Girija Devi - Kaun Des Gaye Chhalbalia

Posted By MiOd On 7:47 PM 0 comments
Girija Devi (Hindi: गिरिजा देवी; IAST: Girijā Ḍhevī) (born 1929) is an Indian classical singer of the Banaras gharana. She performs classical and light classical music and has helped elevate the profile of thumri. Devi performs the purabi ang thumri style typical of the tradition and her repertoire includes the semi-classical genres kajri, caiti, and holi and she sings khyal, Indian folk music, and tappa. The New Grove Dictionary of Music and Musicians states that her semi-classical singing combines her classical training with the regional characteristics of the songs of Bihar and eastern Uttar Pradesh.

Khayal Abhogi Kanara.......... 28:52

Thumri Bhairavi..........14:22
Kaun Des Gaye Chhalbalia

Kajari..........7:32
Rum Jhum Ke Barsan Lagi Badaria

Kajari..........7:15
Saawan Jhar Lagi


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Mikhail Alperin & Arkady Shilkloper - Wave of Sorrow

Posted By MiOd On 5:00 PM 0 comments
Mikhail Alperin & Arkady Shilkloper
Wave of Sorrow, 1990
Track Listings
--------------
(01). Song
(02). Poem
(03). Wave of Sorrow
(04). Toccata
(05). Unisons
(06). Introduction and Dance in 7/4
(07). Short Story
(08). Prelude in B Minor
(09). Miniature
(10). Epilogue

Mikhail Alperin - piano, melodica, vocals
Arkady Shilkloper - french horn, jagdhorn, flügelhorn, vocals

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MAROC 'MOROCCO' (Series) (Institut Du Monde Arabe), ''12 Albums''

Posted By MiOd On 11:11 AM 0 comments
[01].El Hadj Houcine Toulali The Malhun of Meknes (Le Malhun de Meknes)
For nearly thirty years I've struggled to learn and speak Arabic, the language whose beauty captured me from my first exposure to it. My favorite orators were Egyptian President Nasser & His Majesty King Hussein of Jordan. Both were masters of rhetoric whose eloquence made the language soar in a way that could move masses politically and emotionally. El Hadj Toulali (d. 1998) was also a master of the language, one who practiced the Moroccan performing art form known as malhun, an urban style of sung poetry. The CD opens with the wonderful "Sir a naker lehsan" ("Go, you ungrateful"), a 5-verse, 120-line poetic text composed in the 19th century that introduces Toulali's voice, the responsive choir and spare strings and percussion that accompany each piece. Originally, these songs were restricted to the private domain of the brotherhoods. Later, as themes reached beyond religious mysticism to secular topics and societal commentary, malhun became popular on the radio airwaves and on records. While serving as apprentices of the working class craft guilds, men without women let their imaginations run free. One result, in part, is the flights of poetic imagination of elusive love, beauty and virtue. The setting is as illusory as it is romantic and characterizes the songs on The Malhun of Meknes. Ripe with social taboo, Toulali conveys the passion of sensuous desire competing with the frustration and isolation of celibate bachelorhood. It's unusual to let music such as this run to its natural length. "Fadhma" runs just over 17 minutes; "Lharras" ("The Cerberus"), at 392 lines grouped into 7 verses, runs just over 31 minutes. The Arab dialect is slow and deliberate, allowing each phrase and syllable to be heard and savored. Text translation to read along would be desirable; but even if you don't understand a word, I assure you, this poetry alone will evoke emotion. A beautiful and satisfying recording.

1. Sira A Naker Lehsan/Va, Ingrate
2. Fadhma (Prenom Feminin)
3. Lharraz/Le Cerbere Écouter
4. Ruf A Dabel Le' Yan/Aie Pitie, Aimee Au Regard Langoureux

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[02]. Amenzou Ensemble - The Malhun in Marrakesh
A collection of sung poetry that has developed in the urban areas of Morocco over hundreds of years. This album presents a concert by Mohammed Suita with the Amenzou brothers and their ensemble.
This an amazing live recording of Malhun music. The concert was organized in June 1999 under the aegis of the year of Morocco in France by the Institut du Monde Arabe and recorded in the abbey of Royaumont. Great performance, great voices, fantastic sound.

1. Nezha
2. Meryem
3. L-Tbib - Le Médicin
4. Tamu
5. L-Saqi - L'Échanson
6. Fesl I-Rbi' Gebbel - Le Printemps Arrive

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[03]. Compagnies musicales du Tafilalet - L'appel des oasis
Music from the Tafilalet oasis in the Sahara desert. The disc features four musical groups from Tafilalet who draw their inspiration from both the tradition and the modern world.
Here's a brilliant collection of Moroccan roots music from the desert Atlas Mountains, sounds in which spirituality and history merge to cast a powerful musical spell. These four groups all come from the dry highlands (Tafilalet) between two rivers not far from the Algerian border, a place where Berber, Arab, Andalusian and African cultures have long merged at the desert oasis. The village of Erfoud--5000 people living 3000 feet above sea level--has become the center of a revival of the music loosely called al badi, and after a debut regional music festival in 2002, these four "music collectives" stayed behind to record this enchanting album, two tracks each. Jellouli & Gdih Music Collective start off with a signature al badi number, "Al jbal dargoug aaliya (These mountains are hiding you from me)," a love song to a Berber girl. It begins with a soothing passage of deep oud and more piquant mandolin called snitra ). When the rolling rhythm and call-and-response singing led by a clear, male voice kick, there's a religious feeling that belies the swaggering beat. The group follows up with a beautiful, dark instrumental improvisation that culminates--like many of these pieces--in a rolling 12/8 groove. The Meskaoui Music Collective features the spectacular oud playing of Mouloud Amrini, alias Meskaoui. Once again, there's a vocal piece featuring two alternating solo, male voices, one clear and beautiful, the other slightly softer and deeper, and then an instrumental. Both pieces are backed by tbilat (hand drum) and jarre (earthenware pot). The nine-minute instrumental is especially memorable with its expressive, free, oud playing against a simple, funky beat. Two pieces by El Hashemi Nhass Music Collective deliver a trance-mood full of religious fervor. The vocals are high and energized, and a strong, if creaky violin dominates the sound, especially in the instrumental piece, where it evolves into wild, overtone rich cycles of melody, speeding up in a trance spiral that speeds and spins towards a satisfying finish. Perhaps most beguiling of all are the concluding vocal pieces by El Hamri Music Collective. "Yarijal l'bled (The saints of the region)" unfolds over a lush musical bed of oud, snitra and three soft hand drums ( tar, darbouka, and taarija). Two voices, one clear one clouded, exchange lines and moods as these seductive songs evolve per form toward fast, fervent conclusions. Morocco is a jigsaw puzzle of intriguing ethnic niches, many featuring surprising and beautiful music. This rather unheralded musical niche provides as good an introduction to the country's rich roots music as any.

1. Ces Montagnes Qui Te Cachent De Moi
2. Pièce Instrumentale
3. Ainsi Va Ma Vie
4. Improvisation Instrumentale
5. Brûlure D'Amour
6. Improvisation Instrumentale Pour Flûte & Violon
7. Les Saints De La Région
8. Sans Motif, Sans Rien

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[04]. Les Femmes deTétouan - Chants d'allégresse marocains
In the 12th Century, Sevilla was famous for its women musicians, known widely for their talent and virtuosity. Later Arab-Andalusian music became the privelege of men, and so it was to remember and celebrate the early role of women in this musical heritage that this Morroccan ensemble was founded in 1989. The singing is more melodic and sensuous than what one usually hears in this context, and the group's repertoire ranges from popular songs to the most refined examples of classic Andalusian music.
A repertoire of songs blending popular songs of lively rhythms and exhilarating melodies and the Moroccan Andalusian tradition.

1. Ya Bent Bledi (The Girl from My Country)
2. Kif Na'mal Ma Nebkich (How Can One Not Cry)
3. Laghram Mana' Wa S'Ib (The Difficulty of Love)
4. Laghram Ma'andou Dwa (There Is No Remedy for Love)
5. l'Ouchaq Fnît Ana (I Am Dying)
6. Laghram Bayen Fiyya (Madly Besotted)
7. Al Mout Ba-Ddra' (To Die of Love)
8. Lahbiba Aw Jarrahtini

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[05]. Ihsan Rmiki - Al-Samaa - audition spirituelle extatique
The recording notes say: The samaa, or spiritual concert, is part of the Sufi tradition, and involves listening to music and song in modes of Andalusian origin in order to reach spiritual awakening and contact with the divine, a trance-like state known as the wajd. The practice takes place in the refined atmosphere of the zawiyas. Panegyrics are sung either solo or in chorus with an instrumental accompaniment of varying importance; the performance is conducted by a shaykh whose role is twofold: to lead the ritual and the spiritual guide of the devotees. Ishan Rmiki, one of the rare female vocalists to perform samaa, transports her audience in a mood of spiritual fervor still cultivated in modern-day urban Morocco. The result is a musical account of this profound spiritual journey that all those who aspire to union with God will appreciate.
This is among the best recordings of spiritual/soufi arabo-andalusian music, mostly from the middle ages. The very unusual here is that it is sung by a female singer who has a beautiful haunting voice. All members of the ensemble are top musicians and singers. It is lively and spiritual at the same time.

THIS IS REAL SOULFUL SUFI TRANCE, SUNG BY THE LEADING AND ONLY FEMALE LEADER OF A SUFI ENSEMBLE. HER VOICE RINGS LIKE A BELL ABOVE THE DEEP GROOVES OF THE ARAB/BERBER ENSEMBLE, A KIND OF WOUND DOWN FLAMENCO, AS IF FLAMENCO WERE PERFORMED BY A DIAMOND GEM BAND OF SHARPENED STRING AND PERCUSSION PLAYERS WITH SONGS OF RUMIESQUE SPIRITUAL UNION.

1. The abandonment of all worlds
2. The path of ecstasy

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[06]. El-Hadj Abdeslam, La daqqa de Marrakech
This is an amazing CD. Initially, I was disappointed because the drumming at the outset seemed tedious. But waiting paid off! The drumming increased in its rhythmic complexity and beauty as the CD went on to its conclusion. One should understand the context of the playing so I strongly suggest reading the liner notes. I would love to attend such a meeting of master musicians heightened by the spiritual context. This Cd would appeal more to those interested in the religion of Islam and its cultural manifestations. Brilliant music.

1. Aït - Récitatif

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[7]. LES IMAZIGHEN - Chants du Moyen-Atlas
The Imazighen are Berber desert people who settled in Morocco, and whose music has a raw vitality. Four different genres are represented on Imazighen: Songs from the Middle-Atlas: izlan, tamawayt, tamedyazt, and adihus. While they use the same vocal technique, there are definite differences between them. Izlan is the music of feelings (illustrated very well by "Oh My Soul"). Tamawayt is more of an improvised solo vocal, as on "Rather Than Be Separated." Tamedyazt is a style of sung poetry, and often serves for "jousts" between singers, such as on "The Word." Finally, adihus is a more generic type of song and dance for celebrations. Some are easy to pick out, others require the guidance of the booklet, which offers good, concise explanations. The music certainly evokes the landscape of the Atlas Mountains -- both the cedars and the deserts -- and the spare instrumentation is often strangely beautiful, almost alien. This is a tradition that thankfully hasn't died, but is being preserved by professional performers -- such as those on this disc. As evocative as a rural rai, this is a little masterpiece.

(01). A-Yelli Ino (Oh My Small One) - Mohamed Maghnia, Mohamed Rouicha
(02). Wala Nabdu (Rather Than Be Seperated) [Tamawayt/Izlan] -
(03). Di Lwaqt U-Nebdu Nagh Ma Yekat U-Dfel (Whether It Is Sunny or It Snows)
(04). Islan (Celebration) [Ahidus]
(05). Akemus (The Bundle) [Ahidus]
(06). Bab Nukham (Host)
(07). Anini Bismillah (In the Name of God) [Ahidus]
(08). Iberdane (The Paths) [Izlan] - Mohamed Maghnia, Mohamed Rouicha
(09). Awal (The Word) [Tamedyazt]
(10). Amrahba Saraw Imazighen (Welcome to the Imazighen Children) [Ahidus]
(11). Hayat U-Medyaz (The Life of a Poet) [Tamedyazt]
(12). Chawla Ganegh (I Sleep No More) [Izlan] - Moha Oulmoudden
(13). Iqur l-Henna (The Henna Is Dried Out) [Ahidus]
(14). A-Laâmriw (Oh My Soul) [Izlan]

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[8]. La Clef de Grenade - le Maitre de l'oud Marocain
Said Chraibi was born in Marrakech in Morocco. He began playing the oud at the age of 13, and later studied with Farid el-Atrache. He is renowned as an accompanyist of Arab singers, as well as a solo artist in his own right.

1. Andaloussiyyat - Kahyâlây Fî Qalbî - The Key
2. Al-'ashiq [The Lover]
3. Musical Embroidery
4. Fadèla
5. Tribute to My Master
6. Chaama
7. Longa Hajar

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[9]. Les Aissawa De Fes - Rituel De Transe
For anyone even remotely interested in Moroccan music this CD is beyond essential.Halfway through listening I knew I wanted to own practically everything this label puts out.I thought Gnawa was as good as it gets,but the Aissawa music is just as intense and fierce.Amazing.

1. Tahlîl - Glorification
2. Râkib Iburaq - Le Prophéte au Cheval Ailé
3. Allahumma Salli - Chant de Louange,
4. Suite de Chants Hurm - Imploration,
5. Suite de Chants Haddun - Invocation de I'un
6. Dkhûl I-Hadra - Prélude à la Danse Extatique
7. Mjerred - Danse des Initiés
8. Jilâliyya/Sommet de la Cérémonie

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[10]. Chekh Ahmed Zaitouni - Musique andalouse de Tanger
"Cheikh Ahmed Zaitouni is a remarkable master musician in the al-Andalus style. Here he and his ensemble from Tangier perform one of the most beautiful of the eleven vocal and instrumental suites of the Moroccan ala, the 'nuba Al-Hijaz al-kabir.' With a strict respect for tradition, vocalists and instrumentalists alike perform in close symbiosis, communicating with each other by a simple glance to produce music of subtle balance and strong emotion whose powerful effects transport listeners into the sumptuous medieval heritage of the legendary Ziryab."
Cheikh Ahmed Zaitouni is a master musician in the al-Andalus style. Here he and his ensemble from Tangier perform one of the eleven vocal and instrumental suites of the Moroccan âla, the nuba 'Al-Hijaz al-kabîr'.

1. Instrumental Introduction
2. Blessed be Thou, oh Night - by he Who Has Conceived You
3. She Came to See Me - the Almond Trees Are Redolent/oh my Companion, I See
4. Oh You Who Has Settled in my Captive Heart - your Beauty is Unique, You o
5. Violin Solo
6. Love for You Has Laid me Low - be Cautious in Your Love
7. I Thought That...
8. In the Beloved's Abode - my Body is so Frail - i Beseech You, Fairest of ma
9. May God Never Separate the Lovers

| MP3 128 kbps | Booklet Scans | 65 MB |

HERE

[11]. Abdelkrim Rais - Musique Andalouse de Fes
Abdelkrim Rais : A master of the rebab (spiked fiddle), Abdelkrim Rais had a major influence on the evolution of contemporary Moroccan Andalusian music. His publications, including Collige I Al-Haik Poems in 1982, provide a rich source of material that continues to be performed. The director of the Academy of Music in the imperial city of Fez, Rais led the city's Orchestra of Andalusian Music until his death at the age of 84. The orchestra has continued under the direction of Mohamed Briouel.

Disc: 1
1. Les Sept Tawachi De La Nouba Hijaz Al-Machriqi
2. Basit Rami-Al-Maya
3. Mawwal De Abderrahim Souiri/Quddam Raml-Al Maya

Disc: 2
1. Btayhi Al-Rasd/Inchad Abderrahim Souiri Et Ebdelfettah Bennis/Quddam Btayhi Al-Rasd 2. Insiraf Basit Al-Istihlal
3. Insiraf Btayhi Al 'Uchchaq

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[12]. Mohamed Bajeddoub & Abderrahim Souiri - L'Art du Mawwal
Mohamed Bajeddoub & Abderrahim Souiri L'Art du Mawwal / The Art of Mawwal Institut du Monde Arabe 321 072, 2007

(01). Ataytu Li-Qâdî L-Hubb [I Went to See the Judge for Love] - Abderrahim Souiri
(02). Amurru Alâ D-Diyâri [I'm Passing Through the Area] - Mohamed Bajeddoub/Abderrahim Souiri
(03). Dumu U L-Ayni Tajri [Tears Stream from My Eyes] - Mohamed Bajeddoub/Abderrahim Souiri
(04). Idû Ilayya L-Wisâl [Renew Your Union] - Abderrahim Souiri
(05). Aynî Li-Ghayri Jamâlikum Lâ Tandhuru [My Eyes Gaze Only on Your Beauty] - Mohamed Bajeddoub/Abderrahim Souiri
(06). Arâdû L-Biâda [They Wanted to Go Away]
(07). Amurru Alâ Diyâri Laylâ [I'm Going Through the Region]
(08). Qultu Li-Laylâ [I Asked Laylâ]
(09). Medley: Badat /Yâ Ghazâlan [Oh Gazelle]
(10). Zâranî Tayfu [I Had a Vision]
(11). Zor Man Tuhibb [Go and See the One You Love]
(12). Jarhu Qalbî [The Wound in My Heart]
(13). Lil-Jamâli Mulkun [The Reign of Beauty]
(14). Medley: Alhaju Bi-L-Ahbâb /Lâ Tahsibû [D
(15). Mâ L-Farq [What a Difference There Is!]
(16). Lî Habîbun [I Have a Beloved]
(17). Medley: Sana Yâ Shams Lashiya /Qudûmu L-Habib [the Arri [Oh Evening Sun

320 kbps; including full booklet scans

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[13]. Hommage a Abdelkrim Rais - Orchestre Al-Brihi de Fès sous la direction de Abdelkrim Rais

MUSIQUE ANDALOUSE-MAROCAINE
Co-production between BLUE SILVER and Institut du Monde Arabe

A master of the rebab (spiked fiddle), Abdelkrim Rais had a major influence on the evolution of contemporary Moroccan Andalusian music. His publications, including -Collige I Al-Haik Poems in 1982, provide a rich source of material that continues to be performed. The director of the Academy of Music in the imperial city of Fez, Rais led the city's Orchestra of Andalusian Music until his death at the age of 84. The orchestra has continued under the direction of Mohamed Briouel. ~ Craig Harris, All Music Guide

Hommage a Abdelkrim Rais - Orchestre Al-Brihi de Fès sous la direction de Abdelkrim Rais Vol.1
TRACK LISTINGS

1. LES SEPT TAWACHI DE LA NOUBA HIJAZ AL-MACHRIQI
2. BASIT RAML AL-MAYA
3. MAWWAL DE ABDERRAHIM SOUIRI QUDDAM RAML AL-MAYA

Hommage a Abdelkrim Rais - Orchestre Al-Brihi de Fès sous la direction de Abdelkrim Rais Vol.2

Artistes :
ABDESSADEK CHKARA AHMED CHAOUKI AL 3OUD HAJ MOHAMED BAJEDDOUB HOMMAGE A ABDELKRIM RAIS

TRACK LISTINGS

1. BTAYHI AL-RASD -INCHAD ABDERRAHIM SOUIRI -ET ABDELFETTAH BENNIS -QUDDAM BATAYHI AL-RASD
2. INSIRAF BASIT AL-ISTIHLAL 3. INSIRAF BTAYHI AL 'UCHCHAQ

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Marilyn Crispell - Live in San Francisco

Posted By MiOd On 6:19 AM 0 comments
Marilyn Crispell
Live in San Francisco, 1990
One of the finest modern jazz pianists, Marilyn Crispell first emerged as an exciting, adventurous soloist and composer on the free scene in the early '80s. She was a member of the Anthony Braxton Quartet during the '80s and '90s, and also led a number of her own dates (mostly for Leo and Music & Arts) during this period. Although not as widely acclaimed as she deserves to be, Crispell has nevertheless gained an increasing amount of respect and fewer write-offs simply as a pianist in the Cecil Taylor vein.

Crispell is a rarity in that she's not interested in hard bop, jazz/hip-hop, or fusion. Her style, with its slashing phrases, percussive mode, clusters, and speed, pays homage to Cecil Taylor (whom she reveres) but isn't merely an imitation. She's not as dance-oriented, and her use of space, African rhythms, and chording also recall Thelonious Monk and Paul Bley, two others she cites as influences, along with Leo Smith.

Crispell started piano lessons at age seven at the Peabody Music School in Baltimore. She later studied piano and composition at the New England Conservatory in Boston. She abandoned music for marriage and medical work in 1969, but returned to the music world six years later, moving to Cape Cod after a divorce and being introduced to the sound of transitional John Coltrane (A Love Supreme) by pianist George Kahn. Crispell attended Karl Berger's Creative Music Studio and studied jazz harmony with Charlie Banacos in Boston. She met Anthony Braxton at the studio, and toured Europe with his Creative Music Orchestra in 1978, recording on his Composition 98 album in 1981. Crispell began playing solo and leading groups in the '80s, teaming with Billy Bang and John Betsch in one band. She made several albums on the Music & Arts and Leo labels, among others, working with Reggie Workman, Doug James, Andrew Cyrille, Anthony Davis, Tim Berne, Marcio Mattos, Eddie Prevost, and several others.

Crispell continued recording throughout the '90s, yielding a number of incredible albums and interesting lineups that included her Braxton Quartet bandmates Mark Dresser and Gerry Hemingway, as well as sessions with Paul Motian, Irene Schweizer, Workman, Georg Graewe, Braxton, Gary Peacock, Fred Anderson, and many others, not to mention a few solo recordings, including Live at Mills College 1995. Marilyn Crispell has performed at a large number of jazz and avant-garde festivals, occasionally as a solo artist, as with her set at FIMAV 2000 (aka Victoriaville 2000), which preceded a solo set by Cecil Taylor. Since that time she has kept busy releasing Amaryllis in 2001, Storyteller in 2004, and Vignettes in 2008. ~ Ron Wynn, All Music Guide

This is the Marilyn Crispell CD to start out with. The avant-garde pianist, most influenced by Cecil Taylor but increasingly original through the years, explores eight selections during a dynamic live set. In addition to five originals, Crispell plays very fresh (and unpredictable) versions of "When I Fall in Love," Thelonious Monk's "Ruby, My Dear," and John Coltrane's spiritual "Dear Lord." In addition, the 55 minutes of solo piano are joined by two numbers featuring Crispell that were also released on other Music & Arts releases: a duet with Anthony Braxton and "Wha's Nine" from a very adventurous Reggie Workman set with vocalist Jeanne Lee and clarinetist Don Byron. Invigorating music. ~ Scott Yanow, All Music Guide

(01). Penumbra
(02). Zipporah
(03). When I Fall in Love
(04). Ruby, My Dear
(05). Misconception
(06). Tromos
(07). Dear Lord
(08). Encore
(09). Composition No. 136
(10). Wha's Nine?

320 kbps including full scans

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Mariachi Tecalitlan - Original from Mexico

Posted By MiOd On 5:22 AM 0 comments
Mariachi Tecalitlan
Original from Mexico, 1996
Alt text
Track Listings
--------------
CD 1
01. La Negra
02. El Jarabe Tapatio
03. Las Alazanas
04. La Culebra
05. El Caballito de Jalisco
06. El Tranchete
07. Guadalajara
08. Juan Colorado
09. Jesusita en Chihuahua
10. La Adelita
11. Los Machetes
12. Entrale en Ayunas
13. Palea de Gallos
14. Los Jacalitos
15. El Huaco
16. Jarabe Ranchero

CD 2
01. La Botella
02. El Tapatio
03. La Tres Pelonas
04. La Llorona
05. La Bamba
06. Ia Tortuga del Arenal
07. Jarabe Pateco
08. Jarabe Zapoteca
09. Son Michoacano
10. Los Jorongos
11. La San Marqueña
12. Zihualteco
13. La Raspa
14. Son Abajeco
15. El Huizache
16. El Chinelo

320 kbps including full scans

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Djivan Gasparyan & Michael Brook - Black Rock

Posted By MiOd On 4:10 AM 0 comments
With Black Rock, Canadian composer Michael Brook applies the same approach he used in his two Real World collaborations with Pakistani singer Nusrat Fateh Ali Kahn (Mustt Mustt and Night Song) to a new relationship with Armenian duduk specialist Djivan Gasparyan. This partnership proves to be more consistently fruitful than the first, producing a record of dazzling eclecticism and uncommon soulfulness. Gasparyan's duduk, an ancient instrument similar to the oboe, has an extraordinary range of expression: It exudes a heart-rending plangency on the mournful "Fallen Star," seductive sensuality on "Forbidden Love," and languid serenity on "Together Forever." Gasparyan also sings on the record, lending the gentle warmth of his voice to the textured instrumental work. Brook's arrangements -- consisting primarily of keyboards, light drums, and evocative ambient electric guitars -- bring a contemporary edge to the ancient mystery and emotiveness that characterize Gasparyan's work. Black Rock is open to the same criticisms of cultural exploitation that plagued the Nusrat Fateh Ali Kahn albums, but one hopes that this fascinating cultural hybrid will be accepted on its own terms as a rich and expressive new creation. ~ Evan Cater, All Music Guide

To describe this music is to resort to cliches: ethereal, haunting, mystical, poignant, melancholy, moody. It is commonly acknowledged that the music of the duduk (an Armenian instrument rather like an abbreviated oboe made of -- how curious -- peach root) has a plaintive and slightly nasal sound. Thus the cliches.

Armenian prodigy Djivan Gasparyan is the indubitable master of the duduk. Canadian guitarist Michael Brook is an old hand at collaboration efforts, mingling his "infinite guitar" and ambient effects with traditional music. Bear in mind that Michael Brook productions are so-called "world fusion music". Such albums often offend purist fans of the folk music which they see being warped by electronica. If you can accept the genre, check out this album, which is one of the best representations.

Cliches apart, it is hard to describe the music. It is like the sense of striving and desperation when you remember your homeland in a far away place. It is like the clenching feeling in your chest when someone beloved passes by and you breathe in their afterscent. Or simply breathing an odor you remember, but cannot identify.

In short, it is good mood music. The editorial review was incorrect in saying this production sacrifices complexity to capturing a mood. While not supremely challenging, there are a few layers that teasingly reveal themselves on repeated listening. It is worthwhile music.

Ultimately, the melody of the duduk has the final word. You just have to listen. I cannot tell you -- I'm out of cliches.

(01). To the River
(02). Fallen Star
(03). Take My Heart
(04). Together Forever
(05). Freedom
(06). Forbidden Love
(07). Immigrant's Song
(08). Dark Souls

Ape (EAC Rip): 220 MB | MP3 - 320 kbs: 110 MB | SCANS

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Talking Timbuktu

Posted By MiOd On 8:37 PM 0 comments
Ali Farka Toure With Ry Cooder - Talking Timbuktu

Guitar greats of two continents, Ry Cooder and Ali Farka Toure, collaborate on this session that crosses cultural boundaries from delta blues to Malian dialects.
On the surface, this is a very simple album, simple in that it is accessible, unpretentious and easy to listen to. On repeated helpings, however, Talking Tmbuktu becomes an extraordinarily beautiful ensemble of the rock-pop (Ry Cooder) and the trad and bluesy (Toure). Take Gomni, the heart rendering tune about "hard work". The rich rhythmic tapistry and haunting melody that shifts back and forth among variations with amazing fluidity touches any soul.
On the other hand, Lasidan, a song about happyness is groovy and multi-layered. Blues aficiandos attempt to catalogue Toure as the "West African John Lee Hooker" due to the similarity in the low-pitched vocals and mid-tempo, foot-stomping rhythms found in so many of his songs (like Ai Du). But I found his music richer; technically its combo of instruments ranging from the emblematic accoustic guitar to the calabash drums to the najarka lute create an inimitable style. Culturally Toure's songs draw from several sources. This is universal music, capable of reaching any heart despite the obvious language barrier.

For a mere mortal like me who picked this album on word of mouth, it also opened a whole new doors into music from Mali.

“I highly recommend this CD to anyone who wants to listen to soemthing a little different from the mainstream.”
“ It is music that touches the soul.”

“ The music here is contemporary yet distinctly African.”

1. Bonde
2. Soukora
3. Gomni
4. Sega
5. Amandrai
6. Lasidan
7. Keito
8. Banga
9. Ai Du
10. Diaraby

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Chinese Ancient Music Vol. 2 High Mountains And Flowing Water

Posted By MiOd On 5:13 PM 0 comments
Chinese Ancient Music Vol. 1 Pictures of Primitive Hunting
Here is the second in the series of recreations of historical Chinese music; this volume, like the first, focuses on music dating back to the "Six Ancient Dynasties" from the Qin to the Han (220 BCE to 220 CE). The imagery evoked is of majestic, serene nature, and of those souls who forsake a materialist's life in order to be one with it. It's lofty, peaceful stuff on the whole, but if you take a cue from the title, "Calling Spirits Back From the Dead" is a bit spooky and tense, and regardless of the title "Dragonboat" is full of tension and excitement. It's a brisk and hectic song depicting a boat race and played on solo pipa (琵琶). I've heard that the pipa is one of the world's most difficult instruments to learn, and you'll hear why.

(01). Liu Shui ( Bian Qing ) (Running Waters (Bianqing))
(02). Gao Shan Liu Shui ( Gu Zheng ) (High Mountains Flowing Water (Zheng))
(03). Liu Shui ( Gu Qin ) (Running Waters (Qin))
(04). Ji ( Gu Le Dui ) (Offering Sacrifices (orchestra))
(05). Zhao Hun ( Pai Xiao ) (Calling Back The Spirit Of The Dead (Pan-pipes))
(06). Dan Yue Ying Yu ( Se ) (The Silent Moon Mirrored In The Fish Pond (Se))
(07). You Lan ( Gu Qin Yu Bian Zhong ) (The Elegant Orchid In Jieshi Tune (Qin and Chime bells))
(08). Mei Hua San Nong ( Gu Qin ) (Three Variations On The Plum (Qin song))
(09). Long Chuan ( Pi Pa Du Zou ) (Dragon Boat (Pipa solo))
(10). Gu Feng Cao ( Gu Qin ) (Gufengcao (Qin))
(11). Kong Que Dong Nan Fei ( Guan Zi ) (The Peacocks Fly To The Southeast (Pipe))

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Afro-Cuban Grooves 1

Posted By MiOd On 10:28 AM 0 comments
Monster Collection of 70's and 90's of Forgotten Afro-Cuban Grooves. Compiled by the Djs of the Legendary Parisian Radio Nova.

Pour tous les amateurs de musique lointaine, celle qui héritent des rythmes salseros d'Amérique Latine, et des percussions africaines qui inspirent ensemble le métissage originel de la musique des îles..."Tous les hommes viennent d'Afrique", les sons et les tons aussi!

[01]. Israel Cachao Lopez - Cogele el Golpe
[02]. Grupo Sierra Maestra - Guanajo Relleno
[03]. Mercedita Valdes - Mango Mangue
[04]. Juan Carlos Alfonso Y Su Dan Den - Piano con Rumba
[05]. Isaac Delgado - Mueve la cintura
[06]. Septeto Nacional de Ignacio Pineiro - Las Cuatro Palomas
[07]. Faustino Omaras - Come Baila Marieta
[08]. Israel Cachao Lopez - Estudio en Trompeta
[09]. Celeste Mendoza y su Grupo Sierra Maestra - Echale Salsita
[10]. Lazara y Georgina - Los Amigos
[11]. Tres Senores del son - No Tiene Telerana
[12]. Conjunto Casino - Mambo Gallego
[13]. Carmen Flores - Babalù
[14]. Bobby Carcases - Maracaïbo Oriental
[15]. Conjunto Clave y Guaguanco - Que Viva Chango
[16]. Los Van Van - Llegue, llegue Guararey de Pastoria

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Instrumental Music of the Toba Batak and the Karo Batak. Northern Sumatra

Posted By MiOd On 6:43 AM 0 comments
Instrumental Music of the Toba Batak and the Karo Batak. Northern Sumatra/Indonesia
Staatliche Museen zu Berlin Preussischer Kulturbesitz CD 24/25, 1999
Alt text
Die zwischen 1,6 und 2 Millionen Batak, die südlich der Malaysischen Halbinsel mit den Staaten Malaysia und Singapur in Sumatra, der zweitgrößten der indonesischen Inseln leben, werden in fünf große Untergruppen gegliedert: die Toba, Karo, Simalungun, Pakpak und Angola/Mandailing.
Das wichtigste Element der traditionellen Glaubensvorstellungen ist die in der Batak-Gesellschaft tief verwurzelte Ahnenverehrung, verbunden mit dem Glauben, dass der Mensch nach seinem Tode als begu oder Totengeist weiter besteht.
2 CDs mit Zeremonialmusik der unterschiedlichen Batak-Völker und ausführlich erläuterndem Booklet mit Notenbeispielen und schwarz weiß Fotografien

The 1.6 to 2 million Batak, the south of the Malaysian peninsula with the countries of Malaysia and Singapore in Sumatra, the second largest of the Indonesian islands live in five major sub-sections: the Toba, Karo, Simalungun, Pakpak and Angola / Mandailing .
The most important element of traditional beliefs is in the Batak society deeply rooted ancestral worship, coupled with the belief that man after his death as a beneficiary or dead spirit persists.
2 CDs with different Zeremonialmusik the Batak peoples and detailed explanatory note booklet with examples of black and white photographs

CD 1 - Gondang Toba
01. Gondang somba-somba
02. Gondang hata so pisik
03. Gondang didang-didang habonaran
04. Gondang parsiarabu/ndang tartangishon
05. Gondang Mulajadi na Bolon
06. At a funeral
07. At a funeral (Cont.)
08. Tortor adat
09. Tortor adat (Cont.)
10. Tortor adat (Cont.)
11. Gondang si unte manis
12. Gondang Mulajadi na Bolon
13. Gondang si manuk-manuk
14. Gondang si unte manis

CD 2 - Gendang Karo
01. Music fro guro-guro aron: gendang tari lima serangkai
02. At a Funeral Procession: Gendang si arak-araken
03. Erpangir kulau: Gendang tuldik kupuloon
04. Adat Dance: Gendang Simalungun Rayat
05. Gendang Toba
06. At a Wedding: Gendang sikat
07. Dance of Possession by the guru sipaso: Gendang peseluken
08. Recalling the tendi

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Nikhil Banerjee - Afternoon Ragas

Posted By MiOd On 4:41 AM 0 comments
Nikhil Banerjee
Afternoon Ragas Rotterdam 1970
From the first note, an invisible architecture emerges and with it great heights of emotive playing are achieved.

The late Nikhil Banerjee never faltered, in technique or taste; he was for decades one of India's top sitarists.

“There is just something so deep and so emotional about Nikhil's brilliant tone and melodic invention here... these are performances that burrow into your soul. ”

I'll just state the obvious first: This is a masterpiece!

I used to be of the mindset of only listening to ragas during their prescribed time of day but I have kind of gotten out of that. Now I listen to whatever I need to listen to whenever I am in the mood for it... which brings me to this disc.

Recorded live in Rotterdam in 1970, Nikhil Banerjee and Kanai Dutta give what are, for me, "deep dark dead of night" performances of 2 afternoon ragas. Very little compares to listening to this disc around 2 or 3am with all the lights off and just the flickering of a few candles flashing through your closed eyelids. I don't mean this is relax and zone-out music (as is the general stereotype), though. You will be hanging on every note, every emotion. There is just something so deep and so emotional about Nikhil's brilliant tone and melodic invention here... these are performances that burrow into your soul.

Part of Nikhil's power (at least to my ears) was that he seemed to have a surbahar sensibility, yet he played the sitar. His tone, melodic ideas, and his meends are on a whole other level. Of course no one can put a musical experience in words, but there are a couple notes here... a couple phrases that haunt me. The whole performance is excellent... I don't mean to make it sound like there are just a couple moments... but what I mean is that there are some things he does here that feel as if the entire beautiful history of Hindustani music was leading up to those couple phrases. You just feel it all. I'm not sure any other sitarist ever had "the power of One Note" the way Nikhil had it.

Add Nikhil's power of melody and tone with Kanai Dutta's remarkable precision and dexterity on tabla and you have the recipe for some wonderous gats.

Pick this one up for yourself, turn off the lights and be moved.

1. Bhimpalasri Alap
2. Bhimpalasri Slow Rupak Tal
3. Bhimpalasri Fast Tintal
4. Bhimpalasri Jhala
5. Multani Alap
6. Multani Medium Tintal
7. Multani Fast Tintal
8. Multani Jhala

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Michel Camilo - Triangulo

Posted By MiOd On 7:02 PM 0 comments
There's an intense interplay between all three players on Triangulo. Michel Camilo plays with wonderful melodic and harmonic imagination, and truly amazing rhythmic intensity. Team him up with Horacio "El Negro" Hernandez , and explosions occur. He's like Elvin Jones and Tony Williams combined. I loved "On Fire", but this one's astonishing. Not all the numbers are fast , I guess to give you a rest , but when they crank it up it sounds like they might break something.

1. Piece Of Cake
2. La Comparsa
3. Mr. C.I.
4. Afterthought
5. Anthony's Blues
6. Con Alma
7. Las Dos Lorettas
8. Just Like You
9. Descarga For Tito (Puente)
10. dotcom-bustion

Bass – Anthony Jackson
Drums – Horacio "El Negro" Hernandez
Piano – Michel Camilo

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Guinée - Cultural Revolution

Posted By MiOd On 2:04 PM 0 comments
Guinée - Cultural Revolution. African Pearls, Vol.2
Syllart Productions, 2006

Alt text

Sekou Toure, the first president of the west African state of Guinea, is remembered more kindly by musicians than by his political opponents. He set up state-funded bands to write modern songs based on old styles. In this wildly varied double album, there's the celebrated Bembeya Jazz, mixing Latin and local styles in their joyful tributes to both the great guitarist Sekou Diabaté and the Guinean army. Then there's the griot Kouyate Sory Kandia with a reminder that Guinea was once part of the 13th-century Malian empire. And there's rolling, upbeat guitar and keyboard jazz from the Super Boiro Band, and even a track from South Africa's greatest female singer, Miriam Makeba. An intriguing compilation.

A 2CD overview of work from the years of Guinea's cultural revolution -- a time when the government sought to unify and direct the newly independent nation through a host of regional and national musical programs! Although potentially domineering, the rare effort was actually somewhat liberating - and allowed Guinean musicians to hit a whole new level of expression during this time - modes that weren't necessarily bound towards commercial aims, and which are filled with sophisticated rhythms, melodies, and horn passages that go far beyond some of their African contemporaries. There's many echoes of jazz amidst the tunes - and in a way, some of these numbers remind us of the more free-thinking moments in work by artists like Mulatu or Salah Ragab - especially in the way the horns interact. 2CD set features notes in both English and French - and a total of 25 tracks that include "Sassilon" by Horoya Band, "Armee Guineenne" by Bembeya Jazz National, "Tam
Tam Sax" by Momo Wandel, "Bele Bele" by Kade Diawara, "Koulandian" by Ensemble Instrumental De Guinee, "Kadia Blues" by Orchestre De La Paillote, "Diere Lele" by Bah Sadio, "N'Fa" by Virtuoses Diabate, "Massani Cisse" by Quintete Sextete, and "Andree" by Sily Authentic.

CD 1
01. Ensemble Instrumental de Guinée - Flute Parlante
02. African Virtuoses - Kankan Diarabi
03. Sory Kandia Kouyate - Souaressi
04. Bah Sadio - Diere Lele
05. Virtuoses Diabate - N'Fa
06. Bembeya Jazz National - Petit Sekou
07. Quintete Sextete - Massani Cisse
08. Miriam Makeba - Djiguinira
09. African Virtuoses - Wouloukoro
10. Ballets Africains - Nina
11. Momo Wandel - Tam Tam Sax
12. Kade Diawara - Bele Bele
13. Ensemble Instrumental de Guinée - Koulandian
14. Orchestre de la Paillote - Kadia Blues

CD 2
01. Bembeya Jazz National - Armee Guineenne
02. Keletigui - Maderi
03. Horoya Band - Sassilon
04. Super Boiro Band - So I Si Sa
05. Pivi et ses Balladins - Kogno Koura
06. Camayenne Sofas - Nanimbaly
07. Kalum Star - Lalaba
08. Orchestre de la Garde Republicaine - La Guinee Diara
09. Silly Authentic - Andree
10. 22 Band Kankan - Wousse
11. Balla et ses Balladins - Sara 70

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Ancient Chinese Music (1): Pictures of Primitive Men Hunting

Posted By MiOd On 12:15 PM 0 comments
Track Listings
--------------
1. Chu Shang: Song of the Chu Kingdom) - Hubei Chime Bells Orchestra
2. Clouds - Yin Weihe
3. Mourning Over Ying - Zhao Liangshan
4. Gods and Men Rejoice - Gong Gaoying; Li Gongqing; Ning Hanqiao; Tian Shichang; Wang Min
5. A Grieved Life in Changmen Palace - Li Xiangting; Zhao Liangshan
6. The Song of Chu - Zhao Liangshan
7. Mountain Spirit - Hubei Art Troupe Band
8. Wine Frolic - Yao Bingyan
9. Guangling Tune - Wu Wenguang
10. Pictures of Primitive Hunters - Zhan Yongming

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Djivan Gasparyan - From the Soil

Posted By MiOd On 7:13 AM 0 comments
When Djivan Gasparyan's music first came to the attention of westerners with the reissued masterpiece I Will No Longer Be Sad in This World on Brian Eno's Opel label in the 1980s, we heard a music so far out of time and space there was no reference for it, yet it immediately resonated deeply within the heart as a true expression of its deepest longings in flesh and spirit. Since that time, Gasparyan has issued a number of discs for various labels and collaborated with Peter Gabriel and Michel Brook. He dropped out of sight in the late '90s until Movses Panossian picked up the ball and began issuing his records again on the HMC label. From the Soil is the third. For fans of Gasparyan's doudouk, the 4,000-year-old music sounds as haunting and mournful as it probably did then. Gasparyan, other than recording in front of a microphone, has allowed no other production touches to adorn his music here; he is accompanied only by another doudouk playing a series of drone notes to add timbral space and dimension to his compositions, traditional songs, and improvisations. So constant is the "song" in his music and so deeply does it resonate within the listener that when the space between tracks appears, it feels almost like a fissure, a crack in time, space, and the material earth. This is truly music of the soil of Armenia and the sound of a tradition that somehow we are all part of being given back to us through this vibrating timbral tenderness that spans the external vistas of the continents and the internal landscapes of the soul.

1. Hovern Engan (The Winds Descended)
2. Vorsgan Akhper (Brother Hunter)
3. Hey Djan (Hey Soul)
4. Ashkharooms Akh Chim Kashi (In My World, I Have No Pain)
5. Madjkal (Plow)
6. Akh Im Pokrik Pourastan (Oh My Small Land of Scent)
7. Ov Tou Kousan (Oh You Balladeer)
8. Too en Klkhen (You're Wiser Than Another)
9. Dle Yaman (An Exclamation of Mourning)

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Michel Camilo - Spirit of the Moment

Posted By MiOd On 5:07 AM 0 comments
After 20 years of developing his chops as a trio player, pianist Michel Camilo took a few years off to do other things -- a solo album titled Solo and a lovely orchestral homage to George Gershwin were two results of that break. With Spirit of the Moment he returns to the trio format, and he sounds refreshed and happy to be back. As always, his style is powerfully energetic and at times ideas seem to be flying out from under his fingers almost more quickly than he can fully process them. But with the help of a crack rhythm team (drummer Dafnis Prieto and bassist Charles Flores), he manages to keep his feet on the ground and generate lots of inspiring moments. Notable among them are an all-too-brief rendition of the John Coltrane classic "Giant Steps" that sounds almost like "Flight of the Bumblebee," a lovely version of Wayne Shorter's "Nefertiti," and the aptly titled "Hurry Up and Wait," a jittery and edgy uptempo original with a Latin feel. Despite his obvious affinity for faster material, Camilo also shines on the ballads: he delivers sweetly lyrical renditions of "My Secret Place" and "A Place in Time," both of them originals.

Hailing from the Dominican Republic, pianist Michel Camilo's career spans three decades, two hemispheres and a range of jazz and classical styles. Since joining the Telarc label, he has crafted brilliant recordings in the trio, solo and orchestral settings. Each of them has captured the essence and spirit of this ever-evolving artist at various points along his creative journey.

Following up on the intimate 'Solo' in 2004 and the adventurous 'Rhapsody in Blue' in 2006, Camilo makes his triumphant return to the straightahead jazz trio setting with 'Spirit of the Moment'. With sympathetic backing from Cuban-born bassist Charles Flores and drummer Dafnis Prieto, the leaner, three-man configuration allows plenty of room for the fiery keyboard work that has become Camilo's trademark.

(01). Just Now
(02). My Secret Place
(03). Spirit of the Moment
(04). Repercussions
(05). Nefertiti - Michel Camilo, Shorter, Wayne
(06). Nardis - Michel Camilo, Davis, Miles
(07). Trilogy
(08). Giant Steps - Michel Camilo, Coltrane, John
(09). A Place in Time
(10). Hurry Up and Wait
(11). Liquid Crystal
(12). Solar (Explorations) - Michel Camilo, Davis, Miles

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Afro Cuban All Stars - Distinto , Diferente

Posted By MiOd On 2:44 AM 0 comments
Introduced into a completely different climate for Latin music compared to the Afro-Cuban All Stars' 1997 debut, Distinto Diferente undoubtedly benefits from the increased commercial and artistic attention given to Afro-Cuban music in the wake of the Buena Vista Social Club (which includes many of the same members). Leader Juan de Marcos González gave Distinto Diferente a similar angle to Buena Vista, but concentrates more on the hot dance music Cuba's been known for since its 1930s and '40s boom for American vacationers. The two best-known members of Buena Vista Social Club, Ibrahim Ferrer and Rubén González, also appear here. ~ Earl Simmons, All Music Guide

(01). Distinto, diferente
(02). Tumba palo cocuyé
(03). Tributo al Niٌo Rivera
(04). Reconciliaciَn
(05). Variaciones sobre un tema desconocido
(06). Al vaivén de mi carreta
(07). Gandinga, Mondongo Sandunga
(08). Huellas del pasado
(09). Warariansa
(10). Homanaje a Martha Valdés

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Ali Farka Toure - The Source

Posted By MiOd On 2:27 PM 0 comments

African guitarist Ali Farka Toure's previous releases were wonderful mixes of traditional language and rhythms being supported by contemporary concerns, instrumentalists, and producers. His most recent session features his working band backing Toure in a series of impassioned, animated tunes that are done in both his native tongue and English. The similarity between Toure's sparse playing and percussive writing and early blues songs has been noted. What also deserves mention is the cohesive qualities his band have and the way his electric and acoustic playing, with its light, frilly air, fills in the spaces underneath his vocals easily.

It is unfortunate that the early recordings by this brilliant Malian guitarist/singer/songwriter have been somewhat overshadowed by his better-known collaborations with Western artists (such as 1994's Grammy-winning, TALKING TIMBUKTU with Ry Cooder). This is not to say that Ali Farka Toure's more recent efforts aren't excellent, but rather that albums like THE SOURCE are so exceptional as to outshine even the best of his other work. Like his self-titled debut, THE SOURCE focuses on Toure's lucid, bluesy, guitar work and beautiful vocals (he sings in French and West African dialects) informed by work chants and Islamic melodies.

Many of the tracks, such as "Dofana" (a narrative that details community work in Niafunke, Toure's homeland) and the quietly mesmerizing "Inchana Massina," revolve around hypnotic guitar drones reminiscent of American blues music from the North Mississippi hills. Textures are heightened by Toure's double-tracked guitars (his fluid, electric leads are often anchored by a lock-rhythm acoustic) and the occasional colorings of a wood flute called a njarka. All of these elements combine to create an organic, indigenous music of almost overwhelmingly intense beauty. THE SOURCE is a superior work by one of Africa's finest and most original voices.Entertainment Weekly (7/30/93, p.58) - "...THE SOURCE can prompt gasps from listeners: [Ali Farka Toure's] voice and bubbling guitars make connections between American blues and African sources shiveringly clear..." - Rating: A-
Down Beat (Oct./93, p.45) - 4 Stars - Very Good - "...A stunning meld of American acoustic blues and gentle West African rhythms..."
Option (Nov.-Dec./92, p.149) - "...simply magical....A lovely and endearing album--Toure makes music like no one else..."
Musician (10/93, p.92) - "...Ali Farka's charm rests in how he connects the delta blues with some of its African antecedents....as peaceful and beautiful an album as you're likely to hear..."

[01]. Goye Kur
[02]. Inchana Massina
[03]. Roucky
[04]. Dofana
[05]. Karaw
[06]. Hawa Dolo
[07]. Cinquante Six
[08]. I Go Ka
[09]. Yenna
[10]. Mahini Me

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Music with Tibetan Singing Bowls - Crown Chakra

Posted By MiOd On 11:00 AM 0 comments
R.I.G. Music With Tibetan Singing Bowls Crown Chakra,2007

Style: New Age, Relax, Healing, Therapy, Bowls, Cuencos

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Budhaditya Mukherjee - Sitar

Posted By MiOd On 9:09 AM 0 comments
Budhaditya Mukherjee (b. 1955) is a Hindustani classical sitar and surbahar player of the Imdadkhani (Etawah) gharana (school).

He was taught by his father Bimalendu Mukherjee from the age of five, and started making a name for himself at a young age. In 1970, he won two national-level music competitions, and soon after was famously endorsed in glowing terms first by film maker Satyajit Ray and then South Indian veena player Balachander, who proclaimed him “sitar artist of the century”. In 1975, Budhaditya became a grade A artist with All India Radio (he was promoted to top grade in 1986). Since then, he has become an established sitarist, known for virtuosity, speed, and precision.

Mukherjee has toured the world extensively, giving concerts in over twenty-five countries, and from 1983 and 1995, respectively, taught from time to time at the Istituto Interculturale di Studi Musicali Comparati in Venice and the Rotterdam Conservatory. He has also recorded widely, and at the age of forty-seven, his discography included exactly forty-seven CDs, LPs, and cassettes. In 1995, he started recording on the surbahar (bass sitar).

His son, Bijoyaditya, was born in 1984, and started training with Bimalendu and Budhaditya at the age of five.

Budhaditya Mukherjee also holds a degree in metallurgical engineering.

1. Lalit
2. Sahana
3. Pilu

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Don Friedman - From A to Z. Piano Works VI

Posted By MiOd On 6:24 AM 0 comments
Don Friedman
From A to Z. Piano Works VI, 2006
This is the sixth volume of the label's Piano Works series, and is a worthy companion to stellar sets from Joachim Kühn (Volume 1) and George Grunz (Volume 2). From A to Z is Friedman's dedication to his close friend Attila Zola, the Hungarian guitarist who emigrated to the USA and whom Friedman first encountered in the Herbie Mann band in the 1960s.
Friedman has been a somewhat overlooked player, with the rise of Bill Evans taking attention from his playing - there was room for only one sophisticated, introspective pianist it seems - yet he has an exceptionally fine melodic sense ('When It's Time'), an excellent sense of subtle harmonisation and a sure, precise touch ('A Thousand Dreams'). A player who has performed with the likes of Dexter Gordon, Shorty Rogers, Buddy Collette, Chet Baker, Omette Coleman, Booker Little, Jimmy Giuffre and of course Zoller, with whom he led a quartet in the mid-1960s, Friedman has been there done that, and his classy playing here is a delight - a more rounded, statement than his solo Avenue of the Americas from 1979, and that's saying something. Just listen to his interpretation of Zoller's Alicia's Lullaby.' - Stuart Nicholson

Don Friedman is a pianist who can draw on a rich and extensive experience in a range of jazz styles. Born in 1935, he has been active since the 1950s, making his first recordings in 1955. He has since recorded and worked with a roll call of big names, names which serve to evidence his stylistic flexibility – the trumpeters include Ruby Braff, Bobby Hackett, Clark Terry and Don Cherry, while the saxophonists include Harold Ashby, Charles Lloyd, Eric Dolphy, Ornette Coleman and Jimmy Giuffre!
Listening to him play solo piano one is likely to think at times of both Bill Evans and Art Tatum, for his harmonic sense and his rippling runs and ornaments respectively; but, in truth, Friedman has the whole jazz tradition (and more than a little of the classical tradition) at his disposal.
Friedman dedicates this album to the memory of one of his most important musical associates, the Hungarian born guitarist Attila Zoller (1927-1998); the first four tunes here are compositions by Zoller and the CD closes with Friedman’s own ‘Blues for Attila’. Zoller was a subtle musician, whose improvisations were often rather oblique and understated, and something of those same qualities are evident in Friedman’s treatment of his compositions. ‘Meant to Be’ and ‘When It’s Time’ are handled rhapsodically, and ‘Alicia’s Lullaby’ gets a beautifully gentle reading. The closing blues doesn’t wear its heart on its sleeve – that isn’t Friedman’s way – but its sincerity is evident and it builds to a fitting monumental affirmation.
Elsewhere, Friedman’s treatment of Cole Porter’s ‘I Concentrate on You’ is an elaborate improvised structure which yet remains faithful to the spirit of its original amidst its elaborate counter melodies, and the whole performance has a winning tenderness. Friedman’s reading of Thelonious Monk’s ‘Ask Me Now’ displays an assured understanding of the way the tune works without ever settling for mere imitation as he commutes Monk’s composition to his own less angular idiom.
Friedman’s own originals are all well-constructed vehicles for his virtuosity as an improviser. On ‘Straight Ahead’ there is some excellent two-handed playing and ‘Free Flow’ is an attractively impressionistic piece. ‘Memory of Scotty’ (a musical tribute to one of Friedman’s other important friends and associates, the great double bass player Scott La Faro) opens in relatively simple elegiac fashion and builds to a more complex conclusion, without ever losing the original mood. The title track is full of elaborate runs and figures, the occasional unexpected harmony or percussive accent interrupting the flowing runs to striking effect.
This is not flashy or obviously spectacular piano playing, but it is intelligent, lyrical and full of feeling and is warmly recommended. - Glyn Pursglove

At a venerable 71 years old, California-born pianist Don Friedman still has his formidable technique firmly in place. He's playing with the attack of a young man—and the devil-may-care abandon of a mature artist wholly at ease with himself.
The subtitle From A To Z refers to Friedman's friend and collaborator, the Hungarian guitarist Attila Zoller (1927-98), to whose memory this album is dedicated. Friedman and Zoller first played together in Herbie Mann's band in the early 1960s, and by mid-decade they were leading their own West Coast-based quartet.
The reason why Friedman has waited eight years to record this memorial to Zoller is possibly explained by the performances themselves, which are passionate, vivid and unmistakably heartfelt. I suspect that Friedman had to let time do some of its healing before he immersed himself in such intense reminiscences of his friend.
The album starts with four Zoller compositions. The opening "Meant To Be" and "When It's Time," big ballads with dark corners, are followed by the jauntier "A Thousand Dreams," which in turn is followed by the tender "Alicia's Lullaby." Through the sequence you can feel Friedman first grieving, then remembering the good times, and finally letting go and saying goodbye. At least, that's how it seems to me. With the exception of Cole Porter's "I Concentrate On You" and Monk's "Ask Me Now," the other tunes are Friedman originals.
Friedman's harmonic sophistication is often compared to that of Bill Evans. He has a vigorous rococo keyboard style, full of candenzas and other flourishes—but these extravagances are never mere clutter. Every note means something. Always lyrical, his melodicism is set off by touches of dissonance, and he has the forceful physicality of some free players. He can be affectingly gentle, as on "Alicia's Lullaby" and his own "Memory Of Scotty," composed for another friend. And he lets in the sunlight too: "Ask Me Now" is given a wonderfully carefree reading, while "Blues For Attila" closes the album with a rollicking, cathartic stomp.
Though it's a memorial and it contains some sorrowful moments, Piano Works VI is a fundamentally joyful and cheering album, and one of rewarding depth. Probably the most completely satisfying release yet in ACT's ongoing solo recital series. - Chris May

01. Meant to Be - 05:12 (Attila Zoller)
02. When It's Time - 05:22 (Attila Zoller)
03. A Thousand Dreams - 04:05 (Attila Zoller)
04. Alicia's Lullaby - 05:34 (Attila Zoller)
05. I Concentrate On You - 05:39 (Cole Porter)
06. Free Flow - 05:03 (Don Friedman)
07. Memory of Scotty - 06:08 (Don Friedman)
08. From A To Z - 04:39 (Don Friedman)
09. Ask Me Now - 05:42 (Thelonious Monk)
10. Straight Ahead - 03:28 (Don Friedman)
11. Blues For Attila - 03:02 (Don Friedman)

Don Friedman - piano

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Archie Shepp - Steam

Posted By MiOd On 5:48 AM 0 comments
Archie Shepp
Steam, 2007
Born in 1937 in Fort Lauderdale, Florida and raised in Philadelphia, Archie Shepp studied drama before turning to music professionally. In the sixties he worked with Cecil Taylor, John Coltrane, Don Cherry and other avantgarde leaders and soon became one of the most important figures in the black New Thing movement. From the seventies to the early 2000s he was a professor in the African-American Studies department at University of Massachusetts, Amherst, where he taught both music and music history. The live album "Steam" is among the best and liveliest documents of his career showing his saxophonistic power and improvisational authority. "My sound has never been recorded better," says the artist. British Hifi News & Record Review reads: "A glorious unrolling of bluesy confessions and romantic sighs." American Down Beat called the album "pre-eminent, a super recording" and gave it 4 stars.

1. A Message From Trane 18:58
2. Solitude 11:40
3. Invitation 14:29
4. Ah-Leu-Cha 08:06
5. Steam 09:23
6. 52nd Street Theme 00:57

Archie Shepp - tenor sax, piano
Cameron Brown - bass
Beaver Harris - drums

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René Lacaille - Mapou

Posted By MiOd On 5:05 AM 0 comments
René Lacaille
Mapou, 2004
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Music fans will have to read the informative liner notes to Rene Lacaille's Mapou to get a detailed explanation of how Creole culture came to La Reunion, which is a small island in the middle of the Indian Ocean. Like Creoles everywhere, the La Reunion's culture is a mixed one: in this case made up of slaves and free people from Africa, India, Madagascar, Europe and China. Son of a working musician who played events of all kinds on the island, Lacaille has broad range of styles at his disposal. The album opens with an African-influenced "Madina" (featuring ukulele, triangle, and bongos) and moves through a very fulfilling but varied 20-song program where elements of tango, bolero, cha cha cha and calypso come out in such local strains as sega and maloya. Singing in Creole, Lacaille's voice is warm and inviting even to those who don't speak the language. A veritable inside-out version of western hemisphere Creole music, Mapou is a one-of-a-kind listening
experience. – Tad Hendrickson

René Lacaille is the musical embodiment of the unique Creole culture of the Indian Ocean island of La Réunion, incorporating African, Indian, Madagascan and European rhythms and instruments. On the album Mapou, this remarkable singer, accordion player, guitarist and extraordinary songster tells the story of his troubadour life, which highlights the evolution of the music of La Réunion and features (among others) the fascinating styles of séga and maloya.

Born in 1946, René Lacaille is the master of the spicy séga rhythms of l'Île de la Réunion, a volcanic island paradise located deep in the southwestern Indian Ocean. The embodiment of la Réunion's vitality, René is a man steeped in his culture's celebration of life and good times. As early as age 7, he learned how to command a party when he accompanied his father to perform at weddings and dances throughout the island's many towns. This was rigorous training, because the musicians had to be versatile and capable of playing the Paso Doble, cha-cha, polka, waltz, bolero, Creole quadrille, Sega, and Maloya. René's talent and curiosity led him to master the bongos, drums, accordion, guitar, and saxophone. The countless nights that Rene spent playing professionally, combined with new music arriving from other shores, provided a variety of influences for him, and his own compositions would soon be informed by flamenco, salsa, twist, rock, jazz, and fusion.

In his 20s, Rene abandoned the accordion for the guitar, and formed the now-legendary group Caméléon, who were the first to invent electric Maloya, blending traditional Réunion music with modern western timbres. Rene's "Sax Séga" would prove to be a hit with the francophone market, and is still featured on flights by Air France. In 1979, René moved to France and continued his musical interests in jazz and fusion. In his 1996 release ASTER, Rene draws on all of his preferred influences.

Soon after, he had a deeply moving musical encounter with the roots Réunion artist Danyél Waro, which re-kindled his interest in the accordion and Réunion musical traditions, thereby changing the direction of his musical life. To mark the reunion that René enjoyed with the accordion and the hot séga and maloya rhythms of his homeland, René recorded PATAMPO with Danyel Waro and with Rene's percussionists Joel Gonthier and Bernard Marka, who have played with Rene for over ten years. Since meeting Bob Brozman in 1999, René has toured with him in Europe, South Africa, and Canada. René continues to compose new music at an astounding rate.

In 2002, Rene and Bob released DIGDIG (meaning "tickles") with World Music Network. It became an international hit, reaching #3 in Europe’s World Music charts. René and Bob have toured extensively and repeatedly throughout Europe, Canada, east Africa, and in 2005 they will be touring for the first time in Australia, for a month (March/April). René's talents continue to usher him into new countries each year, helping to span his reach from Europe and Africa to Canada, Brazil, China, and the USA. Rene’s second album for World Music Network, MAPOU, has just been released (2004) to great acclaim.

01. Madina
02. Ogardanou
03. La bou dan fon
04. Lusaka
05. Game zoboc
06. Isis
07. La mandoz
08. Atmosfer
09. Kizi'n man
10. Mazurka 28
11. Dalonaz
12. Titep
13. Pêcheur quat'sou
14. Séga 58
15. Zamalgamèr
16. La rosée si feuilles songes
17. Cabaret Sam
18. Quand moin la quitte mon pays
19. Lo kér i bat
20. Cos coté

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Vilayat Khan - Raga Hameer

Posted By MiOd On 4:32 AM 0 comments
Vilayat Khan
Raga Hameer. Live at the Royal Festival Hall,1994
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Track Listings
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1. Raga Hamir - Alap, Jor 37:46
2. Raga Hamir - Madhyalaya Bandish in Tintal 29:44

Vilayat Khan - sitar
Sabir Khan - tabla

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La Route de la Soie

Posted By MiOd On 3:47 AM 0 comments
La Route de la Soie,2007
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Track Listings
--------------
(01). Sükrü Tunar - Karsilama
(02). Udi Hrant - Hussam Taskim
(03). Chemiranis - Agar Tche
(04). D. Nurpeisova - Ashkelem
(05). Matlubeh - Kouche Lar
(06). S. Yarashev & Imam Khodzahaev - Ey Pari
(07). Jaipur Kava Brass Band - Sehraa
(08). Dhrubesh Chandra Regmi & Nat Hommath Upadhyaya - Raja Lakshan
(09). Gandarbha Kalakendra - Tenzing
(10). Prof. Yau Hok Chau - Yu Ta Pa Chiao

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African Virtuoses - Instrumental

Posted By MiOd On 3:12 AM 0 comments
African Virtuoses
Instrumental
Bolibana Productions BIP 156, 1998

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The album features tight arrangements of traditional Guinean jali (griot) songs, which show strong Spanish and Latin American influences while preserving traditional Guinean aesthetics. The band includes guitar virtuoso Abdoulaye Diabate, from Guinea's premier guitar-playing family, on lead guitar, accompanied by his brother, Sekou Diabate on bass guitar, Honomou Jerome Claver on guitar, Sekou Kouyate on kora and guitar, and Fassou Habass and Pierre Houon on percussion.

1. Nanibali
2. Kankan diarabi
3. Wouloukoro
4. Toubaka
5. Dembati Galant
6. Hafia
7. Madame Nana
8. Balade sur la lagune

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Lalgudi G. Jayaraman - Singing Violins

Posted By MiOd On 2:41 AM 0 comments
Lalgudi Jayaraman
Most famous for his thillanas and varnams, Sri Lalgudi Jayaraman is a considered one of the most prolific composers of modern times. His compositions span four languages ( Tamil, Telugu, Kannada and Sanskrit), as well as a whole range of ragas not conventionally used for varnams or thillanas. Characteristic of his style, the melody of his compositions camouflages subtle rhythmic intricacies. His compositions are very popular with Bharathanatyam dancers, even as they have become a standard highlight of every leading Carnatic musician's repertoire.

1. Brova Bhaaramaa
2. Dhunmaargachaaru
3. Sadamadhimdhalatu
4. Aalaapana (Ragam)
5. Nannu Paalimpa Natachi Ochitivo...
6. Bhajare Yadunaatham
7. Tillana

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Russian Gypsy Soul

Posted By MiOd On 4:33 PM 0 comments
These two CDs present a sparkling selection of the kind of Gypsy music which has made such a profound impact on Russia's popular music for several centuries. There are eloquent examples here of the four major regional styles of Russian gypsy music, from the Far East though the Siberian nomads to the southern peoples of the Russian Empire. There are also occasional echoes from other countries, principally from Eastern Europe but ranging as far west as Ireland. Most striking to American jazz fans will be the clear genesis of Djanko Reinhardt's Hot Club of France with its characteristic virtuousic guitar and violin solos against a backgroud of insistent guitar rhythm, such as with the Loyko ensemble. Reinhardt, who has been called the first great European jazz musician, was a Belgian but intensely proud of his gypsy heritage. Larger groups of frentic singers and instrumentalists leave the listener with the feeling of taking part in one of the orgiastic scenes of revelry in the Brothers Karamazov. Some listeners may find the irrational exuberence of a few of the singers too much a a good thing but even such soloists convey an authentic oral picture of an enduring aspect of Mother Russia.

Disc: 1
01. Loyko - Loyko
02. Bog Nikola Ne Dopusit, Sberezh - Nadia/Alena/Victor Busilyov/Siberian Gypsies
03. Shuryaki - Esmeralda/Galina Erdenko/Jelem
04. Matyshka Rossya - Mitya Busilyov/Siberian Gypsies
05. Martovsky Horovod - V. Popaduk/Romance Theatre
06. Yegorushka - Ilo
07. Bogu Pomolitsya - Victor Busilyov/Siberian Gypsies
08. Pavlina Kryla - Lilya Shishkova/Rosy Na Snegu
09. Holodny Veter - Loyko
10. Gulya - Esmeralda/Luba Erdenko/Jelem
11. Snova Slyshu - Valentina Ponomareva/Trio Romen
12. Ay Romale - Arbat
13. Solnyshko - Lilya Erdenko
14. Marjanja - Esmeralda Erdenko/Jelem
15. Vengerka - Kolpakov Trio
16. Otoydi Ne Glyadi - Zhana Karpenko/Moesey Oglu/Romance Theatre
17. Molyarkitsa - Lilya Shishkova/Rosy Na Snegu
18. Gypsy Romance - Kak Tsvetok Dushisty
19. Poppouri - Ilo

Disc: 2
01. Loyko - Molyarkitsa
02. Dadoro - Victor Busilyov/Syberian Gypsies
03. Sare Patrya - Galina Erdenko/Jelem
04. Miteletsa - Ilo
05. Maestro Menuhin - Sergei Erdenko
06. Probil Vanyka Lion/Propil - Alena Busilyova/Siberian Gypsies
07. Tsiganskaya Ulitsa - Loyko
08. Ne Uezzhay Ti Moy Golubchik - Rosa Erdenko/Jung
09. Na Dvore Moroz - Lena Golovkina/Sasha Shishkov/Rosy Na Snegu
10. Ivushki - Mila/Zhana Krikunova/Romance Theatre
11. V Aleyah Zaglohshevo Sada - Nikolai Erdenko/Jung
12. Nane Tsoha - Lilya Limanskaya
13. Zhil Starik Bogatyi - Angela Busilyova/Siberian Gypsies
14. Lumba - Lilya Limanskaya/Zemphira Verbitskaya/Rosy Na Snegu
15. Ti Dusha Moya Kosolapaya - Ilo
16. Starushka - Kolpakov Trio
17. Ah Na Posledok Ya Skazhu - Valentina Ponomareva
18. Moldova - Loyko

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U Tin Htoo & Ensemble - Hsaing-Waing of Myanmar

Posted By MiOd On 2:00 PM 0 comments
U Tin Htoo & Ensemble
Hsaing-Waing of Myanmar, 1992
Track Listings
--------------
01. Salutation Overture
02. Five Fundamental Kinds Of Instruments
03. Panama Tune
04. Improvisation (Hne, Pat-Waing, Si & Wa)
05. La-Sanda
06. Improvisation (Palwe)
07. Wa-Than-Kha-Mhi
08. In Praise Of The King
09. I Shall Have My Beloved Side On A Horse Under The Moonlight
10. To-Bwe-Yodaya (Male Voice)
11. To-Bwe-Yodaya (Female Voice)
12. A Song To Call Back My Beloved
13. In Summer The Snow Melts Away
14. Loving For Snow
15. Tei-Tat
16. Improvisation (Saung)
17. Many Ethnic Groups In Myanmar Shall Be Friend
Alt text

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Afro-Cuban All Stars Present Felix Baloy - Baila mi son

Posted By MiOd On 3:36 AM 0 comments
Rich and rhythmic, sparkling and seductive, Felix Baloy's voice marks him as one of Cuba's very finest someros. This magnificent performance showcases a true artist at the peak of his profession, backed by the thrilling arrangements of Juan de Marcos and the peerless Afro Cuban All Stars.

Rich and rhythmic, sparkling and seductive, Felix Baloy's voice marks him as one of Cuba's very finest someros. This magnificent performance showcases a true artist at the peak of his profession, backed by the thrilling arrangements of Juan de Marcos and the peerless Afro Cuban All Stars.

[01]. Baila mi son
[02]. Mami Te Gusto
[03]. Yo Soy el del Sentimiento
[04]. Despues de Esta Noche
[05]. Mal de la Hipocresia
[06]. Ven a Bailar Cha Cha Cha
[07]. Cada Vez Que Te Veo
[08]. Lo Es Todo Tu Amor
[09]. Son de Baloy
[10]. Misericordia, ¡No Aguanto!

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The Ngqoko Women's Ensemble - Xhosa Women's Songs

Posted By MiOd On 1:30 AM 0 comments
The Ngqoko Women's Ensemble
Xhosa Women's Songs
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Track Listings
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01. Nondel' Ekhaya (1)
02. iNxanxadi
03. iRobhane
04. Nondel' Ekhaya (2)
05. Nontyolo
06. iKomani
07. Ngqishani, Ndabaleka
08. Inxembula
09. Ingudluma
10. Masiwele
11. uNonkolonga
12. Sokubendiphinde
13. Nozolile
14. Nondel' Ekhaya (3)
15. Nomkangaye
16. uNonyangela
17. Sendigoduka
18. iThamsanqa
19. uSomagwaza
20. uMagungqel'indawo (1)
21. Nguwe L'udal'inyakanyaka
22. uMagungqel'indawo (2)
23. uYise Ka Thobeka
24. imBongi
25. Wavel' uSontonjane
26. uNongabe

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Ali Farka Toure - Niafunke

Posted By MiOd On 12:35 AM 0 comments
The extraordinarily talented Malian guitarist and singer-songwriter Ali Farka Toure will probably have come to the attention of most western music lovers through his 1994 release Talking Timbuktu, which featured Ry Cooder. Since that time he has stayed almost exclusively in Mali, working on his farm. He felt that touring and working abroad were undermining the bond with his homeland and the productive work which were central to both his happiness and artistic creativity. Thus Niafunke--the name of his village--was recorded on site using only friends and local musicians. The sound is generally more stripped down than Talking Timbuktu, but Ali Farka Toure's gorgeously ornate yet flowing guitar style still guides you every step of the way and the extraordinary space and texture of the music is still as overwhelming as ever. The difference lies deeper--as he himself says, "this record is more real, more authentic". Both albums have soul, but this one required no translation of musical forms or explanations--it speaks pure and straight from the heart of all the musicians involved. --James Swift

Ali Farka Toure is a guitarist from Mali whose style draws almost equally upon the folk music of his homeland and American blues, particularly the dark and minimal repetitive-trance style of John Lee Hooker and acoustic country blues guitarists such as Mississippi John Hurt. In the past, his (uniformly fine) albums have featured guest shots and collaborations with Ry Cooder and members of the Irish trad-folk group the Chieftans, but here it's back to the roots.
Recorded in a Toure's home village in Mali, with a small group of singers and players, NIAFUNKE is delightfully low-key and captivating. Beautifully picked acoustic guitar combines with shimmering electric guitar percussion, voices, and violin to weave the spacious, circular melodies that explore the common ground shared by the blues and African folk music. "Tulumba" glimmers like a desert mirage, and "Pieter Botha" sounds like a Delta blues tune played by a wandering musician while travelling through Spain and England in the Middle Ages.

(01). Ali's Here
(02). Allah Uya
(03). Mali Dje
(04). Saukare
(05). Hilly Yoro
(06). Tulumba
(07). Instrumental
(08). Asco
(09). Jangali Famata
(10). Howkouna.
(11). Cousins
(12). Pieter Botha

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