Wakely – Silver Bells
16. Eddy Arnold – C_H_R_I_S_T_M_A_S
17. The Orioles – Lonely Christmas
18. Spike Jones and his City Slickers – Rudolph the Red Nosed Reindeer
19. Bing Crosby and the Andrews Sisters – Mel Kalikimaka (Hawaiian Christmas Song)
20. Judy Garland – The Star of the East
21. Dick Haymes – The First Noel
22. Deanna Durbin – O Come All Ye Faithful
23. Frank Sinatra – Silent Night
24. Doris Day – The Christmas Song (Merry Christmas To You)
25. Guy Lombardo and his Royal Canadians – Auld Lang Syne

CD2 – Winter Wonderland
01. Bing Crosby – White Christmas
02. Frank Sinatra – Santa Claus Is Comin’ To Town
03. Boston Pops Orchestra – Sleigh Ride
04. Judy Garland – Have Yourself A Merry Little Christmas
05. Perry Como – Winter Wonderland
06. Nat King Cole – The Christmas Song (Merry Christmas To You)
07. Frank Sinatra – Jingle Bells
08. Bing Crosby And The Andrews Sisters – The Twelve Days Of Christmas
09. Gene Autry – Frosty The Snowman
10. Spike Jones – (All I Want For Christmas Is) My Two Front Teeth
11. Bind Crosby – Rudolph The Red-Nosed Reindeer
12. Vaughn Monroe – Let It Snow, Let It Snow, Let It Snow
13. Russ Morgan And His Orchestra – The Night Before Christmas Song
14. Perry Como – It’s Beginning To Look A Lot Like Christmas
15. Bing Crosby And Carole Richards – Silver Bells
16. Frank Sinatra – Christmas Dreaming (A Little Early This Year)
17. Gene Autry – Here Comes Santa Claus (Right Down Santa Claus Lane)
18. Ernest Tubb – Blue Christmas
19. The Andrews Sisters – Christmas Island
20. Judy Garland – The Birthday Of A King
21. Bing Crosby – God Rest Ye Merry Gentlemen
22. Deanna Durbin – Silent Night
23. Dick Haymes – O Little Town Of Bethlehem
24. Bing Crosby – Deck The Halls-Away In A Manger-I Saw Three Ships-Good King Wencelas-We Three Kings Of Orient Are-Angels We Have
25. Frank Sinatra – O Come All Ye Faithful

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Ustad Zia Mohiuddin - Glimpses of Ancient Music of India

Posted By MiOd On 8:06 AM 0 comments

Track Listing
A1 Chandrakauns - Alap, Jod, Jhala, Gat - Chautaal
B1 Rudra Veena Recital - Gat - Jog - Aditaal
B2 Mridang Solo - Cahutaal, By Swami Pagal Das

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Ustad Asad Ali Khan - Rudra Vina

Posted By MiOd On 8:02 AM 0 comments

Track Listing
A1 Raga Mian Ki Todi - Alap, Jod And Jhala
B1 Raga Desh - Jod, Jhala And Composition In Jhanpatal

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The Andrews Sisters Christmas

Posted By MiOd On 9:24 AM 0 comments

Track Listing
01. Here Comes Santa Claus (W Bing Crosby)
02. Twelve Days of Christmas (W Bing Crosby)
03. Jingle Bells (W Bing Crosby)
04. A Merry Christmas At Grandmother's (W Danny Kaye)
05. I'd Like To Hitch A Ride With Santa
06. Winter Wonderland
07. The Christmas Tree Angel
08. (The Toys Gave A Party For) Pappa Santa Claus (W Bing Crosby)
09. All I Want For Christmas (Is My Two Front Teeth) (W Danny Kaye)
10. Santa Claus Is Coming To Town (W Bing Crosby)

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Christmas Legends 2

Posted By MiOd On 9:23 AM 0 comments

Track Listing
01. Bing Crosby - Rudolph The Red Nosed Reindeer
02. Mahalia Jackson - Hark The Herald
03. Bill Pinkey + Original Drifters - Silent Night
04. Frank + Bing - Deck The Halls
05. Pattie La Belle - Winter Wonderland
06. Bobby Sherman - I Saw Mummy Kissing Santa Claus
07. Moonglows - Hey Santa Clause
08. Bing Crosby - Away In A Manger
09. Brook Benton - Christmas Makes The Town
10. Rosemary Clooney - Jingle Bells
11. Frank Sinatra - Mistletoe And Holly
12. Brook Benton - Beautiful Memories Of Christmas
13. Enzio Stewart - Ave Maria
14. Johnny Adams - The Little Boy That Santa Clause Forgot
15. Louis Armstrong - White Christmas
16. Platters - Blue Christmas
17. Chuck Berry - Merry Christmas Baby
18. Louis Armstrong - Zat You Santa Claus
19. Frank + Bing - The Snowman
20. Brook Benton - You're All I Want For Christmas
21. Rosemary Clooney + Bing Crosby - Silver Bells
22. Frank + Bing - O Little Town Of Bethlehem
23. Gospel Clefs - Mary's Boy Child
24. Rosemary Clooney - The Christmas Song
25. Johnny Adams - The Bells Of St Mary

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Madurai - M.P.N. Sethuraman & M.P.N. Ponnuswamy

Posted By MiOd On 9:15 AM 0 comments

Track Listing
A1 Anadhudanuganu - Jingla
A2 Swararagasudharasa - Sankarabharanam
B1 Manasa etulo - Malayamarutham
B2 Naane unai nambinen - Hamsanandhi
B3 Aadum chidambaramo - Bhehag

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