Ravi Shankar's Music Festival From India & Chappaqua

Ravi Shankar's Music Festival From India
Dark Horse Records SP 22007, 1976

Track Listings
--------------
1. Vandana
2. Dhamar
3. Taranga
4. Chaturang
5. Raga Jait
6. Kajri
7. Bhajan
8. Naderdani
9. Dehati

Kamalesh Maitra - sarod, mandal, tabla tarang, duggi tarang, ektara Satyadev Pawar - violin Harihar Rao - kartal, manjira, dholak, vocals, gulgubi Vijji Sjankar - vocals, tanpura Lakshmi Shankar - vocals, swaramandal Kamala - vocals, tanpura T.V. Gopalakrishnan - mridangam, khanjira, vocals L. Subramaniam - violin Kartick Kumar - sitar Gopal Keeshan Veenkar - vichitra vina, vocals Anantlal - shanai Rijram Desai - pakhavaj, nal, nagada, madal tarang, huduk, duff Alla Rakha - tabla Shivkumar Sharma - santur, kanun, vocals Hariprasad Chaurasia - flutes Sultan Khan - sarangi Ravi Shankar - composer, conductor, arrangement

Ravi Shankar - Chappaqua (OST)

Track Listings
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10. Chappaqua
11. Running Deer
12. Allah Rocking
13. Om
14. Raga Miniature
15. Back To Earth
16. Raga
17. Sweet Russell
18. Orgy

320 kbps - sorry, no scans available

HERE

Music of Bakthiari

Track Listings
--------------
Maqâm-e Gâhgeryu
Shir-Ali Mardân ; Golom Golom
Sarkuhi
Lachak Riâli ; Barzegari ; Lachak Riâli
Pishnavâzi ; Huri Huri
Cheshme-ye Kuhrang = Kuhrang Fountain ; Saharnâz
Chub-Bâzi ; Ney-e Chupâni ; Chub-Bâzi
Pishnavâzi ; Golomi, Hây Gol
Gâhgeryu
Jasn-e Noruzi
Maqâm-e Bidguni ; Golnâz-e Jahrom ; Forud.

Chiefly vocal folk music; tracks 4, 7 and 10 are only instrumental.
Collected by Ḥamīd Riz̤ā Ardalān.

Performer(s): Ali-Akbar Mehdipur, sornâ, karnâ ; Ali Heydari, dohol, tombak ; Ramezân Bâruzeh, Narimân Fâzeli, vocals.

320 kbps including full scans

HERE

Kamalesh Maitra - Raag Symphonia

Kamalesh Maitra
Raag Symphonia Werkstatt der Kulturen, 2003

Ensemble United Berlin, dir. Jobst Liebrecht All compositions by Kamalesh Maitra, transcribed and set for orchestra by Gernot Reetz (1,2,4,5) and Friedemann Graef (3,6).

1. Bashana
2. Udashi
3. Mohan
4. Aadhar Aalo
5. Swasti
6. Kalyanee

320 kbps including full scans

HERE

Vishwa Mohan Bhatt - Guitar a la Hindustan

A lovely recording consisting of a gat or composition in rhythm in the night raga "Tilak Kamod," "Raga Kaunsi Kanhra, " "Chandrakauns" and "Mishra Pilu." If, as a newcomer, you want to backtrack into familiar territory from Meeting by the River this is the place to start. Or seek out Gathering Rain Clouds. - Ken Hunt.

1. Raga Kaunsi Kanhra - Alap, Jod, Jhala & Gat In Teentaal
2. Raga Tilak Kamod - Gat In Deep Chandi Taal
3. Raga Chandrakauns - Alap & Gat In Teentaal
4. Raga Mishra Pilu - Dhun In Roopaktaal

Pandit Vishwa Mohan Bhatt
Accompaniment: Ustad Sabir Khan (Tabla)

Flac tracks (EAC Rip): 390 MB | MP3 - 320 kbs: 180 MB | Scans

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Ostâd Ahmad Ebâdi: Improvisations

Ostâd Ahmad Ebâdi: Improvisations (2 CD)
Mahoor Institute, Iran
Persian Classical Music

“Late Ostâd Ahmad Ebâdi (b. 1907) was the last child of Mirzâ Abdollâh. He was only seven years when his father died. His elder sisters and brother had gone under the tutelage of father, and learned târ and setâr. The brother died in his youth and Ahmad learned setâr by the aid his sisters and became a prominent musician by 18. His style in setâr was unique. Solo and ensemble performances of him in radio programs (esp. Golhâ) are among his greatest survived legacy and will certainly remain in the memory of music-lovers. Shahnavâz is his last contribution to the art of improvisation. He died in Tehran in 1992, and by this the last member of the "Art Family" (Family of آqâ Ali-Akbar) went away.

A Quotation from Ostâd Ebâdi

"...Improvisation is my principal achievement in music; By improvising I transfer my instant spiritual quality or mood to the listener. This transfer delays until a certain 'sense of performance' comes about which in turn depends on the mood of the musician. I am not like a record player to deliver music always in the same shape or mood" (Quoted from: Rudaki, no. 51. 1975).

320 kbps including full scans

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Jalal Zolfonoun - Pearl Beads

Jalal Zolfonun (sometimes spelt or pronounced Jalal Zoufonoun, Persian: ???? ???????? , born 1937 in Abadeh, Fars, Iran) is a master of the setar, as well a composer and teacher of Persian music. He received his earliest musical training from his father, Habib Zoufonoun, and his older brother, Mahmoud Zoufonoun on the tar.

At the age of 13, Zolfonun enrolled the National School for Iranian Music to study musical theory, composition and technique under Ruhollah Khaleghi and Musa Khan Maroufi. While he immediately fell in love with setar, the instrument was not taken seriously in those times. He instead decided to study the tar, while also learning the violin from his brother Mahmoud Zoufonoun.

In 1967, Jalal Zolfonun was accepted into the faculty of the Fine Arts department of Tehran University, where he would further study the setar with Master Noor Ali Boroumand and Daryoush Saffat.

From then on, he dedicated himself to the delicate instrument. He began combining the techniques of the older masters of setar with his own ingenuity and mystic sensitivity. And for the first time, Jalal Zolfonun introduced an ensemble of only setar players, creating the best selling album of traditional Persian music, Golehsadbarg (which means, "100 petal flower").

At the same time, Jalal also composed for the setar in mind and would prove one of the most expressive, while technically virtuosic players of the instrument. Perhaps most notable of Jalal Zolfonun's contributions to this music is that he showed for the first time the power and versatility of the setar as an ensemble and solo instrument that could fully express the nuances of Traditional Persian music in any setting. In fact, since Golehsadbarg's success, the setar evolved from the least to the most popular instrument in Iran.

Following the success of Golesadbarg, Jalal Zolfonun continues to record a number of other albums on which he is featured as lead soloist, composer and/or ensemble player with a number of well-known singers and musicians with whom he has also toured worldwide.

Zolfonun has also written a seminal book on "Setar Playing / Teaching Method". He lives in Iran, but tours outside in Europe, the US, Canada and Japan with his son, Soheil, and other musicians.

320 kbps including full scans

HERE

Dakshina Mohan Tagore - Music for Meditation (Raga Yaman)

Dakshina Mohan Tagore ‎–
Music For Meditation -
Indian Classical Music -
Raga Yaman - Evening Raga

Track Listings
--------------
Raga Yaman
1. Alap
2. Gat, Vilambit Tintal
3. Gat, Drut Tintal

Dakshina Mohan Tagore - dilruba
Sapal K. Jijina - tabla
Iqbat Hussain Khan - tabla
A. Mayekar - swarmandal

320 kbps including booklet scans

HERE

Omar Metioui - Obras Maestras Del Canto Andalusi

Obras Maestras del Canto Andalusí / Masterpieces of Andalusí Chant
Ibn Sahl de Sevilla 1212-1251
Omar Metioui

Contents:

Ibn Sahl de Sevilla 1212-1251:

Tab' r-Rásd

1. Inshád: Laqad Kuntu Aryú (I hoped you would grant me your favors)
2. Tajlíl Basít: Dá'ú l-Hawá (The disease of passion)

Tab' s-Síka

3. Inshád: Yamínan Bi-díní (I swear, by my faith)
4. Tajlíl Basít: Yá Sáliba l-'Aqli (Oh you who steal my heart)
5. Muwwál: Lammá Ra'á-ní (When my beloved sees me)

Tab' Rasd d-Dayl

6. Inshád: Adhúqu l-Háwá (I taste the flavour of passion)
7. Tajlíl Basít: Sal Fí dh-Dhalám (When night arrives)
8. Muwwál: Qalbu l-Mu'anná (With your image in dreams)

Tab' al-Hiyáz al-Kabír

Anon., al-Há'ik's songbook, ca 1800:
9. Inshád: Y'a Burayqa l-Gawri (O fleeting strokeof lightning)
Ibn Sahl de Sevilla 1212-1251:
10. Tajlíl Basít: Hal Tashtafi (They are gleesome on hearing of my despair)
11. Muwwál: Danifun Qada (I am seriously taken ill)

Tab' 'Iráq al-'Ayam

12. San'a: Al-Ardu Qad Labisat (The earth is garbed in a mantle of green)

Performers:
Saad Temsamani (chant), Hasan Ajyar (chant), Abdeslam Sefiani (chant), Omar Metioui ('ud (lute)), Ahmed Al Gazi (darbuga, rabab), Eduardo Paniagua (darbuga)

Flac (EAC Rip): 350 MB | MP3 - 320 kbs: 190 MB | Booklet Scans

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Soul Of Classical Music

Track Listings
--------------
[01].Moderato
[02].Waltz
[03].Scherzo
[04].Larghetto
[05].Mosso Allegro
[06].Allegro
[07].Romance
[08].Menance
[09].Rondo
[10].Moon Night And River In Spring (Chinese Classical music)
[11].Moto Perpetuo

| MP3 VBR kbps | Covers | 80 MB | 2007 |

HERE

Ali Akbar Khan - Peerless

Fantastic performances and excellent sound quality.

Ali Akbar Khan is an unquestioned master of the sarod, and he demonstrates his mastery of both the instrument and the Indian classical form on "Raga Madhuvatni," a piece that demands a great maturity from the performer. His alaap develops beautifully but in a straightforward manner, with an innate logic but absolute beauty before moving into the jor and jhala. But it's in the epic movement of "Gat in Slow Teentaal" that his artistry becomes marvelously transparent, letting the raga breathe, and making the music transparent with some playing that seems little short of inspired. Kudos too to the accompaniment from Swapan Choudhuri on tablas, who seems to share a telepathic communication with the master, and takes advantage of his short times at the center of the sound. For those not attuned to it, Indian classical music can be very difficult -- there's no doubt about that -- but albums like this, gorgeous and expansive, are the way to make converts. A masterpiece.

1. Raga Madhuvanti - Alap, Jor, & Jhala
2. Raga Madhuvanti - Gat in vilambit teentaal
3. Raga Madhuvanti - Gat In Dhrut Teental

Flac (EAC Rip): 250 MB | MP3 - 320 kbs: 110 MB | Front Cover

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Six Songs from the Qajâr Period

Pourjavady, Kamjoo, Arabifard, Ansari
Six Songs from the Qajâr Period
Mahoor Institute of Culture and Art

Track Listings
--------------
01. Chahârmezrâb
02. Darâmad and Zâbol
03. Darâmad and Zâbol
04. Tasnif (Negârâ)
05. Zâbol and Hesâr
06. Zâbol and Hesâr
07. Tasnif (Botâ Botâ)
08. Hozân, Mokhâlef and Mansuri
09. Hozân, Mokhâlef and Mansuri
10. Hozân, Mokhâlef and Mansuri
11. Tasnif (Az Delam Bikha
12. Reng
13. Chahârmezrâb
14. Darâmad and Jâmedarân
15. Darâmad and Jâmedarân
16. Tasnif (Tâ be Zolf-e Khish)
17. Bayât-e Râje' and Suz-o Godâz
18. Bayât-e Râje' and Suz-o Godâz
19. Tasnif (Nâdide Rokhat)
20. Owj and Busalik
21. Owj and Busalik
22. Tasnif (Behesht-e 'Adn)
23. Reng

Amir Hosein Pourjavady, setar
Saeed Kamjoo, Kamanche
Mehrdad Arabifard, tombak
Khosro Ansari, vocals

320 kbps including full scans

HERE

JEAN-PIERRE BOYER CLAIRE FONTAINE - ILE DE LA REUNION

Claire Fontaine & Jean-Pierre Boyer
Ile de la Réunion, 2004

Reunion Island is a volcanic island east of Madagascar in the southern Indian Ocean. A virtual
secret to the non-francophone world, it possesses one of the world's richest cultural and musical mixes – a volcanic, passionate, joyous, sexy and rhythmic lifestyle. Réunion Island is the home of sega, a unique style of music that contains some of the world's most soulful sounds. Sega evokes the same feelings as the blues, reflecting the absorption of French musette harmonies with a hint of jazz influence. Claire Fontaine and Jean-Pierre Boyer: two names that are synonymous with the great period of sega. All their great hits have been brought together on this album, which will bring back fond memories for all those who already know and love Réunion and will introduce those who don't to the sincerity and authenticity of the creole spirit.

(01). Jean-Pierre Boyer - Tit'fleur Fanée, Tit'fleur Aimée
(02). Claire Fontaine - Cyclone
(03). Jean-Pierre Boyer - Rivière Tanier
(04). Claire Fontaine - Dans Bazar Saint d'Nis (Medley)
(05). Jean-Pierre Boyer - Laisse Pas Tomber Sega Maloya
(06). Claire Fontaine - Flamboyants
(07). Jean-Pierre Boyer - Je Viens d'Une Ile
(08). Claire Fontaine - Couleur Locale
(09). Jean-Pierre Boyer - Perde Pas la Main
(10). Claire Fontaine - P'tit Jean
(11). Jean-Pierre Boyer - Reunion Comela
(12). Claire Fontaine - Doudou (Medley)
(13). Jean-Pierre Boyer - Z'ot Marmaille
(14). Claire Fontaine - Saison Hortensia
(15). Jean-Pierre Boyer - Piton la Fournaise
(16). Claire Fontaine - Tit'fleur Fanée, Tit'fleur Aimée

320 kbps including full scans

HERE

Lakshmi Shankar - Live in London (Vol.1)

Allow an old man his moment.... This concert at the Kufa Gallery in September 1992 was magical and having a permanent memento was a dream come true. One of the finest voices in Indian classical music captured in action transporting a rapt audience

1. Raga Madhukauns - Ektaal and Teentaal
2. Thumri - Raga Mishra Kafi - Deepchandi (Saiyan na mane more baat)
3. Bhajan - Kripaludas 4 beats (Pathik tum itna kahio jaye)

Flac tracks (EAC Rip): 300 MB | MP3 - 320 kbs: 170 MB | Front Cover

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Farid Farjad - An Ruzha (Thoses Days)

Farid Farjad : An Ruzha (Thoses Days) (1989)
Iranian Music (Instrumental : Violin & Piano)

When Nostalgic oriental melodies are played on Western Instruments

Farid Farjad was born in Tehran in 1938. Upon receiving his masters degree in classical music from the Tehran Music Conservatory in 1966, he won the “First Violin Seat” in the Tehran Symphony Orchestra and was appointed to serve a tenure at the conservatory to teach classical violin.

Farid’s profound knowledge of Persian folk music and his gifted ability to draw on the highly advanced techniques of Western classical music has given life to an innovative style of violin performance in playing Persian music.

In “An Roozha” albums, Farid, with his unique style, has recreated melodies which are reminiscent of sweet memories of the past.

Personal : The album conains 12 tracks of very known (and sometime very nice) iranian melodies. Although this is a CD I own, it has no extra informations and I could not find more on the Internet. So dont hesitate to comment if you know more about the artist and the album.

320 kbps including full scans

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Música para Flauta y guitarra

Música para Flauta y guitarra..(Music for Flute and Guitar) María Esther Guzmán (Guitar), Luis Orden (Flute)

María Esther Guzmán was born in Seville. At the age of 11 she achieved the First Guitar Prize of RTVE. She studied at the ¿Conservatorio Superior de Música¿ in Seville. She finished in 1985 and was recognized by her school with the prize to the best student. She perfected her technique with Abel Carlevaro, Leo Brouwer, Alirio Diaz and David Russell, among others. She has obtained six prizes in different national competitions and three in international events. She was also awarded with the prize ¿Andalucía Joven de Música¿ in 1994. She is a constant traveler, performing both as a soloist and with orchestras on the stages of major concert halls in Europe, Asia, and America.

Luis Orden made his studies of flauta travesera in the Conservatory of Music of Seville, obtaining the Prize of Honor of Elementary and Professional Degree, Honorary Mention in Superior Degree and Prize of Honor in Music of Camera.

Sonatina Opus 205 (Mario Castelnuovo-Tedesco)
[01]. Allegretto gracioso
[02]. Tempo di siciliana
[03]. Allegretto con spirito

Mountain songs (Robert Beaser)
[04]. Barbara Allen
[05]. The house carpenter
[06]. He's gone away
[07]. Hush you bye
[08]. Cindy
[09]. The cuckoo (piccolo)
[10]. Fair and tender ladies
[11]. Quicksilver

Introduccion y toccata (Eduardo Morales Caso)
[12]. Introducción y toccata

Tango catalá (Joan Albert Amargós)
[13]. Tango catalá

Historia del Tango (Astor Piazzolla)
[14]. Bordel 1900
[15]. Café 1930
[16]. Nightclub 1960
[17]. Concert d'aujourd'hui

| MP3 256 Kbps | Incl. Covers | 120 MB |

HERE

Maroc : Musique Arabo-Andalouse

Cheikh Salah,Maroc:
Musique Arabo-Andalouse, 1991

Dans le chant-plaint arabo-andalou, cette interprétation est un délice qui fait fondre par sa sobriété dans les harmonies et ses merveilleuses subtilités mélodieuses. Le phrasé en langue arabe est fin, "beldi" et irréprochable. J'ai écouté cet enregistrement pour la première fois sur cassette il y a plus de 15 ans. Je l'écoute encore avec le même émerveillement. Trois autres chansons du même groupe sont disponibles sur un autre CD et c'est sublime.

Complained in song-Arab-Andalusian, this interpretation is a delicacy that melts in its simplicity and its wonderful harmonies melodic subtleties. Phrasing in Arabic is fine, "Beldi" and irreproachable. I listened to this record for the first time on cassette there are more than 15 years. I listen again with the same wonder. Three other songs from the same group are available on another CD and it is sublime.

1. Raml Al Maya (Musique D'Après-Midi) - Cheikh Salah
2. Chams Al Achi (Coucher De Soleil) - Cheikh Salah
3. Had El Achq Aliya (Cet Amour Qui M'Etreint) - Cheikh Salah

320 kbps mp3 including full scans

HERE

Kamkars Ensemble - Gol Neshan

The Kamkars are one of the most dynamic yet accessible ensembles in Middle Eastern music. They fuse elements from their Kurdish folk music heritage with conventions from Persian classical music, using instruments from both. At nine musicians they are large enough to constitute an orchestra, by the standards of their region, and they are unusual in that their music usually adaptations of Kurdish love songs with a few lullabies and patriotic songs thrown in - is composed all the way through. This means there are no interludes where most of the ensemble stops playing while one or two members engage in a long improvisation. The result is compact, dramatic songs, commonly between four and eight minutes, that are structurally reminiscent of Western classical music, with beginnings, climaxes and endings that Western ears can readily appreciate. The Kamkars is a family ensemble, consisting of seven brothers, one sister, and her son from Samandaj, in northwest Iran. The eight siblings received their first musical training from their father Hassan Kamkar (1923-1991), a multi-instrumentalist, composer, collector of folk music and teacher. Hooshang (b. 1947) is the musical director and studied music in Rome and San Francisco. Bijan (b. 1949) is the lead vocalist and usually plays the daf, which is the large frame drum of the Kurds. Thanks to Bijan's efforts, the daf is now widely used in Persian music. Pashang (b. 1951) plays the santur, which is the Persian hammer dulcimer, and conducts the group in concert. Ghashang (b. 1953), the one woman in the ensemble, plays the setar, which is a long-necked lute. Arjang (b. 1956) plays the small drum known as the tombak. Arsalan (b. 1960) plays the oud (the precursor to the lute ubiquitous in the Muslim world), was first violin in the Tehran Symphony Orchestra, and like most of his brothers, is a composer in his own right. Ardeshir (b. 1962) plays the kamancheh or spike fiddle. Ardavan (b. 1968), like Pashang, plays the santur, for which he has developed a new technique, based in part on the piano, and which he has demonstrated in numerous original pieces. The youngest member of the ensemble is Omid Lotfi (b. 1977), who is the son of Ghashang Kamkar and her husband, the great Persian musician, Mohammad Reza Lotfi. Omid plays the tar, which is a Persian lute. Because of distance and diplomatic problems, much of the Kamkars' music is difficult to obtain in the West. They released one album each with Long Distance Records and RealWorld before signing with Kereshmeh Records, a California-based specialist in Persian music. In 1999 they released on Kereshmeh not only a collection of songs in their customary style called Kani Sepi, but an album of music composed by Hooshang Kamkar called Chant of Drums devoted to an exploration of the heavilyrhythmic dervish music of the Sufis. Also in 1999 the group went on its first American tour.

The Kamkars (Kurdish: Kamkaran, Persian: کامکارها ), a Kurdish family of seven brothers and a sister, are one of the leading musical ensembles in Kurdistan and Iran today. Their repertoire ranges from the vast array of traditional Kurdish and Persian music with its poignant, entrancing melodies and uplifting high energy rhythms to the classical Kurdish and Persian classical music of Iran. The repertoire of Kurdish music is richly diverse and deeply-rooted in the ancient history and culture of its proud and passionate people. It speaks of epic tales and wars, romantic love, and recounts ancient myths and stories of national and religious heroes, some of which date back to thousands of years to the time of the ancient Medes (the ancestors of the Kurds).”

The group has performed numerous concerts throughout the world, including their performance at the 2003 Nobel Peace Prize ceremony honoring Shirin Ebadi.

1. Beautiful Oraman
2. Smell Of Buttercup
3. Black Rock
4. Sorrowfull & Restless Heart
5. Like A Flower
6. My Dear, My Flower
7. Wedding Day
8. Kataneh

320 kbps including scans

HERE

Qeshm Island

Qeshm Island, 2002

The unique nature and culture of the fascinating Island of Qeshm (in the Persian Gulf) with its strong influences from Iranian, Arabic as well as East-African traditions is the main theme in the production of an Album based on Qeshm's musical textures, traditions, culture and nature.
Mohammad Reza Aligholi, Saeed Ansari, Christophe Rezai, Peter Soleimanipour, Reza Asgarzadeh, Ali Boustan, Frahad Asadian & Karan Homayounfar have depicted their own interpretation on this theme, resulting in the production of the qeshm project.

1. The Sun (Ali Boustan)
2. Ya Telab Blues (Christophe Rezai)
3. Zaar (Mohammad Reza Aligholi)
4. Daryadaad (Peter Soleimanipour)
5. Roof Of Qeshm (Farhad Asadian)
6. Hara Suite (Saeed Ansari)
7. Simin Beah (Karan Homayounfar)
8. Khorma (Reza Asgarzadeh)

Mohammad Reza Aligholi - vocals
Christophe Rezai - vocals
Peter Soleimanipour - saxophone, flute, kalimba, bass guitar
Reza Asgarzadeh - percussion
Ali Boustan - setar, ud, divan, percussion
Farhad Asadian - guitar
Darshan Jot Singh Anand - udu, tabla
Arash Mitouee - guitar
Majid Esmaeili - cello
Mostafa Mahmoudi - vocals
Shahram Rokouee - flute
Ali Charkhi Nafar - double pipe
Shidrokh Mohaghegh - tar
Homayoun Nasiri - guitar
Shabnam Zamani - vocals
Roza Giyahi - vocals
Karan Homayounfar - piano

320 kbps mp3; including scans

HERE

Nelson Cavaquinho

Nelson was born in Rio de Janeiro. Coming from a poor family, he quit school at a young age to seek employment in a factory. He showed a musical talent at a young age playing a home-made guitar made of a cigar box and wires. When he could, he would borrow a cavaquinho and try and copy the techniques of professional cavaquinho players. He demonstrated a great ability to play the instrument and composed a choro ("Caminhando") which gained him notoriety as a musician (due in part to an uncommon modulation which made it hard for other instrumentalists to harmonize it). He was finally given a cavaquinho and having demonstrated a unique playing style on the instrument was given the nickname "Nelson Cavaquinho". He demonstrated a unique style of playing with only two fingers.
As a young man he became acquainted with famous samba players like Cartola, Carlos Cachaça and Zé da Zilda. He went on to compose over 600 compositions. His main partner was Guilherme de Brito. Some of his better known works are: "A Flor e o Espinho", "Folhas Secas", "O Bem e o Mal" and "Juízo Final".
He died of emphysema on February 18, 1986, at the age of 74, in Rio de Janeiro.

(01) - Juizo final
(02) - Folhas secas
(03) - Caminhando
(04) - Minha festa
(05) - Mulher sem alma
(06) - Vou partir
(07) - Rei vadio
(08) - A flor e o espinho
Se eu sorrir
Quando eu me chamar saudade
Pranto de poeta
(09) - ة tمo triste cair
(10) - Pode sorrir
(11) - Rugas
(12) - O bem e o mal
(13) - Visita triste

Flac (EAC Rip): 220 MB | MP3 - 320 kbs: 95 MB | Scans

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Agent Du Monde: The Barcelona Files

Hot Flamenco Beats and Spanish Dancefloor Classics

"A deftly-handled record" The second instalment in Agent Du Monde's journey through Latin-tinged dance music - the first being 'The Sao Paulo Connection', The Barcelona Files' moves it up a notch while taking its inspiration form the place that is currently the mecca of skateboarding. Flamenco guitars and crisp breaks are the order of the day here, from Ojos de Brujo's 'Ventilator R-80' all the way through to Solar Sides' 'Estrella De Mar'. Mixing between the boundaries of party and chillout, it's a deftly-handled record and furthers the series well.

The dazzling sounds of Europe’s city of the moment For it is in the Catalan capital that such disparate talents as fusioneer extraordinaire Pepe Habichuela, cante jondo mavericks Ojos de Brujo, and Argentine jazz calypso deconstructivist Axel Krygier rub souls to produce a rich amalgam of Spanish, Arab-African and Latin American styles – with shocks of electronica increasingly overflowing the Sonar festival and random additions of hip-hop, too. It’s all very cosmopolitan and utterly contemporary – but it’s too eclectic to be kept entirely under control, and this 28-song collection will fully entertain most musical minds and bodies. Outstanding songs on a very vibrant double CD include Habichuela’s gorgeous ‘Yebagüena (Oriente)’, which combines a wandering Spanish guitar with an infectious disco beat, jazzy piano and lively brass; two choice Ojos de Brujo numbers; Solar Sides’ sexy jam; Truby Trio’s twisted take on trad flamenco, ‘Jaleo’; and all the slower lounge numbers. Cool self-criticism and healthy cultural iconoclasm characterise the Barca take on Spain’s noble tradition, but servillanas must be trembling in their ankle-snapping heels as new flamenco gets even newer in the Newcastle Española.

TRACK LISTINGS

CD1 Downtempo
01. Ventilaor - Ojos de Brujo
02. Vuelan las Hojas - Axel Krygier
03. Latin Player - Dr. Rubberfunk
04. Yerbagüena (Oriente) - Bollywood Strings, Pepe Habichuela
05. Te Alejabas de Mi
06. Southern Nights - Miguel Picasso
07. Donde Quiera Que Estés
08. Duende Organico - Solar Sides
09. Beneath Another Sky - Mystic Diversions
10. Dance of Caravan Summer - Up, Bustle and Out
11. For Sister
12. My Deep and Magical Ambient [Guitar Version] - Stigmato Inc
13. Entre Dos Aguas [the New Millenium Chill Mix] - Raul Orellana

CD2 Uptempo
01. Jaleo - Concha Buika, Trüby Trio
02. Futbol-In
03. Te Van a Matar
04. Frontera del Ensueno [Jerez de la Frontera Mix] - Rey De Copas
05. Esuma
06. Flamenco Fusion - Face, Jazmin
07. Guitarra G [Chill Out Mix] - Banda Sonora Original
08. Tiempo de Drumba - Ojos de Brujo
09. Flamenco Cybernetico - SUV
10. Turkish Flamenco - DNA
11. Amor Se Demora
12. Brazilenco - Zeb
13. Sueno Latino - Sueño Latino
14. Sleek Jack [Exclusive Track]
15. Estrella de Mar [Chill Sunblock Mix] - Solar Sides

| MP3 VBR kbps | Front Cover | 215 MB |

Part 1 | Part 2

Now: Hariprasad Chaurasia,Amareesh

This is the most meditative of this master flautist's many albums, as it is pure flute with no tabla distraction. The final track soars with spiritual passion. Highly recommended for meditation, romance, or consciousness exploration.

1. Now
2. Behind The Moonlight
3. Dancing Horses
4. Bansuri
5. Flying Kites Tarang
6. Timeless
7. Past Live Romance
8. The Night And The Ocean

FLAC tracks (EAC Rip): 230 MB | MP3 - 320 kbs: 130 MB | Front Cover

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Les Musiciens du Badakhchan - Chants et Musiques du Badakhchan

Chants et musiques du Badakhchan - Collection Théâtre de la Ville

Track Listings
--------------
(01). Navoy-é Ghijak (Ghijak Melody) [Instrumental]
(02). Gueryé Doram (I Feel Like Crying)
(03). Maddâh (Poems by Hafez & Nemâtollâh Pamiri)
(04). Daryâ (The River)
(05). Doyéré-Yé Bazm (Celebration Circle) [Instrumental]
(06). Navoy-é Tanbur (Tanbur Melody) [Instrumental]
(07). Chab-é Mahtob (Moonlight Night)
(08). Raqs-é Pamiri (Pamir Dance) [Instrumental]
(09). Navoy-é Setâr (Setor Melody) [Instrumental]
(10). Sitoyéche (Admiration)
(11). Darguilik

Sahiba Doviatshaeva - Vocals
Djonbaz Doshanbiev - Ghijak, Rubab
Mokhtar Muborakkadamov - Setor
Ghulamsho Safarov - Tanbur
Shodikhon Mabatkulov - Daf

320 kbps including full scans

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Babys First Classics II

Track Listings
--------------
[01]. Mozart - Symphony No. 40 in G Minir (Allegro Molto)
[02]. Albinoni - Adagio for Organ and Strings in G Minor)
[03]. Chopin - Nocturne No. 8 in D Flat Major Op 27
[04]. Beethoven - Sonata for Piano No. 8 in C. Op 13 Pathetique adagio cntabile
[05]. Debussy-Pavane in E Minor (Arranged for Guitar)
[06]. Mozart - Piano Concerto No. 20 in D Minor 'romance
[07]. Vivaldi -The Four Seasons 'spring' (Allegro)
[08]. Pachelbel - Canon and Gigue for Strings in D Major
[09]. Satie -Trois Gymnopedies
[10]. Tchaikovsky - Andante Cantabile for Violoncello and Orchestra op 11
[11]. Chopin - Nocturne No. 1 in B Flat Minor Op 9
[12]. Bach - Aria De Capo

| MP3 VBR kbps | Covers | 80 MB | 2007 |

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Eqbâl Âzar Ensemble: Âvâ-ye Homâyun (Persian Classical Music)

Eqbâl Âzar Ensemble: Âvâ-ye Homâyun
Eqbâl Âzar Ensemble, headed by Karim Sâleh Azimi, has largely contributed to the preservation of the style presented by the late Ostâd Eqbâl آzar in recent concerts. Ostâd Karim Sâleh Azimi after succeeding in numerous musical competitions in Iran as well as abroad has decided to perform dastgâh-e Homâyun for this release. As a disciple of Eqbâl آzar and Abdollâh Davâmi, he has tried to use the melismatic figurations called tahrir in Persian classical music, and the concept of form and expressiveness of his masters in combination with his individual style.

Eqbâl Âzar Ensemble:

Karim Sâleh Azimi, vocals
Hamid Sokuti, târ and setâr
Farid Mozaffarzâdeh, tombak
Esmâ‘il Safari, santur
Shahrâm Sâremi, kamâncheh
Kerâmat Aslâni, ney

“Karim Sâleh Azimi (Tabriz, 1946)
From an early age he was interested in Persian classical music and especially in the art of singing. He was rewarded with a very beautiful voice and many connoisseurs including the late Ostâd Mahmud Franâm introduced him to the late Ostâd Eqbâl آzar, to learn by him the vocal radif and style of singing. Sâleh Azimi is the sole representative of آzar’s style among his contemporaries. After the death of his master he was invited to Tehran and continued his studies with Ostâd Abdollâh Davâmi.

Sâleh Azimi has worked with the music center of Iranian broadcasting, the Center for Preservation and Propagation of Persian Classical Music since early 1980s and has taught numerous pupils most of them still active in this field. His many programs in Iran and also abroad have been received widely with acclaim.

Kerâmat Aslâni (Tehran, 1940)

He started his career by playing ney-labak (a type of small flute in Iranian music) and studied music theory and practice with Mr. Shâhsamandi. He collaborated with Shirâz Radio and Television and completed radif of Ostâd Sabâ under the leadership of Ostâd Tajvidi. Aslâni began to work with Ostâd Pâyvar. In the Center for Preservation and Propagation of Persian Classical Music he taught as well as being taught by Ostâd Safvat, Ostâd Kasâi and the late Mahmud Karimi. He has given few concerts abroad.

Shahrâm Sâremi (Tehran, 1963), kamâncheh

He studied basic elements of music with his brother, Jahânshâh Sâremi. Early lessons of kamâncheh with Hâdi Montazeri led him to advanced level studies with Ostâd Asqar Bahâri to finish his courses. Sâremi began his public career in 1988. He has graduated from Herat University in music and has composed pieces for the ensemble of Persian instruments. He teaches now at music schools in Iran.

Hamid Sokuti (Rey, 1965), târ and setâr

He began to study setâr with Atâ Janguk and was advised by Mas‘ud Sho‘âri. His other masters were Moh.-R. Lotfi, Dâryush Talâi, Majid Kiâni, Mehdi Kamâliân and, at last but not least, Hossein Alizâdeh. Sokuti teaches as well as giving concerts.

Farid Mozaffarzâdeh (1954), tombak

Early studies in Urumiyeh and Sâri. He was especially interested in târ and tombak and began to learn music seriously since 1980 in Tehran. He has graduated from Faculty of Fine Arts at the Tehran University and has perfected his technique with such masters as Atâ Janguk, Arshad Tahmâsbi, Hossein Alizâdeh, Dâryush Talâi and Moh.-R. Lotfi. He studied tombak for one year with the late Nâser Farhangfar.

Esmâ‘il Safari (1965), santur

After early music studies with Kiumars Pirgalu and Farzâneh Noshâd, he studied radif of Mirzâ Abdollâh and radif of Sabâ with Mas‘ud Shenâsâ. At the same time he spent two years studying with Ostâd Farâmarz Pâyvar. Majid Kiâni, Parviz Meshkâtian, Moh.-R. Lotfi, Moh.-R. Darvishi and Parviz Mansuri are among his other masters. He is now engaged in music performance among his other preoccupations.

(01). Pishdarâmad-e Homâyun
(02). Sâz-o-Âvâz
(03). Tasnif-e Homâyun
(04). Sâz-o-Âvâz
(05). Tasnif Vasf-e Afarinandeh
(06). Zarbi-e Shushtari
(07). Âvâz-e Shushtari
(08). Tasnif Râz-o-Niâz
(09). Sâz-o-Âvâz
(10). Tasnif Mastâneh

320 kbps including full scans

HERE

Mie Miki & Nobuko Imai - Into the Depth of Time

TRACK LISTINGS

01. Toshio Hosokawa - In die Tiefe der Zeit (for viola and accordion) Yoshiro Irino - Suite for Viola Solo
02. I. Sostenuto
03. II. Animato
04. III. Adagio Yuji Takahashi
05. Like Swans Leaving The Lake (for viola and accordion)
06. Like A Water Buffalo (for accordion solo) Yuji Takahashi - Ins Tal (for accordion solo)
07. I. (-)
08. II. 'Windeshauch', A Song From Nepal
09. III. (-)
10. IV. (-)
11. V. (-)
12. VI. Ein Lied des Fremden
13. Isang Yun - Duo (for viola and accordion)

Works on This Recording
1. In die Tiefe der Zeit by Toshio Hosokawa
Performer: Mie Miki (Accordion), Nobuko Imai (Viola)
Period: 20th Century
Written: 1994; Japan

2. Suite for Viola solo by Yoshiro Irino
Performer: Nobuko Imai (Viola)
Period: 20th Century
Written: 1971; Japan

3. Like Swans leaving the Lake by Yuji Takahashi
Performer: Nobuko Imai (Viola), Mie Miki (Accordion)
Period: 20th Century
Written: 1995; Japan

4. Like a Water-Buffalo by Yuji Takahashi
Performer: Mie Miki (Accordion)
Period: 20th Century
Written: 1985; Japan

5. Ins Tal by Yuji Takahashi
Performer: Mie Miki (Accordion)
Period: 20th Century
Written: 1995; Japan

6. Duo for Viola and Accordian by Isang Yun
Performer: Mie Miki (Accordion), Nobuko Imai (Viola)
Period: 20th Century
Written: 1976

320 kbps mp3; including full booklet scans

HERE

Lakshmi Shankar - Les Heures Et Les Saisons

Track Listings
--------------
1. Khyal: Raga Ahir Bhaiav, Tala Ektal et Teental
2. Khyal: Raga Dhani, Tala Jhaptal
3. Holi: Ragi Khafi
4. Bhajan de Surdas en Brajbhasa [Raga Megh]
5. Bhajan de Mira [Raga Bhairavi]
6. Bhajan de Jugalapriya [En Sanskrit]

Tabla – Sadanand Naimpalli
Tambura – Joanna Foresta

FLAC tracks (EAC Rip): 260 MB | MP3 - 320 kbs: 140 MB | Booklet Scans

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Magic Marrakech

Track Listings
--------------
(01). Nicolas-Yvan Mingot - Atlas Blues
(02). Nicolas-Yvan Mingot-wadhi Al Safi - El Karour - Yalili
(03). Jamal Slitine-Mohamed Adbe l- Mohamed Hamza - Kissat Hob
(04). Jamal Slitine-Mohamed Adbel - Mohamed Hamza - Hobbi Lak
(05). Jamal Slitine-Nicolas - Yvan Mingot - One Other Dream
(06). Nicolas-Yvan Mingot - Soukrerie
(07). Jamal Slitine - Ana A Dounia
(08). Pimpi Arroyo - Abdella El Marouani - Lamsa
(09). Jamal Slitine - Paul Desmond - Dave Brudeck - Take Khamsa
(10). Hovannes K. - White Darbouka
(11). Nicolas-Yvan Mingot - Symphonuit
(12). Nicolas-Yvan Mingot - Saad Mohamed - Mohamed Ibrahim Fawzi - Besslam Ah

VBR kbps including full scans

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Morocco: The Art of Sama in Fez (Ahl-Fas Orchestra)

This well-engineered recording, made by distinguished ethnomusicologist Ted Levin, earned a Grand Prix International du Disque, and it captures remarkably well the spirit of Fes, Morocco. Accompanied by the traditional instruments of oud (lute), violin, terr (frame drum), derbouka (globlet drum), rebab, and nay (flute), the vocalists sing religious poetry as part of a spiritual practice. This music is not intended for entertainment but to aid the musician and listening participant in reaching divine unity. Indeed, the poems have as themes divine unity, divine intoxication, divine love, and the recollection of Allah. In many ways, it shares the quiet meditative power of other Sufi music, such as the dervishes of Turkey, and incorporates the holotropic, oxygenating breathing exercises that may lead to ecstasy. At the same time, the vocal and instrumental style is firmly rooted in medieval Andalusia. I have heard such music in Fes during a dhikr, and listening to the recording transports me to its medina. If you are curious about Morocco, its religious music, or Sufism in general, you will find that this CD would be a worthwhile addition to your collection.

1. Al-Wahda Al-Ilâhiya (Divine Unity)
2. Al-Khamra Al-Ilâhiya (Divine Intoxication)
3. Al-Hubb Al-Ilâhî (Divine Love)
4. Dhikr Allah (Recollection of God)

320 kbps including Front Cover

HERE

Chinese Ancient Music Vol. [1-8] [Box Set]

Chinese Ancient Music Vol. 1 Pictures of Primitive Hunting
Chinese Ancient Music Vol. 2 High Mountains And Flowing Water
Chinese Ancient Music Vol. 3 Dance Music of the Imperial Palace
Chinese Ancient Music Vol. 4 Shadows of Apricot Blossoms
Chinese Ancient Music Vol. 5 Autumn Meditation at Dongting Lake
Chinese Ancient Music Vol. 6 Wild Goose on the Peaceful Beach
Chinese Ancient Music Vol. 7 Wang Zhaojun
Chinese Ancient Music Vol. 8 Remembering of the Xiao on the Phoenix Platform
BOX SCANS

Chinese Ancient Music:
Remembering Playing Xiao On The Phoenix Platform
Lin Shicheng

And here's volume 8: this disc is more sparse, with lots of solo and small ensemble pieces. In between the solo pieces lies one of the prettiest songs in the series, the "Green Pavilion Chant", which sounds almost modern. Has anyone noticed that most of the singing in this series is in a much lower register than what a lot of the Shidaiqu singers utilize, and especially lower than the Beijing Opera style? Anyway, it's quite different than most singing on historically minded discs of Chinese music, and I find it rather appealing.

1. Yearning For Love - Lin Shicheng
2. The Grievance Of Lady Xiang - Wu Wenguang
3. An Autumn Moon Over The Palace Of Han Dynasty - Lin Shicheng
4. Green Pavilion Chant - Shan Xiurong
5. Noisy Birds - Huang Dingshi; Li Jingyun; Qu Qing; Wu Guocai; Wu Guozhong
6. Song Of The West Chamber - Xiang Sihua
7. Light Tower - South China Music Troupe
8. Autumn Night - Sun Fengzhong; Sun Guisheng; Zhu Runfu
9. The Grievance Of Lady Zhaojun - Huang Dingshi; Li Jingyun; Qu Qing; Wu Guocai; Wu Guozhong
10. High Moon - Xiang Sihua
11. Remembering Playing Xiao On The Phoenix Platform - Fu Huiqin

Ape (EAC Rip): 310 MB | MP3 - 320 kbs: 150 MB | Booklet Scans

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BOX SCANS

New Oriental

Claude Challe Presents New Oriental From The R.E.G Project

A great collection of so-called new Oriental music out of Lebanon mixing traditional Middle Eastern instruments with digital production techniques and the influence of modern lounge music and deep house. Already a huge hit in Lebanon, the UAE and many of the Gulf States, the R.E.G. Project - Ralph, Elie & Guy - came together through Guy Barbar doing a live show in a Beirut restaurant in late 2001 where Ralph Khoury, the resident DJ, heard him and suggested they do some tracks together with Ralph's friend and producer/DJ Guy Manoukian. Their self-titled debut LP topped the charts in Lebanon for over three months, and a hook-up with EMI worldwide and someone in there having some savvy ideas about marketing it to the huge Middle Eastern community of Europe and the US have lead to this. The sound itself is great, swinging from the opening two tracks "Free At Last" and "Lost Love" with their traditional Middle Eastern feel, onto tracks like "Harem", "Peace" and "Casa Del Sol" which mix lounge and deep house stylings (often within the same track) to come up with a unique sound. There's even Latin and samba sounds in there, notably "Zay Al Hawa" which muddy the waters even more. The tracks are cut to run into one another as well, so the overall sensation is quite frenetic and kinetic but relaxing at the same time. It's world music but without the horrid pikey connotations due to its high production standard and Guy and Ralph's dancefloor/chill-out sensibilities. A great find, beautifully packaged with a gorgeous picture of Beirut at sunset, and an enjoyable addition to any music lover's collection (especially if you enjoy the downbeat-meets-world end of things), as well as a fantastic way to turn your lounge into a Lebanese lounge bar at the flick of a switch and the lighting of a hookah. Even gets the almighty thumbs up and push from renown Buddha-Bar compiler and French downbeat guru Claude Challe.

[01]. Free At Last
[02]. Lost Love
[03]. Harem (Original)
[04]. Peace
[05]. Sayat Nova
[06]. Casa Del Sol
[07]. Zay Al Hawa
[08]. Batwannis Beek
[09]. Piece Of Heaven
[10]. Harem (House Mix)
[11]. Passion

MP3 320 kbps including full scans

HERE

Ali-Akbar Morâdi: Samâe Mastâneh (The Ecstatic Samâ)

The present album is a live record of the concert performed in San Francisco, the United States, 2000. All the pieces of such fusion of Sahari maqâm of tanbur with dastgâh-e Chârgâh are my compositions accompanied by the delicate performance of my dear friend, Pezhmân Haddâdi. There were shortcomings relative to the live recording of the concert done by the American sound engineer which we did our best to increase the sound quality in Iran with the aid of Mr. Orod Anzâbi-Pur. We hope you would enjoy it. - Ali-Akbar Morâdi, Tehran, 2004

"Tanbur is the ancient, religious and ritual musical instrument of Ahl-e Haq (Yârasân) Sect and the elder name for Dotâr. The name of this instrument, tanbur, has frequently been mentioned in Shâhnâmeh by Ferdowsi. Today, tanbur is vastly played in the west (Kordestân) and the east (Khorâsân) of Iran.

Kurdish tanbur which is called Tisfuni has been highly respected as a ritual, sacred instrument among Yârasân Sect for more than a thousand years.

The sort of music played by tanbur is somehow peculiar since its fretting system and maqâms are totally different from the Persian classical music and also from Kurdish music. The most homogeneous contemporary musical system to such music is Siâ-Chamâne and Howre prevalent in Howrâmân and Gurân.

The maqâms played by this instrument can historically be divided into three main categories: Kalâm, Majlesi and Majâzi.

Tanbur’s pear-like soundbox is made of mulberry wood and its neck of walnut wood. It normally has thirteen or fourteen frets and two or three strings. The sound range of this instrument is a scale plus a whole-tone and is characterised by two main tunings of the fourth and the fifth. Moreover, tanbur is a plucked chordophone instrument which is played with all fingers of the right hand."

1. The Prelude (based on Sahari Maqâm)
2. The Union Dream
3. The Ecstatic Samâ
4. Grievance
5. Farewell
6. Departure
7. The Love's Footfall
8. Improvisation
9. Ecstacy

320 kbps including full scans

HERE

Liu Fang - Le Son de Soie

Liu Fang Le Son de Soie, 2006

"Silk Sound" is a collaboration between master pipa artist, Liu Fang, and three other cultural artists, who are first class musicians of their own traditional instruments. There's Alla from Algeria, Henri Tournier from the west, and Ballake Sissoko from Africa. The oud and kora, like the pipa, are stringed instruments, and are played by Alla and Sissoko respectively; while the unique bansuri flute is played by Tournier. The fifth instrument in this set is the guzheng, played wonderfully by Liu Fang (yes, she is also highly gifted with the guzheng, although her darling is definitely the pipa). The tone set by this collaboration reminds me of what Yo-Yo Ma does with The Silk Road Ensemble, but I truly do appreciate the music of this album more, it is definitely to my liking, less congested, more focused and intimate. This is without a doubt due to the simple arrangements -- by simple, I don't mean rudimentary, but that the performances are either solos (with Liu Fang on the pipa or guzheng) or duets. The playing is impeccable! The solo performances are of reference quality; and there is great chemistry in the duets, as the artists really do respect each other -- you could really hear it in the playing, as no single individual shouts out, and the harmonies blend like sunlight on water ripples. I have one big curiosity that puzzles me: track 7 is listed as the "Kanding love-song", but it is track 4 "Primary meeting", which carries this love-song's exquisite melody. The CD literature mentions that track 7 is an improvisation of the love-song. I know that improvisations are supposed to be spontaneous and natural, but there is very little resemblance to the love-song. Especially when in fact, track 4 is the "Kanding love-song", not "Primary meeting". There is enough additional playing in track 4 to also pass for an improvisation. Plus, the track 2 duet "Jasmine flower", is written as pipa with bansuri flute -- unless my ears have failed me, it sounds like guzheng and bansuri flute. I couldn't help but think that someone may have botched up the track listings and descriptions. The "Kanding love-song" is one of my favourite Chinese traditional melodies, and also happens to be a song that I learned how to sing in heritage class when I was 10. This piece is one of the reasons I bought this CD. Well, my gripe is over. The recording is first rate: crystal clear and detailed, with fine separation between instruments. However, it is the cohesiveness of the song selections and arrangements, in addition to the top-notch performances, that really makes this album so delightful. If you want to create a mood and atmosphere that takes you to a place, even for a moment in time, away from life's daily routines, then this music will transcend you to such a place.

Le Son de Soie (Silk Sound) is the new CD from a brilliant, subtle and adventurous virtuoso of two venerable Chinese instruments. Neither is commonly heard - as they occasionally are, here - with virtuosi of African, Indian and Arabic instruments. As one festival director has observed of Lui Fang, her ’technical prowess and range of unimaginable dynamics can take you from a visceral frenzy to a deep breath of silence that cleanses the spirit.’ Lui Fang plays the pipa {a pear-shaped, lute} and the guzheng {a plucked zither}. Some of this CD’s music is ancient, some brand-new. Sometimes, Lui Fang is alone. At others, she is in duet with the bansuri, the kora or the oud: respectively, a north Indian bamboo flute, played by Henri Tournier, a West African harp-lute, played by Ballake Sissoko and the fretless Arabic lute, played by Alla, from Algeria.

(01). Hautes montagnes et eaux ruisselantes (High mountains and rippling waters)
(02). Fleur de jasmin (Jasmine flowers)
(03). Le roi de chu se défait de son armure (The king of Chu doffs his armour)
(04). Première rencontre (Primary meeting)
(05). Le bateau dragon (The dragon boat)
(06). Tapisserie brodée d'or (Gold-embroidered tapestry)
(07). Une chanson d'amour de kanding (Kanding love-song)
(08). Lune d'automne sur la calme (Autumn moon over the calm lake)
(09). Brise dans une pluie de flocons (Light wind in a cloud of falling snow-flakes)
(10). Lune d'automne sur le Palais de l'Empereur des Han (Autumn moon over the Han Imperial Palace)
(11). Promenade au pays de rêves (A walk in the country of dreams)

Liu Fang - pipa,
guzheng Alla - oud
Ballake Sissoko - Kora
Henri Tournier - bansuri



320 kbps including full scans

HERE

Khayal - (Classical Vocal/Hindustani Classical)

Khayal - Lakshmi Shankar
(Classical Vocal/Hindustani Classical)

Sister-in-law to Ravi Shankar, mother-in-law to L. Subramaniam, Lakshmi Shankar is a remarkable singer. As a young girl she fell under the spell of dance and, encouraged by her forward-thinking mother, she studied Bharat Natyam dancing. She married the scriptwriter Rajendra Shankar, an elder brother of Ravi Shankar, and joined Uday Shankar's artistic circle during the early '40s. Ill-health forced her to give up dancing but, for us, this had the joyful effect of catalyzing her singing career. Around 1946-47 she worked on the historic adaptation of Pandit Nehru's Discovery of India, a work that prompted Nehru to say, "The ballet's better than my book." In the 1960s she recorded an album called The Voice of Lakshmi Shankar for World Pacific. Since then she has recorded widely in varying capacities and styles including Tamil folk songs, Hindu devotional songs of all sorts, film work (including the soundtrack to Gandhi) and for television documentaries.

1. Raga-Gunkali (1968) - Khayal Roopak "Anand Aaj Mera Man Bhaye";
2. Raga-Madhmad Sarang (1968) - Khayal Vilambit Ektaal "He Mukh Sawaro", Khayal Drut Teentaal "Boleri Ho Kagwa";
3. Raga-Jansammohini (1968) - Khayal Vilambit Ektaal "Aaj More Ghar Aaye", Khayal Drut Teentaal "Ghar Aangana Kachhu Nahin Bhaye", Tarana-Teentaal "Dere Ni Dim Tadani";
4. Raga-Madhukauns (1972) - Khayal Vilambit Jhoomra "Man Har Lino", Khayal Drut Teentaal "Sun Heri Naar", Tarana-Teentaal;
5. Raga-Kirwani (1972) - Khayal Vilambit Ektaal "Sajan Aaye", Khayal Drut Teentaal "Nat Sagara Ati Sundar" - Composition: Pt. Ravishankar.

Flac tracks (EAC Rip): 290 MB | MP3 - 320 kbs: 150 MB | Front Cover

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Unesco Collection [1]. Anthology of World Music: Iran

Iran, cradle of the most ancient cultures in the world, has remained a land of inspiration where, in all epochs, painters, poets, mystics, philosophers and musicians have flourished. Iranian music, like Indian music, is modal, but in its structure it seems to be more closely related to ancient Greek music. On this 2-CD set, young musicians such as the singer Golpayegani and older musicians such as kamantché player Ashgar Bahari show the intensity of discipline, technique, emotion and skill of interpretation that make Iranian music perhaps the most profound and most human musical system of our time.

These are taken from the fifty albums compiled by Alain Danielou for the Anthology of World Music series, but apart from noting that this series was originally issued between 1968 and 1987, there is nothing to indicate when the material on this double-disc anthology of Iranian traditional music was recorded. Anyway, the ten lengthy tracks on this double CD (some around 20 minutes in duration) offer a respectable, well-recorded cross-section of Iranian music, performed on stringed instruments such as the bowed kamantche, the lute-like sehtar, or the nai flute; there is also a piece for solo dombak (the Iranian single-skin drum) and sung poems. It's mostly very somber in tone, without enough melodic variation to appeal to Western ears; the most interesting selections are Teherani's dombak solo, and Zabihi's quavering, unaccompanied rendition of a mystic poem of Araqi, in which he gets some amazing vibrating vocal tones. ~ Richie Unterberger, All Music Guide

TRACK LISTINGS

Disc: 1
1. Variations In The Chahargah Mode - Ashgar Bahari
2. Poem Of Saadi, Sung In The Segah Mode - Golpayegani
3. The Dashti Mode - Ebrahimi Listen Listen
4. Poem Of Saadi, Sung In The Mode Bayote-Isphahan And Variations - Golpayegani

Disc: 2
1. Dombak Solo - Teherani
2. The Segah Mode, Played On The Santur - Hussein Malek
3. The Isphahan Mode, Played On The Tat - Zarif
4. Mystic Poem Of Araq - Zabihi Listen Listen
5. The Bhatriyari Mode, Played On The Nai - Hussein Khan E Yaveri
6. The Abu-Ata Mode (With Variations In Hejaz), Played On The Tar - Jalal Davudi

| MP3 320 Kbps | All Covers | 280 MB |

Part 1 | Part 2

Boom Pam

Magic surf Guitars From THE Middle East Kicked by Tuba & Drums on an Escstatic Mediterranean Spicy Balkan Trip

01. Wedding Song
02. Gross
03. Souvlaki
04. Otto Chiconi
05. Weijl
06. Kova Plada
07. Let Me Touch
08. Dalida
09. Lajdi
10. Munt
11. Souvlak
12. Love Song
13. hatul vehatula
14. adi adios
15. boom pam

320 kbps including Covers

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Sabah Fakhri – Irtijal A'lla El Oud

C'est un album à 2 pistes, la 1ère à 7 chansons dont la 1ère est une très belle improvisation sur une improvisation sur une fort belle instrumentation au ôud; la 2ème piste comporte 3 chansons de ses merveilles classiques.

Piste 1
(01). Irtijal âala el ôud إرتجال على العود
(02). Ya hadia el îiss يا حادي العيس
(03). Wennabi yamma والنبي ياما
(04). Malek ya helwa مالك يا حلوة
(05). Sayd el âassari صيد العصاري
(06). Ya tera tiri يا طيرة طيري
(07). Ya mali echcham يا مال الشام
Piste 2
(08). Habibi âala eddonya حبيبي على الدنيا
(09). El ôuzoubiya العزوبية
(10). Ya chadi el al’hane يا شادي الألحان

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Pink Martini - Hey Eugene!

It took Pink Martini a full decade -- their debut, Sympathique, came out in 1997; the follow-up, Hang on Little Tomato, was released in 2004; and now Hey Eugene! arrives in 2007 -- but they've finally perfected their particular good-time blend of cabaret pop, pre-"world music" international fare, golden-age Hollywood scores, and lounge-informed, classy jazz. It's still tempting to be wary of a group that wears its eclecticism so ostentatiously on its sleeve, but in the end nothing about the Oregon-based Pink Martini feels pretentious or mannered. While there is more than a taste of the tongue-in-cheek to China Forbes' vocals, Pink Martini, a dozen strong, never come off as precious or stylized, as did so many of the bands that came along during the '90s lounge revival and then disappeared from the planet. While on one hand they fine-tune what it is they do, Pink Martini also expand their focus on their third album. The Latin elements of the first two albums are still present, no more so than on "Tempo Perdido," a samba-rhumba written by Ataulfo Alves, originally sung by Carmen Miranda and abetted here by a high-school choir, but the group's passport has many new stamps on it. "Bukra Wba'do," originally sung by Egyptian star Abdel Halim Hafez, is PM's first foray into the world of Arabic music, and the foamy "Taya Tan" is a sweet but somewhat foreboding Japanese pop confection. "Ojala" takes the group into French chanson; "Dosvedanya Mio Bombino," obviously, leans Russian (great line: "I tried to storm the Kremlin of your heart"), but not so obviously also tilts toward various other Latinstrains from samba to son, which are touched upon elsewhere. Alternating between English (a touching, minimal "Tea for Two" with vocal jazz legend Jimmy Scott guesting; the opening, Forbes/Lauderdale-penned "Everywhere," a lush '40s-style torch song that could just as easily have been an old Judy Garland or Peggy Lee hit) and foreign-language vocals, Forbes is at ease in any situation. Bandleader/founder Thomas Lauderdale has become a masterful helmsman, guiding the core orchestra through its tricky, subtle paces. Ironically, the title track is the least interesting thing here, a slow-jam R&B bird-flip to a guy who took the singer's number and never bothered to call. Such silliness isn't becoming of the talent and originality on display all over Hey Eugene!, and they'd be wise to stick to the globe-hopping and genre-splicing in the future without resorting to downtown-styled faux coolness. ~ Jeff Tamarkin, Rovi

(01). Everywhere
(02). Tempo Perdido
(03). Mar Desconocido
(04). Taya Tan
(05). City of Night
(06). Ojala
(07). Bukra Wba'do
(08). Cante e Dance
(09). Hey Eugene
(10). Syracuse
(11). Dosvedanya Mio Bombino
(12). Tea for Two

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Lalgudi G. Jayaraman - Violin - In Concert [Live]

Lalgudi Jayaraman, one of the foremost violinists of South Indian Classical Music, shines brilliantly in this live concert recorded at Harbourfront, Ontario, 1994. The first krithi, Thyagaraja's Nannu Palimpa in Mohanam, is rendered beautifully, with pleasing and graceful swara prastharams, leading to an absolutely amazing percussion duet between the seasoned mridangamist Vellore Ramabhadran and the internationally known tabla wizard Zakir Hussain. The percussion solo is captivating, enthralling, and will push you to the edge of your seat. The last two songs, a bhajan in Pilu and one of Lalgudi's own thillanas in Madhuvanti, are very sweet, delicate, and emotionally laden. Keep in mind this is an edited version of the whole concert, and does not include all the songs that were played at Harbourfront in '94. Nevertheless, you will be amazed with what you hear here.

One of the most remarkable of the Southern Indian violin players. Born in 1930, he studied initially with his father, V.R. Gopala Iyer. By the age of 12, he had advanced to accompanying other musicians. In 1965 at the Edinburgh Festival he so impressed Yehudi Menuhin that the maestro presented him with his own violin. Jayaraman is a soloist, accompanist -- for example, for the classical vocalist Maharajapuram Santhanam -- and composer. He recorded a very interesting jugalbandi album with the Hindustani sarod player Amjad Ali Khan called South Meets North (G/ECSD 2932) in 1983 which deserves a CD reissue. On it they perform "Bhapali" ("Mohanam") and "Malkauns" ("Hindolam"). Other releases by him are to be found on AVM, Kaveri and Oriental. ~ Ken Hunt, Rovi

1. Kriti in Raga Mohanam
2. Bhajan in Pilu
3. Tillana in Maduvanthi

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Ghazal - The Rain

Press: "Born in 1997, this ensemble created a series of albums over three subsequent years that merged Persian and Hindustani concert music into a new stream of classical balladry and improvisation. As satisfying as the studio recordings proved, none of those equal the pinnacle of beauty or concentrated metaphysic disclosed in The Rain, a live recital from May 28, 2001 in Bern, Switzerland. Released by ECM Records, international watchdog for established top-end performers breaking from tradition, it was perhaps only a matter of time before Ghazal received the opportunity to have their experimental sound captured in palatial acoustic splendor." - Steve Taylor, RootsWorld (Read the complete article) "Ghazal is the inspired fusion of Persian and Indian in the hands of Iranian kamancheh player Kayhan Kalhor and sitar player Shujaat Kahn. ... Sandeep Das joins them on tabla. There's a real historical sense in this meeting of cultures as Hindustani music came under a strong Persian influence during the Mughal period and the traditions share several modes and tunings, which are explored in this recording. But you don't need to know any of this to enjoy the music - it's the artistry and personality of the players that make it so seductive. The contrasting textures of the sinewy kamancheh and sparkling jangle of the sitar, the echoing and developing of phrases between the two players, the moments of repose and meditation rising to spectacular pyrotechnics. And the fine, understated vocals from Shujaat Khan. The music on this disc is architectural like the filigree screen on the cover - rich in ornament and detail, but sustained by arch-like structures." - Songlines "This hypnotically beautiful marriage of Indian and Iranian classical music proceeds through impulsive echoes and flurries, the sitar's glistening jangle and the searing skitter of the spike fiddle rising as though through a vast cathedral-like space. ... While both musicians are adept in their traditions' complementary modes - ancient melodic structures - there is nothing dry or academic about the improvised music they make. Rather, it is superbly lyrical, full of fire and tenderness and highly accessible. Building quickly to the instrumental pyrotechnics that Westerners love, it leaves space for contemplation, employing non-Eastern musical ideas - the rhythmic imitation of rain and certain kinds of melodic repetition - in ways that will spark in the Western mind, but without a trace of gimmickry." - Daily Telegraph

Kayhan Kalhor : kamancheh / Shujaat Husain Khan : sitar, vocals / Sandeep Das : tabla Three new works by this remarkable Iranian-Indian ensemble from a live performance

The pieces: Fire / Dawn / Eternity

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Flying Carpet: Mixed by Claude Challe

A Superb Double Compilation Dedicated to the East, featuring all the Notorious References in Indo-oriental Music : Cheb Khaled, Nusrat Fateh Ali Khan, Nitin Sawhney, Mozart L' Egyptien, Natasha Atlas… Pure Enchantment ! Mixed by Claude Challe.

An awesome collection of Middle Eastern music and Middle Eastern Influenced electronica perfectly mixed together and compiled on 2 CD's by the King of DJ's Mr. Claude Challe from the Buddha Bar series. Can't get enough of the whole set. The last track Flying Carpet on CD2 is one of the best on this set.

CD1 - Lokoum
[01]. Enta Omri - Hossam Ramzy
[02]. Don't Be Sad That I Leave (Mi Lipase Pou Fevro)
[03]. Symphonie Egytienne #25
[04]. Ana Fil Houb - Lili Boniche
[05]. Noches - Suzy & the Red Stripes
[06]. Istikbar/Ombre Elle - Gnawa Diffusion
[07]. Aziza - Hossam Ramzy
[08]. Male Habtl Madjatch
[09]. Medley Egyptien: Anna Sabre'/Alabina/Chocolate
[10]. Alaoui [Digital Bled Dance Mix]
[11]. Flying Carpet [Club Mix] - Carlos Campos, Claude Challe

CD2 - Lotus
[01]. Mumbai Theme Tune - A.R. Rahman
[02]. Prayer
[03]. Don't Go Back to Sleep - Lori Carson, Nusrat Fateh Ali Khan
[04]. Tara Shakti Mantra - Oliver Shanti
[05]. Hear Our Prayer - Patrick O'Hearn
[06]. Affairs Under Al Bharr
[07]. Hope - Nitin Sawhney
[08]. Mirage
[09]. Flying Carpet [Ambient Mix] - Carlos Campos, Claude Challe
[10]. Cantamilla - Tranquility Bass
[11]. Timeless Moments - Lucas Thanos
[12]. Sweet Lassi Dub - Stoppa & Nobby
[13]. Caravan - Loop Guru
[14]. India - Joi

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Electric Gypsyland 2

Gypsy musicians have always absorbed and transformed the many different styles of music that they encountered during their journey. But what might happen if young western European or American musicians did the same thing to Balkan Gypsy music? If they absorbed some of its spirit and infused it into their own scric world? Well, the answer lies in the album you're currently looking at.
Electric Gypsyland is a collection of reinterpretations/ re-inventions of tracks from three of the leading Balkan Gypsy bands (Crammed's mighty Taraf de Haidouks, Kocani Orkestar and Mahala Rai Banda), made by notorious fusionists (Balkan Beat Box, Oi Va Voi, Samdj. Shantel), by several mainstays of the new Balkan club scene (DJ Click, Forty Thieves Orkestar, Gaetano Fabri, Russ Jones, Russendisko), and by more unexpected contributors coming from totally different musical areas (Tunng, Animal Collective, Nouvelle Vague, 43 Skidoo feat. Susheela Raman, Buscemi and Shnne System). Also featured are many additional guest musicians (from Europe, Turkey, Africa). engaging in virtual jamming with the original players. While some of these pieces stay close enough to the originals and can be described as remixes. most are poetic re-inventions, works of pure imagination...
Also enclosed is a bonus CD including 12 of the best, original tracks by Taraf de Haidouks, Kocani Orkestar, Mahala Rai Banda & Zelwer.

Given the success of the unique first volume of Gypsytronica, Crammed Discs (6D in the States) initiated a second reworking of Balkan bands with club beats. This is no easy task. Anyway familiar with Eastern European jazz knows the chaotic rhythms induced by a blend of violins, accordions and tubas backed by various strains of Middle Eastern percussion. Some claim the Hungarian language, Magyar, to have been invented by aliens, considering it uses none of the regional roots as a foundation. Much the same can be said of the folk music.

The brilliance of Electric Gypsyland was in the importation of warm bass lines and strong kick drums to styles more dependent upon strings and horns. Live this music is incredibly danceable, but previous recordings never captured the luster. Thanks to a DJ/producer named Shantel that all changed. He launched his now legendary Bucovina Club party in Frankfurt after randomly dropping a Fanfare Ciorcarlia track in Brooklyn many moons ago, realizing there was a crowd ready for the Balkans. Polyrhythms no longer plagued the West.

With his help a host of producers applied their grooves to the songs of Romanian supergroup Taraf de Haidouks, an equally ambitious and dexterous Kocani Orkestar and a multi-generational collection dubbed Mahala Rai Banda. The first edition featured an incredible roster of remixers, including Mercan Dede, DJ Dolores, Senor Coconut and, obviously, a few by Shantel. His reworking of "Carolina" became a global club anthem, as well as "Iest Sexy," Mahala's recording debut. Gaetano Fabri's percussion-heavy texturing of "Siki Siki Baba" proved to be a third crowd favorite, while in between more abstract cuts (what else would we expect of Arto Lindsday?) played the perimeter.

We cannot call this second volume a sophomore slump as a few exceptional tracks arise. What does not exist, however, are anthems. No track has that lasting quality of the first; remixers hang toward the conceptual edge. New York-based Balkan Beat Box provide the most club-ready cut, not surprising considering their ability to heat a dance floor. Their tempering of Mahala's tuba-led "Red Bula" weaves just enough quirkiness into tight beats to leave an impression. DJ Click also does a good job at heading off "Romano Dance" with an excellent darbuka-laden base. And we would expect nothing less of Shantel than brilliance. His upbeat take on Taraf's "Duba Duba Si Hora" certainly has its merits.

There is no requirement for a remix record to be mandatory on the dance floor, and the criticism does not lie there. Within the context of the original Taraf, Kocani and Mahala material (as well as a tech-heavy take on French lyricist Zelwer) this volume just does not offer the originality of the first. Individual tracks range from mediocre to great, though many lean toward the first end of that scale. The selected remixers are interesting, ranging from the aforementioned to Brazilian chanteuse Cibelle, electro-Klezmerites Oi Va Voi and French interpreters Nouvelle Vague (who come through with a beautiful bossa take of Mahala's "Morceau D'Amour"). Gypsyland 2 has a cut-and-paste feel, and so becomes one of the many reasons iTunes exists. No harm exists in purchasing the entire album and creating your own Balkan voyage. The additional second disc of original source material makes it more than worthwhile. And there is no doubt little in this world is presenting that undefined land between East and West, the very meeting ground where South Asia tinged with Persia and Spain clashed with northern Europe, with such a cutting edge. We know well the political turmoil that region has been in for centuries due to multifarious citizenry (check out Budapest's current rebellion, for one). We should expect no different from the music, as it is the voice of the people. While confusion reigns supreme, they certainly know how to dance.

Disc: 1
01. Taraf De Haidouks :: Homecoming
02. Buscemi :: Alone At My Wedding
03. Mahala Rai Banda :: Oi Bori SujieKocani Orkestar
04. Mahala Rai Banda :: Red Bula (pick)
05. Mahala Rai Banda :: Romano Dance (pick)
06. Kocani Orkestar :: Mi Bori San Korani
07. Taraf De Haidouks :: Duba Duba Si Hora
08. Taraf De Haidouks :: A Rom And A Home
09. Cibelle :: Maxutu
10. Mahala Rai Banda :: The Man Who Drinks
11. Mahala Rai Banda :: Morceau D'Amour (pick)
12. Taraf De Haidouks :: Neacsu In Africa
13. Yuriy Gurzhy, Russendisko & Friends :: Immigrant Radio/Soldier Tufaiev Abroad
14. Taraf De Haidouks :: Go East
15. Kocani Orkestar :: Ismail Oro
16. Mahala Rai Banda :: Spoitoresa Revisited (Got The Parts Mix)

Disc: 2
01. Kocani Orkestar :: Cudna Zena
02. Kocani Orkestar :: Siki, Siki Baba
03. Kocani Orkestar :: L'Orient Est Rouge
04. araf De Haidouks :: Duba, Duba Si HoraT
05. Taraf De Haidouks :: Terno Chelipe
06. Taraf De Haidouks :: Cind Eram La '48
07. Taraf De Haidouks :: A La Turk
08. Mahala Rai Banda :: Spoitoresa
09. Mahala Rai Banda :: Lest Sexy
10. Mahala Rai Banda :: Romano Dance
11. Zelwer :: The Fiancee's Dream
12. Zelwer :: Soldier Tufaiev Gets Married

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Chinese Ancient Music Vol. 7 Wang Zhaojun

Chinese Ancient Music Vol. 1 Pictures of Primitive Hunting
Chinese Ancient Music Vol. 2 High Mountains And Flowing Water
Chinese Ancient Music Vol. 3 Dance Music of the Imperial Palace
Chinese Ancient Music Vol. 4 Shadows of Apricot Blossoms
Chinese Ancient Music Vol. 5 Autumn Meditation at Dongting Lake
Chinese Ancient Music Vol. 6 Wild Goose on the Peaceful Beach

Here's Volume 7: If you're new to this series, or have ignored the others, this is a good one to begin with. Many of the tracks are backed by an orchestra, making the music less stark than the other volumes, and the final song is downright jaunty- one of my favorites from the whole series.

Zhong Guo Gu Le : Wang Zhao Jun
(Chinese Ancient Music: Wang Zhaojun)
Luo Tian Ping

1. Wang Zhao Jun ( Sheng Yu Le Dui ) (Wang Zhaojun (Sheng and orchestra))
2. Qu Yuan Wen Du ( Ceng Hou Yi Bian Zhong Yu Le Dui ) (Qu Yuan Asking Way At The Ferry Crossing (Chime bells from Marquis Yi's tomb and orche
3. Ba Wang Xie Jia ( Pi Pa Du Zou ) (Conqueror Xiang Yu's Triumphant Return (Pipa solo) )
4. Hu Qie Shi Ba Pai ( Qin Ge ) (Beats On The Hujia (Qin song))
5. Su Wu Mu Yang ( Er Hu ) (Su Wu Tending Sheep (Erhu))
6. Dou E Yuan ( Gu Qin , Xiao , Pi Pa ) (The Injustice Done To Dou E (Qin, Xiao and Pipa))
7. Wen Ji Gui Han ( Gu Qin ) (Lady Wenji Returned To Han Dynasty (Zheng))
8. Ting Song ( Er Hu ) (Listening To The Soughing Winds In The Pines (Erhu))

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