This Is Easy

With a plethora of lounge revival collections flooding the market, this impressive 52-track offering from Virgin should make the first choice an easy one for bachelor pad fans in waiting. All the heavy hitters are present, including Burt Bacharach, Henry Mancini, Esquivel, Ray Conniff, Michel Legrand, and Percy Faith. And while these maestros strike up the band themselves on several instrumentals, their best vocal tracks get nicely dressed up by everyone from Jack Jones and Dionne Warwick to Aretha Franklin and Isaac Hayes. Beside the pop hits, there are also several movie highlights, such as Francis Lai's "Un Homme Et Une Femme" and John Barry's "Theme From Midnight Cowboy," as well as TV material like the Monday Night Football theme, "Superstars." Pleasant surprises and unexpected gems abound, too: Stones and Carpenters covers by Nancy Sinatra and Matt Monro, Roy Budd's "Get Carter" theme, Sergio Mendes' version of Joni Mitchell's "Chelsea Morning," and Jose Feliciano's once forgettable Top 40 entry "Light My Fire." The disc also gets high marks for it's top-notch song sequence and sheer easy listening brevity. Relax and enjoy.

The selection of easy listening ranging from tv and movie theme songs to pop classics is excellent. Quite a few Burt Bacharach tunes, notably "Walk on By" by Dionne Warwick. Sandy Shaw's "Always Something There to Remind Me" is equally touching, "The Windmills of Your Mind" from "The Thomas Crown Affair" or "Raindrops Are Falling on My Head" from "Butch Cassidy and the Sundance Kid" are real gems from the silver screen. José Feliciano's version of "Light My Fire" is another classic of the genre, as are many more featured here.

Disc: 1
[01]. Burt Bacharach - Bond Street (from Casino Royale)
[02]. The Tony Hatch Orchestra - Theme from The Champions
[03]. KPM Production Library - Superstars
[04]. The World of Tijuana The Mexicans - Spanish Flea
[05]. Juan Garcia Esquivel - Sentimental Journey
[06]. Bert Kaempfert - A Swinging Safari
[07]. KPM Production Library - Animal Magic
[08]. Henry Mancini - Pink Panther Theme
[09]. KPM Production Library - The Big Match
[10]. Fifth Dimension - Up, Up and Away
[11]. Geoff Love and His Orchestra - Strange Report
[12]. Percy Faith and His Orchestra - The 'In' Crowd
[13]. The World of Tijuana The Mexicans - A Taste of Honey
[14]. London Studio Symphony Orchestra conducted by Laurie Johnson - The New Avengers
[15]. KPM Production Library - The Riviera Affair
[16]. Pete Moore - Asteroid (Pearl & Dean Theme)
[17]. Tony Christie - Avenues & Alleyways (Theme from The Protectors)
[18]. Ron Grainer - Theme from Man in a Suitcase
[19]. Ron Goodwin - Do You Know the Way to San Jose
[20]. Andy Williams - Music to Watch Girls By
[21]. Percy Faith and His Orchestra - 1-2-3
[22]. Martin Denny - Misirilou
[23]. Mason Williams - Classical Gas
[24]. The South Bank Orchestra conducted by Denis King - The New Adventures of Black Beauty
[25]. Sandie Shaw - (There's) Always Something There to Remind Me
[26]. The Tony Hatch Orchestra - Theme from Crossroads
[27]. Hugo Montenegro - The Good, The Bad & The Ugly
[28]. KPM Production Library - Girl in a Sportscar

Disc: 2
[01]. Dionne Warwick - Walk on By
[02]. Noel Harrison - The Windmills of Your Mind (from The Thomas Crown Affair)
[03]. BJ Thomas - Raindrops Keep Falling on My Head (from Butch Cassidy & The Sundance Kid)
[04]. Burt Bacharach - Anyone Who Had a Heart
[05]. Ray Conniff and The Singers - Summer Breeze
[06]. Francis Lai - Un Homme et une Femme
[07]. Roy Budd - Get Carter
[08]. Honeybus - I Can't Let Maggie Go
[09]. Jose Feliciano - Light My Fire
[10]. Matt Munro - (They Long To Be) Close to You
[11]. Nancy Sinatra - As Tears Go By
[12]. KPM Production Library - This Is Your Life
[13]. Chris Montez - Call Me
[14]. Sergio Mendes - Chelsea Morning
[15]. Ray Conniff and The Singers - It Never Rains in Southern California
[16]. Ron Goodwin - What the World Needs Now Is Love
[17]. Francis Lai - Aujourd'hui C'est Toi
[18]. Burt Bacharach - A House Is Not a Home
[19]. Jack Jones - Wives and Lovers
[20]. Michel Legrand & The London Symphony Orchestra - Theme and Variations for Two Pianos and Orchestra (from The Go-Between)
[21]. John Barry - Theme from Midnight Cowboy
[22]. Aretha Franklin - I Say a Little Prayer
[23]. Count Indigo - My Unknown Love
[24]. Isaac Hayes - The Look of Love

WV (EAC Rip): 840 MB | MP3 - 320 kbs: 350 MB | Booklet Scans

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Al Di Meola - Colecao Folha Classicos do Jazz

Al Di Meola - Colecao Folha Classicos do Jazz Vol. 18
The guitarist won fame of the night for the day to join the Return to Forever with only 19 years. The trio with John McLaughlin and Paco de Lucia also has become legendary. He was one of the fastest guitarists in jazz fusion, but then started to focus also on world music, alternating the guitar with the guitar, which comes with the same dexterity. Son of Italians, Meola was born in Jersey City, New Jersey, on July 22, 1954. Since child, now frequented clubs, parsley, to discover the jazz with Chick Corea and Larry Coryell. In 74, the very Corea invited to come for the Return to Forever. The soils of fast and energetic rock Meola attracted the public, giving the group its best vendagens on discs such as "Where Have I Known You Before" and "Romantic Warrior." Two years later, he started solo career with "Land of the Midnight Sun." This and the subsequent "Elegant Gypsy," "Casino" and "Hotel Splendido" already brought elements of world music. In 80, Meola recorded with John McLaughlin and Paco de Lucia "Friday Night in San Francisco," which sold over two million copies. From the 90 he recorded more often acoustic music world, as "World Symphony" and "Di Meola Plays Piazzolla." In 96, formed the trio The Rite of Strings, with the violinist Jean-Luc Ponty and bassist Stanley Clarke (another former Return to Forever). His new CD, "Diabolic Inventions and Seduction for Solo Guitar, Volume I", has launch scheduled for the end of October, 2007.

[01]. July
[02]. Traces of a Tear
[03]. Maraba
[04]. Song to the Pharoah Kings
[05]. Etude
[06]. Rhapsody of Fire
[07]. Coral
[08]. Beijing Demons
[09]. Ballad

VBR kbps including full scans

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D.K. Pattammal - Live At Music Academy - 1989

Damal Krishnaswamy Pattammal (Tamil: தாமல் கிருஷ்ணசுவாமி பட்டம்மாள்) (28 March 1919 – 16 July 2009) was a prominent Carnatic musician and a playback singer for film songs in many Indian languages. D. K. Pattammal and her contemporaries M. S. Subbulakshmi and M. L. Vasanthakumari were popularly referred to as the “female trinity of Carnatic Music.” Pattammal has been appreciated all over the world by Carnatic music lovers. This trio initiated the entry of women into mainstream Carnatic Music.

Pattammal was born on March 28, 1919 at Kancheepuram in Tamil Nadu, India. She gave her first public performance in Chennai at the age of 14. She quickly rose to stardom, and her musical career has spanned more than 65 years.


DK Pattammal (right) in concert with her brother, DK Jayaraman; circa early 1940s.Pattammal’s sweet disposition and humble nature belie the fact that she started a few revolutionary trends in Carnatic music[3]. She is the first Brahmin woman to have performed this music publicly, both on stage and on air. Brahmins ranked as the highest in the caste hierarchy prevalent in India in the early 20th century, and society considered it taboo for a Brahmin woman to perform on stage. Furthermore, Pattammal is also the first woman to have performed Ragam-Tanam-Pallavi on stage. Ragam-Tanam-Pallavi (or Pallavi) is the most difficult concert item in Carnatic music. Before Pattammal, it classed as a male stronghold. Not only did Pattammal boldly venture into Pallavi-singing, but she also performed very complex Pallavi-s in intricate Talas (rhythmic cycles) impressively enough to earn the respect of her male peers. For this reason, she became dubbed “Pallavi Pattammal”. Today, many female Carnatic musicians perform Ragam-Tanam-Pallavi as the main item in their concerts.

Pattammal popularized many compositions of Muthuswami Dikshitar and Papanasam Sivan. Particularly, she has a reputation as an authority on the compositions of Muthuswami Dikshitar. She has learnt authentic versions of Dikshitar’s compositions from Ambi Dikshitar (Dikishitar’s grand-nephew)[4] and from Justice T. L. Venkatrama Iyer[5].

Pattammal has performed in numerous venues throughout India, the United States, and other countries. Although she received many offers to sing for films, she only accepted those which involved the singing of devotional or patriotic songs. She has popularized several nationalistic compositions of Subrahmanya Bharati, and other composers.

Pattammal has received several awards and titles throughout her career. Most notably these include the title “Gana Saraswathi” bestowed on her by the musician Tiger Varadachariar, the Sangeetha Kalanidhi (considered the highest accolade in Carnatic music) in 1970, the Padma Bhushan from the Government of India in 1971, and the Padma Vibhushan, India’s second-highest civilian honor, in 1998.

Pattammal possesses a full-throated voice in the low alto/high tenor range. Her outstanding musical qualities include an overwhelming technical expertise, an uncompromising adherence to pitch and rhythm, and clear enunciation of lyrics. Her performances of shlokas and viruttams (poetry or verse sung improvisationally without rhythmic accompaniment) express great emotion. She also has a reputation as a very disciplined musician. As a child she woke up before dawn and practised for hours. Throughout her performing career she meticulously planned her concert items weeks in advance and practised rigorously[citation needed].

Pattammal’s style of singing attracted many students, foremost among them her younger brother D.K. Jayaraman, who sang with her in several concerts, and who himself received the Sangeetha Kalanidhi in 1990. A few of her other popular students include Lalitha Sivakumar, Geetha Rajashekar, Nithyasree Mahadevan, and Bhavadhaarini Anantaraman. Pattammal has taught students from several countries.

1. Varanam - Viroboni - Ata - Pachi Iram Appayya
2. Dinamani Vamasa - Harikambhoji - Adi - Thyagaraja
3. Naan Oru Villayattu Bommaya - Navarasa Kannada - Adi - Papanasam Sivan
4. Nilayadakshi - Puras - Thriputa - Shyama Sastri
5. Kanaga Sabapathy - Dhanyasi - Adi - Gopalakrishna Bharathi
6. Yentha Cheluvage - Karnataka Devi Kandhari - Adi - Purandaradasa
7. Petra Thaaithanai - Ragamalika - Ramalinga Swamigal
8. Thoomani Madathu - Hameerkalyani - Adi - Andal - Thiruppavai
9. Shanthi Nilaivavendum - Thilank - Adi - Sethu Madhava Rao

Composers:
Andal, Papanasam Sivam, Ramalinga Swamigal, Sethumadhava Rao, Gopalakrishna Bharathi, Shyama Shastri, Pachimiriam Adiapayya, Tyagaraja
Flac tracks (EAC Rip): 290 MB | MP3 - 320 kbs: 180 MB | Booklet Scans

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National Geographic: Music Traveller - Spain

Track Listings
--------------
[01]. La Rumba De Nicolas - Gipsy Kings
[02]. Los Muchachos De Mi Barrio - Chambao
[03]. No Se Si Vivo O Sueno - Ketama
[04]. Sevilla - Remedios Amaya
[05]. Mi Gato - Rosario
[06]. Limon De Nata - Vincente Amigo
[07]. La Fiesta De Colega - Los Chorbos
[08]. Por Tu Ausencia - Manzanita
[09]. Coplas De Barquero - La Paquera
[10]. Soleares Populares - Paco De Lucia
[11]. Azul - Montse Cortes
[12]. Yo Escocho Los Cantos - Enrique Morente
[13]. Duelo De Guitarras - Manolo Sanlucar
[14]. Yo Me Quedo En Sevilla - Pata Negra
[15]. Solea - Radio Tarifa

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Thousand And One Nights : Tales from Scheherazade

Track Listings
--------------
[01]. N Rimsky Korsakov - Scheherazade the Storie of the Kalender Prince
[02]. Johann Pachelbel - Canon in D Major
[03]. L Van Beeethoven - Sonata Moonlight I Adagio Sostenuto
[04]. Samuel Barber - Adagio for Strings
[05]. Erik Satie - Gymnopedie
[06]. G. Frideric Handel - Water Music Menuet
[07]. Frederic Chopin - 24 Preludes in E Minor Largo
[08]. Alexander Borodin - Nocturne for String Orchestra
[09]. Maurice Ravel - Pavane Pour Une Infante Defunte
[10]. W Amadeus Mozart - Piano Concerto in C Major Theme from Elvira Madigan II Andante

| MP3 VBR kbps | Scans | 80 MB | 2008 |

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Watafiti - Umoja

Watafiti
Umoja, 1990

1. Umoja
2. Usinisogelee
3. Nkanankwee
4. Mnyonge Hana Hak
5. Koba
6. Karibuni Tanzania
7. Tega Sikio
8. Krezi Kona

Ebrahim Kapinga - lead guitar
Carolla Kinasha - lead vocals
Chimwemwe Dave Marana - lead & rhythm guitar
Tedddy Mbarak - bass guitar, keyboards
Charles Mhuto - drums
Ebrahim Mtunwa - drums
Omari Naliene - African bamboo flute, kalimba, marimba
Abdullah Omari - African drums, congas
Ali Rhashku - rhythm guitar
Kick van der Heuvel - keyboards

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Music of the Whirling Dervishes

A lush studio recording of Turkish sufi music, it was made during a 1978 tour by the "Whirling Dervishes" troupe. Originally a two-LP set, this tape presents over 80 minutes of ritual chanting, soothing nay flute improvisations, and evocative instrumental interludes. Recording quality is amazing -- smooth and richly detailed, providing a marked contrast to previously available field recordings. As with the best spiritual music, these sounds have a unique ability to carry the listener away to mystical lands. ~ Myles Boisen, Roots & Rhythm, All Music Guide

1. Naat-I Mevlana (Blessed Eulogy)
2. Ney Taksimi (Ney Improvisation)
3. Pesrev (Instrumental)
4. Ney TaksimiAyin-I Serif, Pt. 1 (Blessed Ceremony)
5. Ayin-I Serif, Pt. 2Ney Taksimi (Blessed Ceremony)
6. Kuran-I Kerim (Recitation from the Koran)
7. Ney Taksimi (Ney Improvisation)

Credits

* Whirling Dervishes, [Main Performer]
* Huseyin Top [Vocals, Voices]
* Abdi Coskun [Tambur]
* Nihat Dogu [Kemence]
* Dogan Ergin [Ney]
* Sadeddin Heper [Kudum]
* Kani Karaca [Kudum]
* Cuneyd Kosal [Kanun]
* Akagunduz Kutbay [Ney]

FLAC tracks (EAC Rip): 420 MB | MP3 - 320 kbs: 180 MB | Front Cover

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World Music Library - Muisc of Kazakhstan I

Interesting introduction to Kazak traditional music

The singers and performers on this CD do an excellent job. Their songs highlight a lot of Kazak folkloric themes and legends, such as a tale of two young men who fall in love with the same girl and compete in an archery game for her love. The first series of songs (#1-#8) is singing accompanied by the dombra, which is a plucked instrument. The second series (#9-#15) features the kobyz, a bowed instrument which has a very mysterious sound and used to be played by Kazak shamans. Participating artists are Kapash Kulysheva, Kairat Baibosynov, and Smagul Unbetbaev. The CD comes with a booklet (with text in English and Japanese) which explains the themes of the 15 songs.

[01]. Koshtasu - Kapash, Kulysheva
[02]. Pankoilek (A Proud Girl) - Kapash, Kulysheva
[03]. Bulbulym [Kazakh Folksong] - Kapash, Kulysheva
[04]. Tolkyn (Waves) - Baibosynov, Kairat
[05]. Balkhadisha - Kairat, Baibosynov
[06]. Surzheki (Racehorse) [Kazakh Folksong] - Baibosynov, Kairat
[07]. Toliagai - Baibosynov, Kairat
[08]. Ardak (Kazakh Folksong) - Kairat, Baibosynov
[09]. Zhalgyz Ayak (A Person With One Leg) - Unbetbaev, Smagul
[10]. Zholdy Konyr - Smagul, Unbetbaev
[11]. Erden - Smagul, Unbetbaev
[12]. Kazan - Smagui, Unbetbaev
[13]. Shynyrau Kus - Smagul, Unbetbaev
[14]. Kambar Batyr - Smagul, Unbetbaev
[15]. Akku (Swan) - Unbetbaev, Smagul

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Raga Vardhana Dasa - Transcendental Village

Track Listings
--------------
1. Hare Krishna I
2. Sri Guru Vandana
3. Jaya Govinda !
4. Prema Dvani
5. Jaya Sri Sri Panca Tattva
6. Hare Krishna II

HERE

Vranisht - Kenge polifonike läbe

Vranisht Kenge polifonike läbe, 2003

In Albania’s extreme southwest, the Labs region, a complex style of unaccompanied singing has evolved using a counterpoint of tonalities, and it’s been beautifully captured and recorded at a live concert for the CD, Vranisht: Kenge Polofonike Läbe. There is a saying there that goes, ‘One traveller is alone, two argue, but three sing!’ And this singing style is alive and well in the small mountain towns of Vranisht and Lapardha, where the singers, who work as farmers, shepherds, tradesmen, shopkeepers and teachers during the day, gather at night to sing. The vocal combination of a lead singer with a counter lead, a drone and another voice that warbles and flutters is quite unlike anything else you’ve heard.

Kenge Polifonike Läbe, performed by the vocal group Vranisht, presents the wonders of Albanian polyphony, recorded live at a French festival. The Albanian polyphonic vocal style is very much a living tradition, partly as a result of the old regimes ideological promotion of authentic folklore to “define the national and communist identity.” The singers are workers from two villages in the mountainous Southwest of the country, Vranisht and Lapardha, where their proverb states, “one traveler is alone, two argue but three sing!”

01. Me se ta hodha sevdane
02. Minushe me state nure
03. Ago, Ago, Ymer Ago
04. Mélodi me fyell
05. Doli Bejka nga katundi
06. Janines ç’i pane syte
07. Kam qene sevdalli per kenge
08. Po vjen lumi trubullo
09. Vogelushe, Vogelo
10. Mélodi me cule dyjare
11. Pret rroba Janak kauri
12. Kur vije zallit perpjete
13. O Djale I nenes I Djale
14. Te shkembi qe punon bleta
15. Ate nate s’kishe dale hena
16. Do filloj duke menduar
17. C’u keput nje kembi mali

Nazif Celaf - Vocals
Arap Celoleskaj - Vocals
Nikolin Likaj - Vocals
Teki Kanani - Vocals
Lavdosh Shkurtaj - Vocals
Muhamet "Meti" Tartari Vocals
Arjan Kasanlliu - Vocals

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Sheikh Yasin Al-Tuhami - Magic of the Sufi Inshad

From one of the greatest Sufi munshids in Egypt today, this recording is essentially the only Western label representation for Sheikh Yasin al-Tuhami. Here, he goes through an inshad. The recording can be relatively drawn out, with a single track on each of the dual CDs. Nonetheless, one may find much worth listening to here: al-Tuhami has added melodic instruments to the general Sufi percussion (and neys). The kamantche and tabla are both introduced into the music here, and are used to good effect. The practice that he used is a three-part program, with the first and last parts somewhat more structured, and the middle section to be used primarily for his improvisation through the mode. This is used well throughout the performance. For a newfound listener to various Sufi-based music, this is certainly an important album to give a listen, though the range of Sufi music covers much from this inshad to the qawwal of Pakistan. ~ Adam Greenberg, All Music Guide

The Magic of the Sufi Inshad' presents a wonderful expression of reviving the ancient voices of the past to the present. Shaykh Yasin Tuhami draws his material mostly from the poetry of the Sufi Master and Saint Shaykh Umar Ibn Farid of Egypt, as recorded in his famous work, The Diwan. Recited eloquently in Arabic language with such emotional force to penetrate the heart, the listener will never be the same afterwards....

Disc: 1 [01]. Qâlbî Yuhaddithuni
Disc: 2 [02]. Labbayka...

Personnel:
Sheikh Yasîn Al-Tuhâmi (vocals);
Muhammad Farghaly Muhammad (oud);
Ahmad Muhammad Ahmad (nay);
Taha Muhammad Yehia Muhammad (tabla).

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Munir Bachir - Meditations

Munīr Bašīr (1930, Mosul, Irak - September 28, 1997, Budapest, Hungary) was an Iraqi composer and oud player, considered as a master of Arabic maqām scale system.

It is music that makes you respect the mind that came up with it!
Take it, meditae in it, feel it, a pleasure for the soul, and a peace for the mind, then after you come back from that wonderful feeling, contemplate how it made you feel like you have gained some wosdom. Like it did to me !

1. Duca - Invocation
2. Raja - Imploration
3. Al-Naqa - La Purete
4. Al-Mawlawi

Flac (EAC Rip): 200 MB | MP3 - 320 kbs: 130 MB| Covers

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Ustad Vilayat Khan - Raga Khamaj

Vilayat Khan Raga Khamaj India Archive Music, 2003

Ustad Vilayat Khan performs an extensive alap/jor/jhala in the light-hearted and romantic raga "Khamaj." The performance is a masterpiece of spontaneous composition providing a comprehensive overview of the raga's melodic themes and potential, as well as a perspective on Vilayat Khan's own contributions to raga development, and sitar technique and playing-style.

Raga Khamaj
1. Alap
2. Mini-Jor
3. Mini Ati-Jor
4. Interlude
5. Ati-Jor & Ulta Jhala
6. Epilogue

Vilayat Khan - sitar
Recording date: July 1991 (New York)

320 kbps including full booklet scans

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Golden Brass Summit - Fanfares en délire

For fans of Gypsy brass bands like Fanfare Ciocarlia, this is a must-have set, from the recording archives of the annual summer festival in Guca, Serbia. It includes some well known names like Boban Marcovic and Milovan Babic, but the real treasure is in the wealth of classic sounds going back almost 40 years, recorded live and in the real spirit of dancing and community that are the earmarks of such performances. There is also a strong vocal component here, to get the full range of music form this most amazing festival. Featuring Boban Markovic, Dusan Radetic, Fejat Sejdic, Milan Nikolic, Nani Ajdinovic, Ljubisa Stamenkovic, Jovica Ajdarevic, Bakija Bakic, Slobodan Salijevic, Milovan Babic, Durmis Ismailovic, Ekrem Sajdic, Meka Ajdinoic, Sinisa Stankovic – all with their "orkestars" and Milicia Stosic, Paganke, Spasoje Jovic, Vica Choir, Vladan Baralic, Ferus Mustafov, Budimir Ilic, Aca Novkovic.

Every summer, the town of Guca in Serbia hosts an amazing and utterly unique brass festival in which as many as four hundred brass bands - regional winners chosen from twice that number in previous heats - compete for the coveted prize of the Golden Trumpet. The festival attracts crowds of 300,000 and seals the fortunes of the winners - at least until the next competition comes around - because the best are in huge demand to play at the biggest weddings and other major celebrations. Most of the prizes are carried away by the virtuoso Gypsy musicians.Golden Brass Summit is a retrospective survey of the finest work of the past forty years, selected from some 1300 recordings in the archives of the House of Culture in Guca. Many of these recordings have never been published before. This double CD is an anthology of musical styles ranging from emotive ballads with imaginative solo passages to the irresistible sound of the exhilarating Gypsy dance "Cocek". The album also includes some of the music that can be heard on the fringes of the festival: polyphonic singing, accordion, violin and flute - and young trumpet players who can hardly be seen behind their instrument. This is a musical rarity that will enthral not only lovers of brass bands and unusual Balkan rhythms. Featuring Boban Markovic, Dusan Radetic, Fejat Sejdic, Milan Nikolic, Nani Ajdinovic, Ljubisa Stamenkovic, Jovica Ajdarevic, Bakija Bakic, Slobodan Salijevic, Milovan Babic, Durmis Ismailovic, Ekrem Sajdic, Meka Ajdinoic, Sinisa Stankovic – all with their "orkestars" and Milicia Stosic, Paganke, Spasoje Jovic, Vica Choir, Vladan Baralic, Ferus Mustafov, Budimir Ilic, Aca Novkovic.

Disc: 1
(01). Boban Markovic Orchestra - Psenicice Sitno Seme
(02). Boban Markovic Orchestra - Dzumbus Kolo
(03). Boban Markovic Orchestra - Izvorski Biseri
(04). Boban Markovic Orchestra - Bobanov Cocek
(05). Dusan Redetic Orchestra - Gajda
(06). Fejat Sejdic Orchestra - Ne Kuni Me, Ne Ruzi Me Majko
(07). Milan Nikolic Orchestra - Ramo, Ramo
(08). Nani Ajdinovic Orchestra - Eldemezov Cocek
(09). Ljubisa Stamenkovic Orchestra - Ljubisino Kolo
(10). Ljubisa Stamenkovic Orchestra - Vlasotinacki Cocek
(11). Jovica Ajdarevic Orchestra - Srbin Cocek
(12). Jovica Ajdarevic Orchestra - Jovicin Cocek
(13). Bakija Bakic Orchestra - Tursko Kolo
(14). Milica Stosic - Petlovi Poje
(15). Ljubisa Stamenkovic - Djokin Codek
(16). Jovica Ajdarevic Orchestra - Acin Cocek
(17). Slobodan Salijevic Orchestra - Sukrijin Cocek
(18). Bajika Bakic Orchestra - Crnotravka
(19). Milovan Babic Orchestra - Stara Uzicanka
(20). Bakija Bakic Orchestra - Niska Banja
(21). Durmis Ismailovic Orchestra - Romski Cocek

Disc: 2
(01). Paganke - Prioni Mobo Za 'lada
(02). Ekrem Sajdic Orchestra - Ne Kuni Me, Ne Ruzi Me, Majko
(03). Slobodan Salijevic Orchestra - Prekodolski Cocek
(04). Meka Ajdinovic Orchestra - Elvisov Cocek
(05). Meka Ajdinovic Orchestra - Djelem, Djelem
(06). Bakija Bakic Orchestra - Romski Cocek
(07). Spasoje Jovic - Sheppard's Call
(08). Vica Choir - Da Vr' Brda Saran Guja Spava
(09). Vladan Baralic - Preletese Ptice Lastavice
(10). Bakija Bakic Orchestra - Svekrvino Kolo
(11). Ferus Mustafov - Kavadarsko Tesko Oro
(12). Sinisa Stankovic Orchestra - Zar Ja Nemam Ruse Kose, Svekrvo, Bre
(13). Budimir Ilic - Trajanac
(14). Nani Ajdinovic Orchestra - Cocek Zora
(15). Fejat Sejdic Orchestra - Izgubljeno Jagnje
(16). Aca Novkovic Orchestra - Juzno-Moravsko Kolo
(17). Ekrem Sajdic Orchestra - Mito Bekrijo
(18). Slobodan Salijevic Orchestra - Stani, Stani Ibar Vodo
(19). Nani Ajdinovic Orchestra - Haredinov Cocek
(20). Milovan Babic Orchestra - Stojanke Bela Vranjanke
(21). Opening Ceremony Of The Brass Summit - Sa Ovcara I Kablara

Flac tracks (EAC Rip): 840 MB | MP3 - 320 kbs: 430 MB | Booklet Scans

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Topeng Cirebon-Tarawangsa: Sudanese Music From West Java

Panca Bakti / Anang Supriya Topeng Cirebon - Tarawangsa.
Sundanese Music from West Java , 1996

Performances of the topeng masquerade are given for many different occasions in West Java, to honor of ancestors or to celebrate harvests or births. The composition Tatalu is generally heard as an instrumental opening of topeng performances and serves to call the audience, so the real performance can begin. The dance topeng rahwana takes as its theme power, courage, and bravery but also desire and lack of restraint. Finally, tarawangsa is a genuine popular art is performed on the tarawangsa (a violin with an end pin) and the jentreng (a kind of seven-stringed zither). Its ceremonial significance is associated with a ritual of thanksgiving associated with the rice harvest. Tarawangsa can also be played for healings or even purely for entertainment.

Panca Bakti - Topeng Cirebon (Beber/Ligung)
1. Tatalu
2. Topeng Rahwana / Klana
3. Topeng Rumiang
Anang Supriya & Hani Supriya - Tarawangsa (Sumedang)
4. Saur - Pangameut
5. Panimang
6. Angin-Angin
7. Bangbalikan
8. Bangun

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Legends Of Calypso

Features the legendary Calypso artists: Andre Toussaint, Blind Blake, Calypso Mama, Mighty Panther, Colin Kelly, Calyps Eddie and more
A collection of 25 witty and humorous Calypso songs – historical recordings and greatest hits by some of the greatest Calypso stars of the 1940s and 1950s.
over an extremely broad range of styles from classic testifying to folk styles to crooned ballads. Probably one of the most (in)famous double-entendre calypso songs The Big Bamboo is included here given wittily brilliant treatment by its composer Mighty Panther who contributes several other pithy pieces to the collection. Calypso Eddie gives an extroverted version of the staple Matilda, Calypso Mama warns the men Don’t Touch Me Tomato while balladeer Andre Toussaint croons Yellow Bird over a Cuban beat.

[01]. Calypso Island ~ Andre Toussaint
[02]. Court House Scandal ~ Calypso Mama
[03]. Lizzie Carry Basket ~ Peanuts Taylor
[04]. De Pig An' Goat ~ Blind Blake
[05]. Brown Skin Gal / Mary Ann ~ Blind Blake
[06]. Crazy Like Mad ~ Leslie Scott & Irene Williams
[07]. Matilda ~ Calypso Eddie
[08]. Back To Back ~ Harold Digby McNair
[09]. Barbados Carnival ~ Mighty Panther
[10]. Bedbug Song, The ~ Mighty Panther
[13]. De Peas 'N' De Rice ~ Calypso Mama
[12]. Gin & Coconut Water ~ Blind Blake
[13]. Yellow Bird ~ Andre Toussaint
[14]. Mama Hold De Light ~ Mighty Panther
[15]. Bahama Lullaby Rock ~ Blind Blake
[16]. Don't Touch Me Tomato ~ Calypso Mama
[17]. Hold 'Em Joe ~ Andre Toussaint
[18]. Scratch My Back ~ Leslie Scott & Irene Williams
[19]. Bellamena ~ Blind Blake
[20]. Nora Nora ~ Mighty Panther
[21]. O' Look Misery ~ Blind Blake
[22]. Watermelon Spoilin' / Here I Go Walkin' ~ Andre Touissant
[23]. Monkey Song, The ~ Blind Blake
[24]. Big Bamboo, The ~ Mighty Panther
[25]. Snorkel Song, The ~ Colin Kelly

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Girija Devi - Kaun Des Gaye Chhalbalia

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.

1. Khayal Abhogi Kanara
2. Thumri Bhairavi
3. Kajri
4. Kajr i

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Sussan Deyhim - Madman of God

Sussan Deyhim
Madman of God.
Divine Love Songs of the Persian Sufi Masters

This collection of classical melodies from the Persian repertoire is based on the poetry of Rumi, Hafez and other Sufi writers from the 11th to the 19th cenruries. These pieces are as well known by my grandparents as they are by my own generation, and they represent the torch songs of classical Persian music. -

Sussan Deyhim is a composer, vocalist and performance artist who has been at the forefront of experimental music internationally for over two decades. Deyhim's music combines extended vocal techniques, digital processing, and the ancient mysticism of Middle Eastern music to create a deeply moving fusion of East and West. Born in Tehran, Sussan Deyhim began her career dancing with Iran's Pars National Ballet company (performing weekly on Iranian national television), and then with Maurice Béjart's Ballet of the 20th Century. She moved to New York City in 1980, embarking on a multifaceted career encompassing music, theater, dance and media, and wide-ranging collaborations with leading artists from across the spectrum of contemporary art. Deyhim has performed and recorded widely as a solo artist. Her one-woman show Vocodeliks, commissioned by the Whitney Museum of Art, led Billboard Magazine to describe Deyhim as "an overpowering presence...[whose] wordless incantations are amplified in harmonized layers and recycled into sampled loops, beckoning you into this virtual desert ritual" while the New York Times said that her "thrilling music...sounds in the ear long after you've left the show." Deyhim's solo recordings include Madman of God: Divine Love Songs of the Persian Sufi Masters, Shy Angels (with Bill Laswell) for the visionary label Crammed Discs and Turbulent. Other recordings include Majoun (for Sony Classical) and Desert Equations (released on Crammed Discs), both with the composer Richard Horowitz, a frequent collaborator. With composer and director Heiner Goebbels, Deyhim recorded Shadows (for ECM), based on writings of Edgar Allan Poe and Heiner Mueller, and composed and performed music for Deepak Chopra's A Gift of Love, with narration by Martin Sheen, Madonna, Goldie Hawn, and Debra Winger. She was also a featured soloist on Hal Wilner's tribute to Kurt Weill, Lost in the Stars. Deyhim's numerous collaborations with the renowned visual artist/filmmaker Shirin Neshat have received critical acclaim, including the video Turbulent, which won the Golden Lion at the Venice Biennial. Their multimedia performance Logic of the Birds was based on Farid ud-Din Attar's mystical book of poetry written in the 12th Century; produced by the Lincoln Center Summer Festival, the Walker Art Center, the Kitchen, and Artangel, Logic toured internationally. Deyhim's previous work in the theater includes directing, co-composing, choreographing and performing a series of collaborations with Horowitz including: AZAX/ATTRA: Desert Equations (a one-woman multimedia performance piece produced by La Mama in New York City which toured internationally including Ars Electronica in Austria, Morocco, Paris, Berlin and Hong Kong)(; The Ghost of Ibn Sabbah (presented by the Brooklyn Academy of Music/New Music America, Central Park's Summerstage, and NYC's Town Hall); and X-Isle/Isle-X, commissioned by the Hong Kong Cotemporary Dance Company (which subsequently toured in Japan and Indonesia). As a performer, Deyhim has appeared in many international theater productions, including works by Elizabeth Swados, Jean Claude Van Italie, and Lindsay Kemp. Deyhim has appeared on numerous film soundtracks including The Last Temptation of Christ, directed by Martin Scorsese, with music by Peter Gabriel), Any Given Sunday, (directed by Oliver Stone; soundtrack by Richard Horowitz) and Unfaithful (directed by Adrian Lyne, with music by Jan Kaczmarek.) Deyhim has collaborated with many of the most important figures in contemporary music, including Micky Hart, Branford Marsalis, Jerry Garcia, Jaron Lanier, Christian Marclay, Elliot Sharp, Arto Lindsay, Jan Mattox, Loren Rush and Winston Tong. She has also toured internationally with Bill Laswell, Bobby McFerrin, Ornette Coleman, Jah Wobble, Will Calhoun, Doug Wimbish, Adrian Sherwood, Keith Le Blanc and Skip McDonnald. Deyhim has been a frequent participent at humanitarian events and benefits, including a performance at the gathering of the spiritual leaders of the world at the UN General Assembly in 2001; the first Gathering of Female Spiritual Leaders in Geneva at the United Nations, a 2004 performance for the Nobel peace prize winner Shirin Ebadi's award ceremony organized by Interfaith Center; the Royal Hope Gala, Royal Albert Hall, London, England with Placido Domingo, The Royal Ballet and many others, for medical aid to Iraqi children; and Witness, a benefit for human rights, sponsored by Peter Gabriel. Deyhim's current projects include a multimedia opera Zarathustra's Mother (inspired by Friedrich Nietzsche's Thus Spoke Zarathustra and sacred Zoroastrian texts), "Vorkestra", an all vocal album in collaboration with the visionary English producer Marius Devries, a collaboration with the Oscar winning Polish composer Jan Kazcmarek performing as a soloist, his orchestral film music with the USC Thornton Symphony and the Hollywood Film Chorale in Los Angeles at the Royce Hall in Jan 06 and a recent collaboration with composer Paul Haslinger (Tangerine Dream) and the legendary vocalist Nona Hendrix on the score for the anticipated "Showtime" new series "Sleeper Cell" which will air on Dec 05.

1. Gereley (Nocturnal Dialogue)
2. The Candle & The Moth
3. Daylaman (Inextricalbe)
4. Meykhaneh (Wine Cave)
5. Bade Saba (The Wind Of Saba)
6. Negara (Mesmerized Mirror)
7. Hamcho Farhad (Our Tears, Our Wine, Our Sight)
8. Navai (Savage Bird)

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Sheikh Ahmad Al-Tûni - The Sultan Of All Munshidin

Ahmad Al-Tuni comes from the village of Hawatka, near Assiout, and is one of the last great munshidin (singers of the inshad dini, the islamic sacred song or hymn) of Upper Egypt. Beneath the starry sky of the nights without end when the sufis celebrate their rituals in the villages of the Upper Nile region, all is dusty and dimly lit; then, as the night lengthens, its penetrating chill gradually seeps through the air, mingling with the fervent clamour of the devout. From the midst of this somewhat chaotic expression of faith, the munshid's voice rises forth and induces via the dhikr (literally a memory or remembrance) the state of trance common to sufi ritual. On Egyptian soil, the dhikr - where the name of god is recited according to some special breathing techniques - takes on the aspect of an ancient rite where all and sundry take part and indeed, where no-one can avoid entering into the trance-like state, as if there were no need to belong to any
particular brotherhood (tariqa). It includes the hadra, that moment of collective spirituality, where the common man can enter into the presence of the divine; this is an open, creative event where a whole range of emotional behaviour is expressed. No matter whether one is a disciple of Ahmad Al-Badawi, the founder of the Egyptian way known as the Ahmadiyah, or a member of the Shadhiliyah, the brotherhood created by Abu Al-Hasan Al-Shadili from Fez in Morocco, or a member of Ahmad Al-Rifa'i'rifa'iyah brotherhood, founded in Southern Irak in the 12th century, everyone flocks towards the sound of the munshid's voice. he is the true master of ceremonies, he will throw forth several spirited phrases guaranteed to charm and win over his public in exactly the way he wants.
The inshad or sacred chant is the central pillar of organisation here. In this context, where there are absolutely no authoritarian or religious sanctions from on high banning music and emotion, it is the munshid who controls everything, and and as a result the inshad is both freer and all the richer in musical terms.
Generally speaking, the religious singing of today recalls Arab music in urban style from before the 30's. This fact has been drawn to our attention by Michael Frishkopf. A small mixed instrumental group (the takht) in which each instrument is allowed to keep its individuality and express it in richly ornamented style, a flexibility of form that can include vocal and instrumental improvisations, the inclusion of some deliciously sensual modulations that float from one mode (maqam) to another, the whole punctuated with melodic rhythms (qafla-s): these are the traits that give this particular style its inherent richness.
So little by little the munshid has built up his ensemble and its musical potential. Thus we find the instruments originally linked to this type of singing the daf, the naqrazan (a percussive copper drum to be struck with sticks) the raq (a little tambourine with tiny cymbals attached) or the qawal (the flute) this is the instrumentation still used by Shaykh Barrayn but others have started to make a timid appearance, too: the Egyptian tabla, for instance, the kamantcha (the oriental violin), the 'ud and even occasionally the qanun. the musicians who perform on these instruments are not necessarily great virtuosi in the classical or strict sense of the term, but rather than being masters of a technique, one senses their devotion, their desire to amplify and serve the voice of the singer.
The great Egyptian munshid Ahmad Al-Tuni, a master of the inshad, chants almost in the manner of an actor from earlier times declaiming his lines. He holds his sipa (the muslim rosary) in one hand and accompanies his poetry with expressive gestures and mime; his body moves nervously to and fro, from side to side, as if to mark the violently forceful rhythms of the daf and the Egyptian tabla. he recalls better than anyone those singers of former times known as the mutrib, literally "one who creates tarab", the singers who produced the ideal blend of emotion from the mingling of words and voice.


Track List
CD 1
01. Qulub al ashqine (The hearts of lovers)
02. Al qalima al qadima (The original word)

CD 2
01. Allah mahabba (God is love)
02. Alam (The name of the creator)

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Ulman - Vibes

Ulman Vibes Heideck/Löwenzahn, 2006

Ulman are a group of twentysomethings from Leipzig/Germany. Ten years back they were the "young turks" of the traditional folkie scene in germany. They studied music since and came back recently with a very interesting musical concepts and were among the three winners of the first national contest of "creole - world music from Germany" - rightly so. I attended the three days of competition concerts in Dortmund, May 2007 and they were the unexpected heroes (unexpected by me at least), better even than on this CD. Sort of techno on hurdy gurdy in places, with viola, trombone, bass and a very peculiar drum, self-created, a full drum set in one portable bass drum, complete with cymbals, snare, tom, bass drum, all inside the one drum.

(01). Farmors Brudpolska
(02). Filz
(03). Strange Lines
(04). Quann Cy Mûl Mouche
(05). E-Tabou
(06). Loola
(07). Bordun House
(08). Pam 7
(09). Fiddle Execution
(10). I'm So Sorry
(11). Gehübung
(12). Popsong
(13). Bad Vibes/Wild Vibes

Till Uhlmann - hurdy gurdy, violin
Andreas Uhlmann - trombone, flutes
Johannes Uhlmann - diatonic accordion, viola
Uli Stornowski - ulman-drums

320 kbps including full booklet scans

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Gazel - Classical Sufi Music Of The Ottoman Empire

Turkish ney player Kudsi Erguner has made a career out of resurrecting Turkish traditional music, and here he uses his five-piece ensemble -- which also features his brother Suleyman Erguner on ney, Hasan Esen on kemence, Mehmet Emin Bitmez on ud, and Husnu Anil on kanun -- to back up three noted singers, Yusuf Bilgin, Fevzi Misir, and Aziz Bahriyeli, on musical settings for a series of poems by Ottoman figures dating back to the 16th century and up to the 20th. On each track, only one of the singers performs, and the musical treatments are semi-improvised in the form called "Taksim," which Erguner explains in the liner notes as only being allowed once a musician has mastered the required traditional musical forms, qualifying him to create variations consistent with existing styles. The singers bring considerable feeling to their interpretations, and the ensemble backs them effectively. ~ William Ruhlmann, All Music Guide

(01) [Yusuf Bilgin] Esin var asiyanin var (Poems of Mehmet Akif)
(02) [Fevzi Misir] Efendimsin (Poems of Seyh Galib)
(03) [Aziz Bahriyeli] Halk icin muteber (Poems of Kanuni Sultan Suleyman Han)
(04) [Yusuf Bilgin] Ey gonul yari iste (Poems of Fuzuli)
(05) [Fevzi Misir] Ey bulbul-i seyda (Poems of Niyazi'i Misri)
(06) [Aziz Bahriyeli] Ruzi seb (Poems of Sultan Selim III)
(07) [Yusuf Bilgin] Ol Lezzeti vehhale (Poems of Nabi)
(08) [Aziz Bahriyeli] Sabreyle gonul (Poems of Hoca Dehhani)
(09) [Yusuf Bilgin] Zahmi sinemden (Poems of Baki)

Yusuf Bilgin (Vocals ,
Kurt Renker (Kanun),
Fevzi Misir (Vocals),
Mehmet Emin Bitmez (Ud),
Husnu Anil (Kanun),
Walter Quintus (Kanun),
Hasan Esen (Kemence),
Kudsi Erguner (Ney),
Aziz Bahriyeli (Vocals),
Suleyman Erguner (Ney),

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The Rough Guide to the Music of Madagascar

Madagascar, the world’s fourth largest island, has incredible ethnic diversity and rich history. The Rough Guide To The Music Of Madagascar features music across the broad Malagasy spectrum – from the island’s spicy dance music to the purest music from the highlands. Featuring the valiha (a tubular bamboo zither) and lokanga (three-stringed fiddle), among other instruments specific to the island, this album explores the diverse Malagasy culture that has been influenced by Arab, Persian, Chinese, Indian and European societies over the years.

(01). Tsy Zanaka Mpanarivo - Jaojoby
(02). Kokafoka - Ny Antsaly
(03). Era - Vakoko
(04). Ka Mipoerapoera - Hazolahy
(05). Ankitiny - Toto Mwandjani
(06). Gasy Mahay Mihano - Monja
(07). Aloka - Tarika
(08). Tolombolagne - Vilon Androy
(09). Tadidiko Ry Zalahy - Mahaleo
(10). Zaza Somondrara - D'Gary
(11). Andesy Moramora - Koezy
(12). Mahafinaritra - Rajery
(13). Mbola Tiako Anao - Teta
(14). Taraka - Daniel Tombo
(15). Solofaka - Ny Sakelidalana
(16). Eka Lahy - Regis Gizavo

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Golden Legends - Blues Legends

Track Listings
--------------
[01]. Mississippi Fred Mcdowell - good morning little school girl
[02]. Big Maybelle - i cried for you
[03]. Memphis Slim - cow cow blues
[04]. Leadbelly - big fat woman
[05]. B.B. King - the other night blues
[06]. Lightnin' Hopkins - lonesome dog
[07]. Buddy Guy - first time i met the blues
[08]. Ray Charles - blues is my middle name
[09]. Charles Brown - big legged woman
[10]. Roy Brown - boogie woogie blues
[11]. James Cotton Band - fanny mae
[12]. Johnny Otis - barrelhouse blues
[13]. Jimmy Mcgriff - jumping the blues
[14]. B.B. King - you've done lost your good thing now

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Cesаria Evora - Cabo Verde

Like Ireland, Cape Verde is a former island colony which has perennially lost its young people to emigration. And like its Irish counterpart, Verdean music is filled with songs of separation and homesickness. Cesaria Evora, the greatest Verdean singer of her generation, includes several of those songs on Cabo Verde, her sixth album overall but only her second release in the U.S.
With a population descended from former Portuguese colonialists and former African slaves, Cape Verde closely resembles Brazil and has produced a music with similar rippling syncopation and light, sensual vocals, though the Verdean sound is marked by the breezy lilt characteristic of islands. But when Evora sings mournfully of a "Partida" (departure) that will take her love far away, anyone who has ever experienced such a separation will recognize the mix of pain and affection in her voice. That voice is a very special instrument, for it glides gracefully over the supple beat even as it resounds deeply in Evora's lower range and fills up with warm, enveloping resonance. She is backed by a small, all-acoustic Verdean combo led by the ukulele-like, four-string cavaquinho. American jazz great James Carter plays tenor saxophone on "Coragem Irmon," but Evora has no problem matching his thick, buttery tone.

CABO VERDE is a great album for fans of world music. CESARIA EVORA has such a captivating voice, that the listener will be unable to stop listening to it. The songs are beautifully sung, with great melodies that makes this the perfect album to just lie back and listen to. When I listen to it, I feel like I am being trasported to another land. The songs are filled with emotion that the listener will be able to feel. Every song that is on this album is great, I cant find any songs here that I dont like. I first heard of CESARIA EVORA when I purchased CAFE ATLANTICO, which is another album that I highly recommend. I just love her voice and the emotion that pours out of her. This is a great addition to any music collection.

(01). Tchintchirote
(02). Sabine Larga'm
(03). Partida
(04). Sangue De Beirona
(05). Apocalipse
(06). Mar E Morada De Sodade
(07). Bo E Di Meu Cretcheu
(08). Coragem Irmon
(09). Quem Bo E
(10). Regresso
(11). Zebra
(12). Mae Velha
(13). Pe Di Boi
(14). Ess Pais

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İstanbul Senfonisi Vol. 1-12 [Box-Set]

The Symphony of Istanbul is telling the history, beauty and mystical panorama of one of the most beautiful cities of world, Istanbul by instrumental works of the masters.

here is no conductor or no orchestra of this symphony. Sometimes a note of a solo instrument, sometimes a big ambiance of several instruments will make you travel Istanbul in your imagination. The symphony of Istanbul is performed with the Classical Turkish instruments, sometimes with the colourful touches of western instruments like violoncello, bass, piano and guitar. It includes 12 albums based on 12 instruments on main compositions tastes like Istanbul, smells like Istanbul. You can enjoy Romance, played by nai in one album of The Symphony of Istanbul or an entertaining dance piece of piano and tanbour in another album. In one album you can have a deep emotion caused by an oud player with eleven strings of eastern sorrow or you can feel the mysticism of the city by qanun. The set contains 12 CDs : Dogu Ruzgari (Wind of East), Sur (Rampart), Kubbe (Dome), Gece (Night), Baris (Peace), Ask (Love), Erguvan (Purple Flower), Saray (Palace), Huzun (Sorrow), Bogazici (Bosphorus), Kopru (Bridge), Dusler (Dreams).

Sur (Rampart) - Doğu Rüzgarı / İstanbul Senfonisi 1 Wýnd Of East 1 :

(01)- Göç
(02)- Doğu Rüzgarı
(03)- Gün Işığı
(04)- Yağmurla Gelen
(05)- Sarmaşık Duygular
(06)- Kerbelâ
(07)- Çöl-
(08)- Başka Bir Âlem-
(09)- Çocukluğum
(10)- Sır Kapısı

Düşler (Dreams) - Kayıp Düşler / İstanbul Senfonisi-2

(01)- Ferahfeza Saz Semâî
(02)- Piyano Taksimi
(03)- Sultâniyegâh Saz Semâîsi
(04)- Hicâz Saz Semâîsi
(05)- Muhayyerkürdî Saz Semâîsi
(06)- Şehnâz Longa
(07)- Tanbur Taksimi - Nihâvend
(08)- Nihâvend Peşrev
(09)- Mâhur Saz Semâî
(10)- Hicazkâr Saz Semâî
(11)- Kürdilihicâzkâr Saz Semâî
(12)- Kürdilihicâzkâr Saz Semâî

Doğu Rüzgarı (Wind Of East) - Doğu Rüzgarı 2 / İstanbul Senfonisi-3

(01)- Dağlara Yükseliş
(02)- Atlantis
(03)- Asya
(04)- Çoban Bayatısı (azerî)
(05)- Kabile
(06)- Mâhûr
(07)- Sıla
(08)- Kervan
(09)- Doğu'nun Senfonisi
(10)- İpek Yolu
(11)- Türkmenistan
(12)- Azerbaycan

Köprü (Bridge) - Gecenin Sesi / İstanbul Senfonisi-4

(01)- Gecenin Sesi
(02)- Romance
(03)- Sarı Çiçek
(04)- Sevdim Seni
(05)- Hint Kuşu
(06)- Ah Leylâ
(07)- Gipsy Sufî
(08)- Sükût
(09)- Dua

Boğaziçi (Bosphorus)-Hayal Gibi/İstanbul Senfonisi-5

(01)- Sultanîyegâh Saz Eseri
(02)- Muhayyelkürdî Saz Semâîsi
(03)- Sultanîyegâh Saz Semâîsi
(04)- Sultanîyegâh Sirto
(05)- Neveser Saz Semâîsi
(06)- Nihavend Sirto-2
(07)- Hicâz Saz Semâîsi
(08)- Hicâz Saz Semâîsi
(09)- Kürdilîhicâzkâr Saz Semâîsi
(10)- Nikriz Çeşitleme
(11)- Muhayyelkürdî Saz Semâîsi

Gece (Night) - İstanbul Senfonisi
(Best of Mystic Music/ The Symphony of Istanbul) - 6

(01)- Ay
(02)- Dua
(03)- Raks
(04)- Sevdim
(05)- Burak
(06)- Gece
(07)- O'nu Anmak
(08)- Yıldız
(09)- Buluşma
(10)- Yakamoz
(11)- Derman Aradım

Saray (Palace) - Hisleniş / İstanbul Senfonisi-7

(01)- Gözyaşı
(02)- Hisleniş
(03)- Usta'ya Saygı
(04)- Ayışığı
(05)- Bâd-ı Sabâ
(06)- Uzaklar
(07)- Aşk
(08)- Ayrılık

Barış (Peace) - Değişen Anlar / İstanbul Senfonisi-8

(01)- Blue Camel
(02)- The Man in the Mosque
(03)- Hüzzâm Saz Semâîsi
(04)- Changing Moments
(05)- Percussion Solo From Iran to Egypt
(06)- Pizmon Layakinton
(07)- Rast İlâhî
(08)- Wish For Peace
(09)- Jani

Hüzün (Sadness) - Sezgiyle Seslenişler / İstanbul Senfonisi-9

(01)- Vuslat
(02)- Cân-ı Cân
(03)- Aşk Yolu
(04)- Kainât
(05)- Mecnûn
(06)- Devrân
(07)- Ana Hasreti
(08)- Hoş Sadâ
(09)- Gül Bahçesi
(10)- Bahar Düşleri
(11)- Sultân-ı Sevdâ
(12)- Gönül Nevâsı
(13)- Bosna
(14)- Nev-Bahâr
(15)- Kanun Taksimi
(16)- Yakıyor Bağrımdaki Ateş

Kubbe (Dome) - Neyistan / İstanbul Senfonisi-10

(01)-Perde Kaldırma-Sadreddin Özçimi
(02)-Acemşîran Taksim#Peşrev - Şevkefzâ Saz Semâî#Taksim Evc-ârâ Taksim#Saz Semâî-Sadreddin Özçimi

Aşk (Love) - Aşk Zinciri-2 / İstanbul Senfonisi-11

(01)- Sultanım
(02)- Nergis Bakış
(03)- Leylâ
(04)- Sevdâmız
(05)- Bülbül
(06)- Yağmur Gözlüm
(07)- Gülşen
(08)- Dilbesteyim
(09)- Feryâd
(10)- Seni Görünce
(11)- Dün Gece
(12)- Hû

Erguvan (Purple) - Gençlik Hülyaları / İstanbul Senfonisi-12

(01)- Hüseynî Taksim
(02)- Tarla Dönüşü
(03)- Arazbar
(04)- Gençlik Hülyâları-
(05)- Sultanîyegâh Taksim
(06)- Sultanîyegâh Saz Semâîsi
(07)- Hicâz Saz Semâîsi
(08)- Kürdîlihicâzkâr Taksim
(09)- Kürdîlihicâzkâr Saz Semâîsi
(10)- Kürdîlihicâzkâr Longa
(11)- Nihâvend Taksim
(12)- Nikrîz Oyun Havası

192 Kbps including Covers

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

Shakti With John McLaughlin

John McLaughlin's Shakti was (and still is) a musical marvel like no other, blending Indian elements with the finest in-the-moment spontaneity of true jazz - and, as per usual for McLaughlin, often doing it at a dizzying pace that borders on the utterly insane. "Joy" lets us know that from the first note, kicking off with a hyper start and never letting up for its entire 18 minutes. John's acoustic guitar trades licks with L. Shankar's violin, one right after another, somehow never letting the lightning pace get in the way of the melody itself. Ahh, that's the remarkable thing about this album - they constantly weave through, over and around the central groove, never slipping into an atonal blizzard of notes but always keeping that tight control.. no matter how fast things get. McLaughlin and Shankar take shorter and shorter turns as the track builds, finally reaching a thunderous release as everyone wails away like mad. If those adjectives sound like an exaggeration for an acoustic string band, then you just haven't experienced this particular adrenaline rush for yourself.
Though the sizzling-hot group interaction stems from the jazz tradition, the compositions and instruments involved are Indian in nature: ghatam, mridangam and tabla form the basis of rhythm (and there's PLENTY of rhythm underpinning everything as well). If you don't quite know what those are, well, they basically stand for a lot of earthy tapping and thumping. They're absent through the quick "Lotus Feet," which basically serves as a peaceful breather before things fire up for the closing half-hour, but they return with a vengeance later on. A sizable portion of "What Need Have I..." gives John and Shankar a chance to catch their breath while the percussion section whips up a heady rhythmic stew all their own.. almost sounding as if there's a whole dance company pounding away rather than just three men. The track overall follows a similar approach to "Joy," but with more of a gradual buildup than a constant frenzy. I'm pretty sure that if they'd tried to keep that pace through another entire tune, half the group would have ended up collapsing onstage. Oh yeah - did I mention that all this stuff is happening live?

For all its head-spinning complexity and incredible virtuosity, this disc is eminently listenable and easily enjoyable by anyone - jazz fan or not, Indian music lover or not, fellow musician or not. If you're the least bit curious about Shakti, start right here

1. Joy Shakti
2. Lotus Feet Shakti
3. What Need Have I For This-What Need Have I For That-I Am Dancing At The Feet Of My Lord-All Is Bliss-All Is Bliss

Flac tracks (EAC Rip): 300 MB | MP3 - 320 kbs: 160 MB | Booklet Scans

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Stella Rambisai Chiweshe - Chisi

Stella Rambisai Chiweshe
Chisi, 1990

Stella Rambisai Chiweshe is one of the few women playing the male-dominated mbira-based music of the Shona people. Born in the late 1940s, Chiweshe grew up in Zimbabwe's forest region of Mhondoro, about 45 miles from the capital city, Harare. Chiwese began learning to play the mbira dza vadzimu in 1964. It was very unusual for a girl to play mbira at that time and Chiweshe had to face the dissaproval of her community, where woman performers were often treated as "loose women." Chiweshe perservered to become perhaps the best known player of the instrument outside Zimbabwe.

The mbira dza vadzimu is a sacred instrument used by the Shona people of Zimbabwe to call on the spirit of their ancestors in ceremonies called "bira." In these traditional cermonies the repetitive, chiming melodies and rhythms of the mbira combine with the hosho (gourd rattles), singing, and sometimes drumming (on the ngoma), to inspire the ancestors to offer advice and guidance through a spirit medium.

In 1974, Chiwese recorded her first single "Kasahwa," useing a borrowed mbira, The song was a hit and she went on to record 24 singles over the next six years. She joined the National Dance Company in 1981 and began to travel to other countried to perform. These days Chiwese maintains a home in both Zimbabwe and Germany and tours extensively throughout Europe and the Eastern United States. In early 1998 she appeared as one of three women showcased on the Global Divas tour (the other two acts being Susana Baca and Tish Hinojosa), which toured all over the U.S.

01. Ndinderere
02. Huya Uzoona
03. Mikono
04. Nyamaropa Pachipembere
05. Gwendere - Gwendere
06. Mapere
07. Kundara Kwangu
08. Rwuye Rwuye
09. Mudzimu Dzoka
10. Machena
11. Baya Wa Baya
12. Zungunde
13. Dande
14. Mese Maikwana
15. Kuzanga

Stella Chiweshe - vocals, mbira, ngoma, clapping
Virginia Mkwesha - vocals, mbira, hosho, clapping
Gilson Mangoma - baritone marimba, vocals, clapping
Leonard Ngwenya - soprano marimba, percussion, vocals, clapping
Charles Willie - guitars
Eric Makorora - bass guitar
Tonderai Zinyau - drums

320 kbps including full Scans

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The The Peking Opera: The Forest on Fire / The Princess Hundred Flowers

La forêt en feu - La princesse cent-fleurs
(The The Peking Opera: The Forest on Fire / The Princess Hundred Flowers)

Track Listings
--------------
1. The Forest On Fire, Scene I: Denouncing the Usurper At the Wedding
2. The Forest On Fire, Scene IV: Stopping the Royal Chariot On Its Way
3. The Princess Hundred Flowers, Scene I: Giving a Sabre As an Alliance Token
4. The Princess Hundred Flowers, Scene III: Giving Orders to the Generals
5. The Princess Hundred Flowers, Scene III: Falling In the Trap
6. The Princess Hundred Flowers, Scene IV: The Disparition of a Flower

320 kbps including full scans

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Sufi Music Of Türkiye (Dergâh)

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

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

VBR kbps including full scans

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AL TARAB: MUSCAT UD FESTIVAL [4CD BOX SET]

This stunningly packaged box set from leading jazz label Enja is one of the most lavish and beautiful CD collections I have ever seen. Over four discs, we are treated to the highlights of this festival, dedicated to new and old works for the oud or Arabic lute by the leading players of the Arabic world. The first CD is for solo oud, the second is oud and voice and the third and fourth are for oud and orchestra and feature some newly commissioned works. All of this comes in an elaborate oriental-style cardboard slipcase and (weighing in at 1 kg) shows the way in how to present a musical genre artistically and in depth.

The Muscat Oud Festival, held from November 29 to December 1, 2005 in Muscat, Sultanate of Oman, was the first of its kind worldwide. It was organised as part of the cultural renaissance in the Sultanate of Oman that started around 1970. For the first time in history, this festival has featured on one stage the whole Arabic world's today's most admired players of the oud, the Arab lute, which has been the symbol of Arabic music since ancient times. Even today the oud plays an outstanding role in the traditional education of young Arabic musicians: Playing and singing, rhythms, music theory and melodic modes are taught on this instrument. At the festival, the oud was presented both as a virtuosic solo instrument and as a singer's instrument for self-accompaniment. Last but not least it was also presented as a concerto instrument with symphony orchestra -- a very recent development, now forced by the Sultanate's belief in cultural modernization. Beside Atiyya Sharara's oud concerto of 1983, two more orchestral works with the oud were brought to stage, composed especially for the festival by Egyptian Ammar El-Sherei who also played the oud part along with the Royal Oman Symphony. However, the first Muscat Oud Festival not only proves the rich possibilities of the oud but the wealth of Arabic music as a whole that has many musical genres and more than 150 melodic modes. Above all, the festival's overwhelming performances show the irresistible power of "al tarab", the Arabic concept of "enchantment" which means communicating joy and sadness to the audience in a deep, spontaneous, heart-gripping manner. Arabic musicians are noted for their ability to improvise in singing, playing or poetry and to move the listener by the sheer expression of the moment's feelings. Al Tarab reveals the blues and soul of the oriental world.

Track Listing

Disque: 1
[01].Salim bin Ali al-Maqrashi - Taqasim, Maqam Nahawand
[02].Salim bin Ali al-Maqrashi - Longa Nahawand, Maqam Nahawand
[03].Salim bin Ali al-Maqrashi - Taqasim, Maqam Rast
[04].Salim bin Ali al-Maqrashi - Samai Rast, Maqam Rast
[05].Salim bin Ali al-Maqrashi - Taqasim, Maqam Kurd
[06].Salim bin Ali al-Maqrashi - Musiqa Qasidat "al-Karnak"
[07].Said Chraibi - Musiqa, "hawatir andalusiyya"
[08].Said Chraibi - Musiqa
[09].Said Chraibi - Taqasim, Maqam Rast
[10].Said Chraibi - Samai Rast, Maqam Rast
[11].Mamdoh El Gebaly - Musiqa, Hawatir Misriyya, Maqam Rast
[12].Mamdoh El Gebaly - Taqasim, Maqam Higaz-Kar
[13].Mamdoh El Gebaly - Samai Rahat Al-Arwah, Maqam Rahat Al-Arwah

Disque: 2
[01].Abadi al-Johar - Musiqa
[02].Abadi al-Johar - Ughniyat
[03].Abadi al-Johar - Taqasim, Maqam Rast
[04].Abadi al-Johar - Musiqa Ughniyat
[05].Abadi al-Johar - Taqasim, Maqam Higaz Kar
[06].Abadi al-Johar - Ughniyat
[07].Ahmad Fathi - Taqasim, Maqam Nahawand
[08].Ahmad Fathi - Ma'zufah In Adani Rhythm, Maqam Nahawand
[09].Ahmad Fathi - Musiqa
[10].Ahmad Fathi - Mazufat
[11].Ahmad Fathi - Ughniyat
[12].Ahmad Fathi - Ughniyat
[13].Ahmad Fathi - Ughniyat

Disque: 3
[01].Alaa Hussein Saber - 1st Concerto For Oud And Orchestra. I.Allegro
[02].Alaa Hussein Saber - 1st Concerto For Oud And Orchestra. II.Andante
[03].Alaa Hussein Saber - 1st Concerto For Oud And Orchestra. III.Allegro [04].Safwan Bahlawan - Taqasim, Maqam Rast
[05].Safwan Bahlawan - Taqtuqat
[06].Safwan Bahlawan - Taqasim, Maqam Nahawand
[07].Safwan Bahlawan - Qasidat
[08].Safwan Bahlawan - Taqasim, Layali & Mauwal
[09].Safwan Bahlawan - Taqasim, Layali & Mauwal
[10].Safwan Bahlawan - Qasidat

Disque : 4

[01].Ammar El-Sherei - Dialogue Between Oud And Orchestra. I.Allegro Moderato Maestoso
[02].Ammar El-Sherei - Dialogue Between Oud And Orchestra. II.Andante
[03].Ammar El-Sherei - Dialogue Between Oud And Orchestra. III.Allegro
[04].Ammar El-Sherei - Variations On Arabic Melodies

MP3 VBR H.Q kbps including full Booklet scans, 400 MB

Part 1 | Part 2 | Part 3

Kinshi Tsuruta ‎– Satsuma - Biwa

The satsuma-biwa, a type of lute, has its own traditions and repertoire. The energetic and percussive style featured in the music composed for this instrument appeared in 16th-century South Kyusu, whose then-ruler wrote its first lyrics. Tsuruta, one of the major living interpreters of satsuma-biwa, sings three contrasting songs here. The music is exemplary; the notes are brief but adequate.

1. Banquet De Printemps
2. Yoshitsune
3. Dan No Ura

FLAC (EAC Rip): 240 MB | MP3 - 320 kbs: 130 MB | Front Cover

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Stan Getz - Voices

Five "Mellow" Stars!! Every one of these stars is for the MAGNIFICENT Mr. Getz and the 'Quartet +'. The concept of this recording is Getz & Company with wordless voices, mostly in a latin vein. The "voices" part, however, is little more than pretty window dressing most of the time. Tracks where the wordless vocal backings work best are on the 'Pieces De Resistance': Horace Silver's classic "Nica's Dream" where the voices are minimal (an all-time favorite Getz song of mine that has jumped from vinyl record to reel-to-reel tape to 8 track tape to cassette tape formats, and finally to ITunes digital format in my collection. Whew!!), the theme from the eponymous motion picture "I Want To Live" (where the vocal group heats up considerably), and the bossa nova "Little Rio" after the bridge and on the coda. The voices do provide a nice cushion for each song, but they usually arise late in each song and ultimately contribute little, in and of themselves. But it's Getz who is absolutely ON FIRE, improvising with mellow aplomb, totally in need of no 'concept', spinning each song on it's thematic sonic edge, pushed on by his bandmates.

The admirable support 'quartet plus percussion' consists of Herbie Hancock or Hank Jones (piano); Jim Hall (guitar); Ron Carter (bass); a fiery Grady Tate (drums); with Artie Butler, Bill Horwath, and/or Bobby Rosengarden on percussion. Claus Ogerman conducts the voices. The tracks are 4 minutes or less, so little or no solo opportunities are there for this wonderful support group of jazz all-stars but they provide great propulsion and meaningful background commentary for each song. It's Getz who gets the "Focus" (an inside Getz-fan joke, see below) and he makes the most of every opportunity. LOL

Other "Pieces De Resistance" are "I Didn't Know What Time It Was" (with a fabulous Jim Hall out-of-time introduction) and "Where Flamingo's Fly": all marvels of cool and daring Getz improvisation. The late Stan Getz was an AMAZING jazz musician; one of the greatest ever. Thank goodness for his huge discography. Highly Recommended!! If you love Getz, this is a wonderful addition to any jazz collection, a great present, or a great place to begin a Getz collection. Forget 1961, this is timeless.

1. Once
2. I Didn't Know What Time It Was
3. Nica's Dream
4. Little Rio 2:27
5. Keep Me In Your Heart
6. Zigeuner Song
7. I Want To Live
8. Where Flamingos Fly
9. Midnight Samba
10. Infinidad
11. Darling Joe

WV (EAC Rip): 190 MB | MP3 - 320 kbs: 80 MB | Covers

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WV
HERE

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Düet Guitar & Ney Instrumental Sufi Music

Instrumental sufi music played on ney and guitar, derived from popular devotional islamic/sufi songs.

[01]. Uyan Ey G'zlerim
[02]. Derman Arad'm
[03]. Gel G'r Beni
[04]. Güzel A'k
[05]. G'çtü Kervan
[06]. Ey A'k
[07]. Tevhid Etsin Dilimiz
[08]. Severim Ben Seni
[09]. Aol Cennetin Irmaklar?
[10]. Dil Hanesi
[11]. Mualla Gavsi
[12]. Milk-i Beka
[13]. Gül Yüzün

Credits to "salahudin"

MP3 160 kbps, Front Cover

HERE

Derviches Tourneurs De Turquie 2

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

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

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

3. IKINCI SELÂM (Second salutation)

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

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

6. RECITING THE KORAN by Hafiz Kemâl Oxmutlu

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

VBR kbps including Front Cover

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Badar Ali Khan - Lost In Qawwali II

The cousin of Qawwali legend Nusrat Fateh Ali Khan, Badar Ali Khan kept the family musical tradition alive in the wake of the former's death. His recordings include 1997's Lost in Qawwali and the following year's sequel. ~ Jason Ankeny, All Music Guide

A decade ago, it would have been hard to imagine that the ancient Pakistani tradition of Qawwali, the Sufi devotional music, would have become a prominent musical trend in the world, already with layers of history and controversy. The remarkable vocalist Nusrat Fateh Ali Khan, who died on August 6, 1997, at the too-tender age of 48, was the catalyst who captivated audiences around the world with his intense yet controlled flights of passion, suggesting a blending of sexual and spiritual energy. Qawwali continues to state its case in the world market, even without its charismatic godhead.

The current cause celebre in the music appears to be Khan's young 33-year-old cousin Badar Ali Khan, whose new release Lost in Qawwali 2 (Triloka) furthers the process of catching up with a career already in full swing in Pakistan. Like his legendary kin, young Khan is a commanding and gymnastic vocalist fronting a group with harmonium, interactive vocalists, expert clapping rhythms, and improvisational virtuosity to spare. The music, divided up into four flowing pieces of 15-minute length and one brief, irrelevant "Kalander Trance Mix."

In that same mixed up, synthesized vein comes another new release from Badar Ali Khan, The Mixes (Baba 0786; 33:34). This is not a good place to start for those just getting into Qawwali, but it's a reasonable example of how the music can be interwoven with contemporary electronic textures and grooves-the remix thing. Khan's for some; the interface is flimsy and potentially sacrilegious, stemming from the dubious impulse to take venerable non-Western tradition and stuff it into strictly Western filters, digitally and culturally speaking. The results are less inspiring than a trick, like some of Nusrat Fateh Ali Khan's questionable experiments in East-West crossover. The original music is so powerful, it's hard to listen to this without thinking of cross-cultural dilution.

1. Everyday I Look at Your Picture
2. Way You Walk
3. Intoxicating Eyes
4. I Fall in Love With You
5. Kalander [Trance Remix]

MP3 256 kbps, Front Cover [120 MB]

HERE