Welcome To The Voice

Performers of this opera are: Profane Voices: Dionysos: Sting The Friend: Robert Wyatt Chief Of Police: Elvis Costello The Workers: The London Voices/Le Choeur Des Amis Francais Sacred Voices: Opera Singer: Barbara Bonney Ghost Of Carmen: Sara Fulgoni Ghost Of Butterfly: Nathalie Manfrino Ghost Of Norma: Amanda Roocroft Brodsky Quartet: Violins: Andrew Haveron, Ian Belton Viola: Paul Cassidy Cello: Jacqueline Thomas Piano, Moog Synthesizer, Theremin: Steve Nieve Clarinets, Saxophones, Shakuhachi, Bass Flute: Ned Rothenberg Trumpet: Robert Wyatt Guitars: Marc Ribot Electric Bass Guitar: Sting Cymbals: Antoine Quessada

[01]. Dionysos - Prologue Of Dionysos
[02]. Ghost Of Carmen, Dionysos - Song Of The Ghost Of Carmen
[03]. The Friend, Dionysos, The Workers - Grand Grand Freedom
[04]. Dionysos - Unfailing Welcome To The Voice
[05]. Ghost Of Butterfly - Song Of The Ghost Of Butterfly
[06]. Ghost Of Norma - Song Of The Ghost Of Norma
[07]. Dionysos - To Be Is Strong
[08]. Opera Singer, Dionysos - Perfume Song
[09]. Dionysos - The Desire Of Dionysos
[10].Chief Of Police, The Workers, The Homeless,The Friend - Troublemaker
[11].Opera Singer - Don't Touch Him
[12].All Except Chief Of Police - Distanciation
[13].The Friend, Dionysos - Happiness?
[14].Chied Of Police, Dionysos, Opera Singer, The Friend, Ghost Of Butterfly, Carmen, Norma - Despair
[15].Dionysos, Opera Singer, All - The Unlikely Duet

VBR kbps including Covers

HERE

Soothing Sounds Of Shenai

Us tad Bismillah Khan is a virtuoso peer on the shennai, and is the acknowledged Grand Mater of this Indian instrument, to which he has devoted his life. Hailing from an illustrious family of renowned shenai players, he gave his first public performance in 1930, at the "All India music conference" in Allahabad, while he was barely 14.
He has won several awards and titles including the Title of Akhil Bhaatiya Shehnai Chakravarty" from the National Cultural Organization and the most coveted " Padma Vibhushan" from the government of India.

Ustad Bismillah khans music is filled with majesty and brilliance and an abundance of color, texture and beauty. His improvisations are magical in their essence with passages in comparably sweet, melancholic and joyous.

Shehnai
Spirituality and devotion define the origin of music in India. Most of the Hindu Gods and Goddesses are associated with music and rhythm, which is often depicted in the act of music making. Even today, the auspicious sound of the Shehnai, filling the atmosphere with a comforting harmony and inspiring concord, can be heard in temples during early mornings. The same follows during the evening prayer and also at weddings as it is said to bring good fortune for the newly wed. The size of the Shehnai ranges from one foot to one and a half feet. Nadaswaram is the South Indian equivalent of Shehnai. By controlling the breath, various tunes can be played on Shehnai. According to the scholars of the Indian music, the present day Shehnai was developed by improving upon the pungi. The production of musical notes is wholly dependent on the manipulation of the fingering technique. A seasoned player uses a combination of lip and tongue-work along with dexterous fingering during recitals.

History
Shehnai is believed to have been introduced in India by the Muslims. One of its most prominent uses was in the ensemble called the naubat (or nahabet), which was played at the courts of the Mughal Emperors. Naubat spread the status of the Shehnai, which came to be regarded as an indispensable part of every celebration of every religion. Slowly, it began to be used during pujas. The Shehnai came to be associated with the temple and thereby was known as `mangalvadya` or an auspicious instrument. While a person belonging to the priestly class blew the Shankh, or the conch, during sacred rituals inside the worship area, Shehnai players, who belonged to the lower caste, played the reed instrument from outside the worship area. No social ceremony such as engagement, marriage, childbirth and the investiture of the sacred thread was complete without the soothing strains of the Shehnai. It was not until the beginning of the 20th century that this instrument was granted the status of a classical instrument.

Description Of The Instrument
Shehnai is made completely of wood except for the metal bell at its enlarged lower end. There are basically two functional parts of Shehnai: the reed and the tube. There are two small reeds held together, leaving small gap between them. The reeds are fixed to the tube of the instrument and the main body of the instrument is the tube which is the resonator. It is conical in shape, narrow near the blowing end and opening out gradually. Usually, there is metallic 'bell' at the farther end. The tube is usually of wood, but may be of metal also. It has a total of seven playing holes and one or two more for adjusting the pitch. One plays the Shehnai by controlling the flow of air through the column (though with a different technique), and obtains desired pitches by partially or completely covering the holes. The accompanying drone (sruti or sur) is provided by a fellow reed instrument, which looks like the Shehnai but has only two or three holes. These are stopped wholly or partially with wax so that the player can tune the drone to the desired pitch.

Occasions
The sound of Shehnai creates and maintains a sense of auspiciousness and sanctity and, as a result, is widely used during marriages, processions, and in temples of West India. Shehnai plays one of the most important parts of any Indian wedding music, parties and welcome occasions etc., be it for a Bengali, Rajasthani, Gujarati or Punjabi wedding. The music of Shehnai adds a special charm to a marriage ceremony with its tune heightening the mood of the celebration.

Famous Shehnai Players
The contributions made by players such as Chhote Khan, Gaurishankar and Nandlal, who was Chhote Khan's disciple, belonging to Benaras, to elevate the Shehnai to the level of a concert instrument has been immense. More than anyone, it is Ustad Bismillah Khan who was solely responsible for popularizing the Shehnai as a concert instrument, both nationally and internationally.

Credits to "Wildstrings"

Flac (EAC Rip): 330 MB | MP3 - 320 kbs: 130 MB | Covers

Archives have 5% of the information for restoration

FLAC
Part 1 | Part 2

OR MP3 320 kbps
HERE

Burhan Ocal: Jardin ottoman (Ottoman Garden)

You can feel the life of ottomans really in Burhan Ocal's music.When I listened the album, ý feel like I was living in an ottoman life,and I'm proud to be from his nationality.I think a real musician must be like Burhan Ocal.He can play so many kinds of instruments.You must see his performance or listen before you die...

01. Taksim: Taksim 1
02. Pesrev: Pesrev
03. «Nideyim Sahn?»
04. Taksim: Taksim 2
05. «Vucud Ikliminin Sultanisin Sen»
06. Taksim: Taksim 3
07. «Bir Gonlume,? »
08. Taksim: Taksim 4
09. «Bir sebeple gucenmisin»
10. «Sahane Gozler»
11. Pesrev: Pesrev 2
12. «Cini Giyusuna?»
13. Taksim: Taksim 5
14. Pesrev: Pesrev 3
15. «Cam-i askin?»
16. Taksim: Taksim 6
17. Pesrev: Pesrev 4
18. «Sem-i Ruhuna»: «Sem-i Ruhuna» (Part I)
19. «Sem-i Ruhuna»: «Sem-i Ruhuna» (Part II)
20. «Ben Bu Aska»

192 kbps including Covers

HERE

Moorish Music from Mauritania

Amazing Female and Male Vocals, Hypnotic Trancelike Acoustic Set followed by Electric Set that will make you want to get up and dance.

Dimi Mint Aba is now a world music superstar; it is tragic her stuff is unavailable and out of print in the USA. Is it a masonic conspiracy, or just too much brittany spears. Would like to hear this on the loud speakers at whole foods and not just the same ole same ole 60's rock.

1. Waidalal Waidalal
2. Yar Allahoo
3. Hassaniya Song For Dancing (Lebleyda Wigsar)
4. Hassaniya Love Poem (Wana Laily Ya Allah)
5. The Tortoise's Song (Ishteeb Laggatri)
6. Independence
7. Art's Plume (Sawt Elfan)
8. Oh Lord Bring Apartheid Crashing Down!
9. Mauritania My Beloved Country
10. My Young People Do The Youth Of Nations Invite
11. Autoot

Flac (EAC Rip): 380 MB | MP3 - 320 kbs: 170 MB | Covers

Archives have 5% of the information for restoration

FLAC
Part 1 | Part 2 | Part 3

OR MP3 320 kbps
HERE

Twelve Girls Band - Beautiful Energy/Romantic Energy

Twelve Girls Band - Romantic Energy

At first it seems Romantic Energy is interchangeable with Twelve Girls Band's other releases, but dig a little deeper and you'll notice the album makes less concessions to America and Europe. The big difference is the ambitious cover this time isn't a Coldplay track but the romantic "Flower" by Japanese popsters Orange Range, a song mostly unheard of in the West at the time of this album's release. With a beautiful, strolling melody, "Flower" is one the band's best efforts to date and surrounded here by slightly less sugary, more sensible choices than usual. "Whispering Earth" by Domo labelmate Kitaro fits the band's ancient Eastern instruments meets modern music style perfectly while the title track utilizes all Twelve Girls without the forced theatrics that made their other albums less and less interesting with each listen. Skip the sappy take on "El Condor Pasa" and you've got a more rewarding album than expected from the borderline gimmicky outfit. Even if these little baby steps toward substance won't win over the snobs, Romantic Energy points the band in the right direction and suggests they'll outlive Riverdance and the other adult contemporary spectacles. ~

[01].Ruten
[02].Whispering Earth
[03].Dunhuang
[04].From The Beginning Till Now
[05].Flower
[06].River Shule
[07].Mogao Grottoes
[08].Romantic Energy
[09].Fairies Of Yardan
[10].Ihojin
[11].Yangguan
[12].Carnival
[13].Yueya Spring
[14].El Condor Pasa
[15].Tang Court Ensemble
[16].Ten-Sided Ambush
[17].Lovers
[18].Victoria's Smile

| MP3 320 Kbps | Front Cover | 175 MB |

HERE

Twelve Girls Band - Beautiful Energy

Twelve Girls Band: is a music group with thirteen female artists, always appearing as twelve on stage, using traditional Chinese instruments to play both Chinese traditional and Western songs. Formed on June 18, 2001, the girls were selected by audition from over 4000 contestants, all studying at prestigious schools in the People's Republic of China (China). They have become very popular in Japan (holding the highest sales numbers of any Chinese musical artist ever), the PRC, Hong Kong, and abroad. Twelve Girls Band has played two tours in the United States. Among the instruments used by the women: erhu (Chinese violin), pipa (pear-shaped lute), guzheng (zither), yangqin (hammered dulcimer), dizi (transverse flute), and xiao (vertical flute). Rarely, the duxianqin (single-stringed zither) and hulusi (three-piped gourd flute) are employed.

[01].Century Flower
[02].Love story in Tokyo
[03].Flow of the River
[04].Alamuhan
[05].Hang Rila
[06].The star on earch
[07].Miracle
[08].Freedom
[09].Take Five
[10].The forbidden palace
[11].Dream of the lady
[12].Liu San Jie
[13].Mountains and Rivers
[14].No Word
[15].Hepbeat

| MP3 320 Kbps | Front Cover | 150 MB |

HERE

Rabih Abou-Khalil - The Sultan's Picnic

Composer and oudist Rabih Abou-Khalil generates variety and interest by bringing aboard different guest musicians for each album. The personnel on Sultan's Picnic is so similar to that of Blue Camel that one might expect them to sound similar. But there's a key difference in the presence of Howard Levy on Sultan's Picnic. Levy is a talented harmonica player who has done a lot of offbeat work, including a stint with Béla Fleck & the Flecktones. Despite the power of Charlie Mariano on alto sax and Kenny Wheeler on trumpet, this album is dominated by the idioms of the harmonica, specifically the jazzy, quirky, lackadaisical idiom popularized by Levy's work with the Flecktones. This domination is noticeable from the beginning, on "Sunrise in Montreal." Occasionally, the harmonica recedes to the background and allows other instruments to shine through. On "Solitude," Levy provides only the occasional raspy sound effect, while Abou-Khalil steps forward with an instrument he had custom-built: the bass oud. Other novel instruments put in an appearance here as well. Michel Godard huffs and toots away on the tuba and its archaic predecessor, the serpent. (This is in addition to Steve Swallow on bass.) Whether because of the multitude of instruments -- all the aforementioned, plus three percussionists and an uncredited electric guitar -- or just too much influence from Levy, the album lacks focus, except when it sounds like the Flecktones. There are exceptions, like "The Happy Sheik" and "Snake Soup," where Abou-Khalil sounds like his dramatic self again. But on these tracks, Levy is used mostly as punctuation. ~ Kurt Keefner, All Music Guide

[01]. Sunrise in Montreal
[02]. Sollitude
[03]. Dog River
[04]. Moments
[05]. Lamentation
[06]. Nocturne Au Villaret
[07]. The Happy Sheik
[08]. Snake Soup

Ape (EAC Rip): 280 MB | MP3 - 320 kbs: 130 MB | Scans

Archives have 5% of the information for restoration

Ape
Part 1 | Part 2

OR MP3 320 kbps
HERE

Nusrat Fateh Ali Khan - The Last Prophet

This is true qawwali selection. I will strongly recommend the readers to look into it. It has the devotional element to the nth degree and one becomes very emotional listening to it. I was very touched by the first two Qawwalis. They have a strong emotional and religious bent in them and one gets carried away while concentrating on the verses. The last two are equally worth listening. The 3rd one talks about the Sufi Baba Farid Gunj-ae-Shukar. And has a strong tinge of a qawwali recited on Urs of the Sufi Buzurgs. The last one has more of a romantic influence. In short, a very nice blend and a keep!

I own many of this great man's albums,but this is without a doubt one of his most brilliant and certainly his most inspirational cd.The music on it is sincere and one could listen to it for hours and hours.It is very effective on long distance journeys and at times can be very relaxing.Maki Madni and Sochan Dongian are inspirational songs and there is a deeper meaning to both these tracks.However,most of you will probably just enjoy listening to this mans inspirational voice and the excellent beat to most of these songs on this album.I am certain you will enjoy it.

1. Maki Madni
2. Sahib Teri Bandi
3. Ganj-E-Shakar
4. Sochan Dongian

320 kbps including Covers

HERE

Oliver Shanti & Friends - Listening To The Heart

A way of the self identification. This album can open hearts. Discovered and left untouched hundredthousand of listeners the secret of the language of their heart stress, depression and commonplacenesses simply outside.

1. Waves Of Symphony
2. Beating Heart
3. Listening To The Heart
4. Rainbow Liberty
5. Mirror Sea Reflects The Mind
6. Maha Maha Maha Deva
7. Kriya Galaxy

320 kbps including full scans

HERE

Oliver Shanti & Friends - Alhambra

Oliver Shanti & Friends brought together many top-musicians from all over the world. Alhambra - no place else could represent the meeting of Christianity and the Arabian Culture in a better way. No other CD could unite the sounds of two spiritual worlds in a clearer and deeper way. Sounds of Flamenco, Arabic scales, deep emotions and a wide range of harmonious music! A topical masterpiece and a bridge for universal understanding.

With its own unique blend of world music, New Age, Pop and Oliver Shanti quickly become one of the big names among the New-Age-Künstlern. Once he is on frühereren plates of Indian music (Well Balanced) and Far Eastern philosophies (Tai Chi) inspired, now stands at Alhambra especially the music of the Arab world in the foreground. Oliver Shanti collected under other musicians from Spain, Algeria, Pakistan and the United States by himself and wanted the face of a worsening conflict between Israel and Palestine, a sign for peace. Hence the album title Alhambra, a monument, the Shanti for a fruitful coexistence of cultures symbolizes. This coexistence between Orient and Occident wanted Oliver Shanti and his musicians in contemporary music sensation expression. For Weltmusik-Puristen remains Oliver Shanti is safe with this album taboo, but who is relaxing, meditative sounds like, from the music of many cultures draw for which is Oliver Shanti Alhambra also a good choice.

[01]. L'amour Magica Amor
[02]. Paix pour L'Algerie
[03]. Kais Wa Leila
[04]. El Futuro de la Alhambra
[05]. El Flamenco del Rumi
[06]. Nina Piensa en ti
[07]. Gitara Compasion e Paco
[08]. Aime Moi - Baila Mi Amor
[09]. Gloria Para El Pacifico Dios
[10]. L'amour Sufi l'amour Sufi Amor
[11]. Shah Dshahan e Princesa Momtaz
[12]. Ninos Amel Aftal Reinhören
[13]. Alhambra Trance Flamenco
[14]. Sahid Ghilani Priere

320 kbps including full scans

HERE

Rabih Abou-Khalil - Arabian Waltz

Ah, strings! The greatest jazz musicians have aspired to recording with them - often with less than spectular results. It's as if even masters like Charlie Parker were bedevilled by some lingering insecurity about their music. Only playing along-side violin, cello and viola, with the instruments of the great European musical tradition, it seems, can afford the final confirmation and seal of classic status.

Any such misgivings vanish soon after beginning to listen to Rabih Abou-Khalil's latest venture. For a start he has chosen to record with the Balanescu Quarter who are immediately identifiable by the distance they are willing to put between themselves and their classical training (Pace their versions of Kraftwerk songs). For leader Alex Balanescu, in any case, the classical element was only part of a larger musical formation that included the gypsy folk tradition of his native Romania. More to the point, the Balanescu Quarter are not backing Abu-Khalil - are not, so to speak, playing second fiddle to him - but recording in collaboration with him.

Not withstanding this there was still a lot of ground to cover if the Balanescu Quarter and Abu-Khalil's trio were to come together as a single unit, a cohe-sive band in its own right. The night before they began recording this album they played a gig in Karlsruhe, Germany. It was full of Promise and daring but, at the same time, hesitant, tentative. You could hear the two outfits, tiptoeing around each other in kerouac's famous phrase, like heart-breaking new friends.
What Abou-Khalil did in the course of further rehearsals and recordings was a bind the strings more tightly round his own unique musical amal-gam of occidental and oriental influences. linking them is the element most conspicuously lacking in the history of European of the string quarter: rhythm.

Which brings us to Abou-Khalil's long-time collaborator, Nabil Khaiat. the first rock groups I ever saw, in the seventies, feautured massive drum kits: if you could actually see the drumer then - or so these vast terraces of percussion seemed to imply - he couldn't be much of a drumer. Something of the spirit lives on in world music today with percussionists' fonness for flaunting their virtuosity by playing - at the same time - as many different drums and bells as there are African languages, The great percussionists, though, can coax the most intricate of rhythms from the simplest of instruments, like the frame drums played by Nabil. His fingers gallop like hooves. From a standing start - silence - he creates a rhythm that engulfs and guides.

Not that rhythm is the preserve of the percussionist alone: Abou-khalil had written different rhythmic lines for each of the strings. In effect the members of the Balanescu Quarter were playing solos, in dividual fragments that make up a surging collective rhythm. Abou-Khalil wrote these parts without knowing if the quarter could play them. Michel Godard, apparently, though not. For his part, Abu-Khalil though that even a virtuoso like Godard would struggle to play the parts he had written for the tuba. As you can hear, they were both wrong. There are echoes of Thelonious Monk's approach here: writing the music as it would ideally be heard with no concessions as to whether musicians would be able to realise that ideal. As far as monk was concerned the music was there, in the instruments, and it was up to the musicians to get it out.

I want to change approaches here, to take Monk at his word, as it were, and to do this I need you not only to listen to the musicians but to watch - to see them, as it were, through my eyes. Look how much time Nabil, Godard and Abou-Khalil have. Whatever the tempo, however complex the time signature they are playing, they are never hurried.
Compared with what they are capable of their fingers are surrounded by deserts of time. Notice, too, their stillness. I remember rock drummers throwing themselves round their kits but Nabil. in particular, is all but motionless. This is a residue of the etiquette of performance in Syria where the drummer must do nothing to distract attention from the singer. Still, one wonders if holding the body still like this is a way of ensuring that none of the rhythm is dissipated. Unable to escape, to leak via the head or feet, it's only egress is the hands and fingers through which it pours. Such is the musicians' stillness, in fact, that they seem less to be producing music than to be listening, waiting. To what? For what? Perhaps the answer becomes clear when I say that their attitude reminds me, above all, of people fishing.

Musicians arrive in a recording studio. They assemble their instruments, engineers arrange recording equipment and then, together, they record various takes until they have enough music for an album. This is literally what happens. Watching these musicians, however, a different process - or a different way of evoking the process - suggests itself.

As the moment to record a piece of music draws near everyone in the studio becomes quiet. The air itself seems to become more silent, as if something were about like shape within it, as if the music were about to appear. Imagine, then, that instead of music being made by musicians they have, instead, to catch it. More precisely still, imagine that the music on this record was in the world, was - to borrow Eric Dolphy's enigmatic invocation - in the air. It offered itself to the musicians in the form of a rendezvous in Baden which would be kept only if certain very elaborate and highly contingent conditions were met. These conditions were historical, geographical and individual. Historically, the period of jazz advancing as jazz had to have come close to exhausting itself. Geographically, there had to be some kind of melting point - somewhere akin in spirit to "neutral" Switzerland in the second World War - where the musicians could meet not as equals but on equal terms. Individually, the musicians had to have advanced to a very high degree in their technical develoment; ideally, like Michel Godard, they would would be at home anywhere, in any setting. If all these conditions were met then, in the studio, the chances were that if the participants were attentive and patient, this elusive music could be not so much made as called into being or - to revert to that fishing metaphor - reeled in.

I have left out the single most important condition for the distillation of the music preserved on Arabian Waltz. this is that Abou-khalil himself had to have arrived at the point where his own musical achievement - as composer, arranger and instrumentalist - was substantial enough to constitue its own tradition. That is to say, the point where the greatest influence on his music is his own work. Having created a considerable body of music that is unlike anyone else's, Abou-khalil is now able to draw sustenance from a tradition which did not exist before he invented it. We can hear clearly on this album how two songs from his own back catalogue ('Dreams Of A Dying City' and "Ornette Never Sleeps') serve the same function as standards, as Ellington's 'Caravan' did on his own earlier Roots And Sprouts. for example: not to be re-recorded but re-invented, re-invoked.

But it is actually the title of one of the new pieces,'No Visa' that comes closest to summing up Abou-Khalil's ambition and achievement. Its appropriateness to his work becomes especially clear if a distinction between bordersand frontiers is kept in mind. A characteristic of the modern state is that it is defined by established borders which are precise and readily identifiable. A common characteristic of classical musicians is, likewise, a reluctance to venture beyond the borders of their elected form. Abou-Khalil, though, is drawn to frontiers which - in contrast to borders - are not settled or definitively fixed but shiffting, contestable. More exactly, he is preoccupied by a single forntier, the one that has attracted all great artists and pioneers: the frontier of the possible.
Geoff Dyer,1996

Flac (EAC Rip): 340 MB | MP3 - 320 kbs: 160 MB | Booklet Scans

Archives have 5% of the information for restoration

FLAC
Part 1 | Part 2

OR MP3 320 kbps
HERE

Nusrat Fateh Ali Khan - Sufi Qawwalis

There are about forty-seven bazillion albums out there by the late Pakistani qawwali master vocalist, Nusrat Fateh Ali Khan... I've heard a few of them, and this relaxed, enchanting disc is certainly as fine as any others. This set, recorded in 1989 in London, is a little less relentless and intense than many of his best-known albums, and may appeal to those of us (myself included) who seek some mellowness in our Muslim music. It's a very lulling and very richly-layered album; highly recommended. (I also had the good fortune to see Nusrat Fateh Ali Khan perform a few years before he passed away; what an amazing performance! Pity he's gone, but his recorded legacy is still very powerful.)

The late Nusrat Fateh Ali Khan is one of the key artists on Real World Records and certainly one of the most influential. His voice is universally recognised as one of the great voices in musical history and he was key in bringing the Qawwali music tradition to the Western world.

Qawwali is a form of Sufi devotional music popular in South Asia, particularly in areas with a historically strong Muslim presence, such as southern Pakistan, and parts of North India.

Nusrat Fateh Ali Khan's legacy has enraptured millions across the globe with his magnificent and haunting voice. In his lifetime he collaborated with many Western musicians including Peter Gabriel, Eddie Vedder and Michael Brook. His vocals appeared on soundtracks to films directed by Martin Scorsese, Oliver Stone and Tim Robbins.

'Seminal' is a word which often gets overused when describing great works of art but it is directly applicable to two of the albums he recorded for Real World Records, both of which were collaborations with Michael Brook: 1990's 'Mustt Mustt' and 1996's 'Night Song'. 'Night Song' was nominated for a Grammy and was described by Billboard as: "A work of great beauty...an album for the ages, defying genre and solidifying Khan's stature as one of the world's pre-eminent singers."

It was the late American singer-songwriter Jeff Buckley who, in 1993, described Nusrat Fateh Ali Khan as "my Elvis".

1. Love Song (In Riga Bilawal)
2. Naat-e Sharif (In Riga Mishra Kafi)
3. Song of Praise
4. Traditional Qawwali (In Ragas Marwa & Bhatiyar)

320 kbps including full scans

HERE

Burhan Ocal - Groove Alla Turca

Burhan Ocal & The Trakya All Stars
Groove Alla Turca (w/ Natacha Atlas)

"Groove alla Turca" brings together the traditional rhythms of Turkey with afro-american musical forms such as jazz, blues, funk, hip-hop and soul. Turkish percussion virtuoso Burhan Ocal and his Turkish band join forces with bass master Jamaaladeen Tacuma and some of the finest musicians from New York and Philly (Art Baron, Jack Walrath, Ben Schachter and Daryl Burge to name a few) to create a funky sound with many colors and intricate details. Natasha Atlas' ethereal voice is heard on four tracks, where her Arabic vocals flow meticulously with the groove.

"Groove Alla Turca" is a project that brings together two worlds apart; the world of Burhan Öçal, who grew up playing traditional rhythms of Turkey, with that of Jamaaledeen Tacuma, a world of jazz, blues, funk and soul. This is a meeting of percussion and bass, rhythm and groove, of traditional players on kanun, oud and clarinet, darbuka and violin. Jamaaladeen Tacuma is joined by some of the finest musicians from New York and Philadelphia, Jack Walrath, a long time associate of Mingus, is the trompet in the horn section. Art Baron and Ben Schachter complete the front-line on the trombone and tenor, Daryl Burge and Rick Iannacone, both from Phili, are the force behind, on the drums and the guitar. It was a destiny to have Natacha Atlas on four tracks, as she happened to be in town during the recording sessions. Her presence seems all planned as her Arabic vocals flow wih the groove. The result is a funky sound with many colors, a big sound with many details. This is jazz, funk, ethnic, tradition. This is groove in a Turkish way.

(01) Nihavend Longa
(02) Habibi (w/Natacha Atlas)
(03) Groove Alla Turca
(04) Elhamdulillah
(05) El Nino (w/Natacha Atlas)
(06) Two By Two
(07) Kismet
(08) I Can Feel It (w/Natacha Atlas)
(09) Katibim
(10) Saz Caz
(11) Gene Gel (w/Natacha Atlas)
(12) Later for Now

320 kbps including Covers

HERE

Albéniz Guitar Duo - Classique Italienne

Albéniz Guitar Duo
Classique Italienne, 1989

The duo came in August 1985. Thomas Kirchhoff and Burkhard Wolk had met at the annual Karl Scheits Virtuoso in Rees on the Lower Rhine. The spanish guitar maker, Ignacio Fleta, also played an indirect role in the formation of the duo. Both guitarists discovered that they played Fleta guitars made in the same year.

More important than this for the duo, however, was a common wish for musical interpretation which is free from academic purism and self denying to the music, behind which the guitarist is forced to retreat and take on the mere role of a technically perfect instrument. Secure in the knowledge of his technical perfection, the guitarist must be able to develop his own subjective impressions, leave room for those of the listener and show sensitivity in making the composition come alive.

To underline their ideas about interpretation they chose the name of the Spanish Argentinian composer and pianist, Isaac Albeniz, for the duo, He represented a pragmatic attitude to music and introduced his own individual feelings into his playing. He adapted his musical material to each new situation by means of transcription, and so made it lively and understandable for his listeners.
True to this tradition the Albeniz Guitar Duo represents music played and experienced in the present which builds a bridge over the ages for the listener.
The Albeniz Guitar Duo has already given numerous concerts at home and abroad, has been invited to take part in radio and television programmes and has released two records.

FERDINANDO CARULLI (1770-1841), Italian composer and guitarist in the classical guitarepoch, took first lessons at the violoncello and studied music theory. Later he began to learn the guitar on his own and reached exceptionel mastery on it. Until 1818 he has given mostly concerts in Italy and moved then to Paris from where he travelled widely. Carulli wrote more than 400 works for the guitar-solo, duos and ensemble.
The LP is the first complete recording of the Serenades op. 96 1-3 and of the Russian Variations op. 110 by the Albeniz Guitar Duo.

Ferdinando Carulli
1. Deux Aires Russes Varies, op.110
I. Moderato
II. Andante con Variationi Plus lent
III. Andante mosso con Variationi Plus vite

2. Serenade in A-Dur, op.96-1
I. Largo maestoso, Allegro maestoso
II. Larghetto sostenuto
III. Poco allegretto (Finale)

3. Serenade in D-Dur, op.96-2
I. Largo
II. Larghetto (sostenuto), Menuett (presto assai)
III. Rondo (poco allegretto)

4. Serenade in G-Dur, op.96-3
I. Largo
II. Allegretto moderato, Andante sostenuto con Variationi
III. Finale (presto-larghetto-presto)

Burkhard Wolk - guitar
Reiner Stutz - guitar


320 kbps including full scans

HERE

Albéniz Guitar Duo - Mosaique

Albéniz Guitar Duo
Mosaique, 1995

Track Listings
--------------
Napoleon Coste - Grand Duo e-moll
01. I. Concertina
02. II. Andante
03. III. Barcarole
04. IV. Allegro
05. Isaac Albeniz - Iberia Nr.1 Evocacion
06. Isaac Albeniz - Cantos de Espana op.232 Nr.4 Cordoba
07. Isaac Albeniz - Suite espanola Nr.1 op.47 Nr.2 Cataluna

Mario Castelnuovo-Tedesco - Präludien und Fugen op.199 (Les guitares bien temperees)
08. Präludium und Fuge g-moll
09. Präludium und Fuge D-dur
10. Präludium und Fuge a-moll

Mario Gangi - Suite Spagnola
11. I. Andalusa
12. II. Fandango
13. III. Sevillana

Burkhard Wolk - guitar
Reiner Stutz - guitar

320 kbps including full scans

HERE

Fairuz - Le Liban à l'Olympia

Quotes
Numerous musicians, poets, scholars, critics and singers around the world were deeply impressed by the voice and performance of Fairuz. The admiration of several of them is expressed in the following quotes:

* "To the Arab world Fairouz came suddenly, as a miracle. At a time when Arabic singing was weighed down with convention and predictability, and spirits were nationally at their lowest, her voice rang, as though from the beyond, the notes of salvation and joy. Arabic music has never been the same since. Nostalgic but vibrant, sad but defiant, folkloric and yet so new, hers has been for nearly 30 years perhaps the only voice that seems so capable of jubilation in an almost cosmic sense. By turns mystic and amorous, elegiac and fiery, her singing has expressed the whole emotional scale of Arab life with haunting intensity. Often singers give listeners pleasure, as they expect. She often gives them, beyond their expectation, ecstasy" Jabra Ibrahim Jabra

* "The voice of Fairouz knows no boundaries and is enormously capable of rendering all singing styles. Her voice is soon going to be distinguished as the voice that is more capable of rendering modern music than any other around the world." (Fairuz's early mentor Halim El Roumi)

* "In the songs of Fairuz we sense an art that is dedicated to the human being, to the pains of the human being, and to the hopes of people for an honorable and pleasant life." (Fouad Badawi)

* "After Years of thirst, a voice like fresh water has arrived. A cloud, a love letter from another planet: Fairuz has overwhelmed us with ecstasy. Names and figures of speech remain too small to define her. She alone is our agency of goodwill to which those of us looking for love and poetry belong. When Fairouz sings, mountains and rivers follow her voice, the mosque and the church, the oil jars and loaves of bread. Through her, every one of us is made to blossom, and once we were no more than sand; men drop their weapons and apologize. Upon hearing her voice, our childhood is molded anew." (Prominent Syrian poet Nizar Qabbani)

* "The glory does not only lie in the fact that I live in the age of Fairuz, but also that I belong to her people. I have no country but her voice, no family but her people and no sun but the moon of her chanting in my heart." (Prominent Lebanese journalist Ounsi el- Hajj)

* "Quite simply, Fairuz is one of the world's nonpareil musicians and outstanding Artists, an international treasure of the order of Rostropovich, Sills, Ravi Shankar, Miles Davis, Sutherland, Pavarotti and Dylan." (Harvard University scholar Barry Hoberman)

* "The voice of Fairouz is the single most beautiful voice I have ever heard. In her voice the Orient and the West meet and mix." (Hungarian Opera Singer Anna Korsek)

There are a few number of live albums released by Fairouz (apart from the musical plays), considering the great number of concerts she has made in the entire world and 'At the Olympia' must be one of the greatest among these albums. The number of the songs is very big, more than 25 and there is also a number of instrumentals. The concert(s) was held in the Olympia, Paris, France on the 3rd and 4th of May 1979.
Inside the booklet there are some documents and articles on Fairouz and the Rahbina, their beginnings, tours, etc... , but all in French (which I only know of 'Je n'parle pas le Francias mais Je parle l'englaih', I am not even sure about the spelling). There are also some pictures taken from the concert, the airport? and the Olympia hall.
The quality of the album is unbelievable. If you have a good sound system setup, close your eyes and play this album and you'll feel as if you're IN the concert.

TRACK LISTINGS

Disc: 1

(01) [Fairuz] Prélude Musical
(02) [Fairuz] Hymne à Paris
(03) [Fairuz] Pandore et les amoureux
(04) [Fairuz] Dabke de l'amour
(05) [Fairuz] Amours de été (Habbeytak Bessayf)
(06) [Fairuz] Ya tayr al warwar
(07) [Fairuz] Rues interdites
(08) [Fairuz] La lune sous l'abricot
(09) [Fairuz] Pandore et les durs
(10) [Fairuz] Bayni oua baynak
(11) [Fairuz] La danse des jarres
(12) [Fairuz] Rudani ela biladi
(13) [Fairuz] Les amis sont absents
(14) [Fairuz] Heylah ya wasseh
(15) [Fairuz] Mawal ya markab al rih
(16) [Fairuz] Ya ghaym essayf 'Dabke'

Disc: 2

(01) [Fairuz] Sheherazade
(02) [Fairuz] Hymne à Paris
(03) [Fairuz] Raksat al manadil
(04) [Fairuz] Akher asSahriye
(05) [Fairuz] Ma hada
(06) [Fairuz] Al Mashhad al badawi
(07) [Fairuz] Raksat ashabab
(08) [Fairuz] Khedni
(09) [Fairuz] Al Bosta
(10) [Fairuz] [3B]- Talel ala 'dabke'
(11) [Fairuz] Attahiah
(12) [Fairuz] Bhebbak ya Loubnan
(13) [Fairuz] Zourouni
(14) [Fairuz] Rues interdites
(15) [Fairuz] Hkili hkili

Flac (EAC Rip): 820 MB | MP3 - 320 kbs: 320 MB | Booklet Scans

Archives have 5% of the information for restoration

FLAC
Part 1 | Part 2 | Part 3 | Part 4 | Part 5

OR MP3 320 kbps
Part 1 | Part 2

Pakistan - Espagne: Qawwali-Flamenco

Ensemble de Qawwali Faix Ali Faiz / Duquede / Miguel Poveda / Chicuelo

The Qawwali-Flamenco project was born from a meeting between three exceptional singers: Faiz Ali Faiz and his Qawwali ensemble, the flamenco singers Miguel Poveda and Duquende accompanied from the guitarist Chicuelo. This show was created in July 2003, in Barcelona, under artistic direction from ethnomusicologist Martina A. Catella. It highlights powerful and virtuoso voices, a musicality and creativity which remind us the greatest. Sufism and Flamenco have a lot in common: a musical system coming from the same area, a similar vocabulary, existential questions about human being and the Creator. Adaptation faculties from musicians to their environment are fascinating. Unquestionably this special meeting, mixing tradition, open mindedness, virtuosity and creativity lets the audience full of emotion

A meeting of two vocal traditions with truly explosive results, this project explores the musical links between the two transcendental traditions of Qawwali and Flamenco. Pakistani Qawwali singer Faiz Ali Faiz and legendary Flamenco cantaores Mara Rey and Duquende with guitarist Chicuelo create a musical and emotional language that is truly inspirational.

TRACK LISTINGS

Disc: 1
1. Allah Hu
2. No Llegaste A Quererme-Sal Al Guisao-La Tarara
3. Presumes Que Eres La Esencia
4. Rawance Bainan Painda - Ensemble De Qawwali Faiz Ali Faiz
5. No Pases Por Mi Calle
6. Tere 'Ishq Ne Nacaia-Con Esa Morena

Disc: 2
1. Ya Mustafa - Ensemble De Qawwali Faiz Ali Faiz
2. No Me Hagas Tantos Planes - Miguel Poveda
3. Tango Al Mar
4. Dam Mast Qalandar - Ensemble De Qawwali Faiz Ali Faiz
5. De Querer A No Querer

| MP3 320 kbps | Covers | 230 MB |

Part 1 | Part 2

Masters of Indian Classical Music

This beautiful and very relaxing double CD presents the greatest exponents of Indian classical music playing ragas and light classical pieces on the instruments they each are famous for: Amjad Ali Khan (sarod), N. Rajam (violin), Ravi Shankar (sitar), Bismillah Khan (shehnai), Zakir Hussain (tabla), Hariprasad Chaurasia (bansuri) and Ram Narayan (sarangi). The booklet provides extensive information about the artists, the music and the instruments in four languages.

From A Records, known for often finding European-based performers of various traditions, this album of Indian classical music instead makes use of the very best on the various instruments in the (mostly) Hindustani arsenal, primarily through licensing from Living Media in India. The sitar is represented by its greatest exponent, Ravi Shankar. Likewise, the bansuri is represented by its greatest exponent in Hariprasad Chaurasia. Amjad Ali Khan takes up the sarod, Zakir Hussain the tablas, and Rajam her violin. Bismillah Khan, the greatest shehnai player of the day, is made use of, and the album closes with Ram Narayan's sublime sarangi. It's rare, even among compilations, to showcase this much talent and name value. With this much invested in the players, it's hard to find problems with the music. These performers are known as the best of their class for a reason, and that becomes apparent upon listening. The ragas are flawless. The sound quality on occasion could use a bit of help, but it rarely impairs the enjoyment. Definitely worth hearing this one. ~ Adam Greenberg, All Music Guide

Track Listing:

CDI
1. Ravi Shankar (sitar) - Raga Kausi Kanhra
2. Hari Prasad Chaurasia (bansuri) - Raga Bageshree
3. Amjad Ali Khan (sarod) - Raga Kamalshree

CD 2
1. Zakir Hussain (tabla) - Teentala
2. N. Rajam (violin) - Dadra in Raga Bhairavi
3. Bismillah Khan (shehnai) - Raga Rageshwari
4. Ram Narayan (sarangi) - Mishra Bhairavi

| MP3 VBR Kbps | All Covers & Booklet | 210 MB |

Part 1 | Part 2

Classical 2008

Track Listings
--------------
Disc: 1
01. Paul Potts - Nella Fantasia
02. Sarah Brightman - Time To Say Goodbye
03. Il Divo - You Raise Me Up
04. Myleene Klass - Cinema Paradiso
05. Luciano Pavarotti - Requiem
06. Bryn Terfel - Ode To Joy
07. Nigel Kennedy - Czardas
08. Alfie Boe - Caruso
09. Lesley Garrett - Jerusalem
10. Karl Jenkins - Cysgu Di
11. Maria Callas - O Mio Babbino Caro
12. Kings College Choir - Lamb
13. Julian Lloyd Webber And Sarah Chang - All I Ask Of
14. Placido Domingo - O Sole Mio
15. Natalie Dessay - Flower Duet
16. Jacqueline Du Pre - Cello Concerto
17. Kate Royal - Bailero
18. Gabriela Montero - Sarabande
19. Kindred Spirits - Perfect Day
20. Sir Simon Rattle - O Fortuna

Disc: 2
01. Karl Jenkins - Adiemus
02. Natasha Marsh - Ai Giochi Addio
03. Libera - Sanctus
04. Vanessa Mae - Toccata And Fugue In D Minor
05. Cantamus - Ave Maria
06. James Horner - My Heart Will Go On
07. Rolando Villazon - E Lucevan Le Stelle
08. The Sixteen - Gaudeamus Omnes
09. Alison Balsom - Rondo Alla Turca
10. Jonh Tavener - Song For Athene
11. Natalie Clein - Salut Damour
12. Jonh Rutter - Pie Jesu
13. Ian Bostridge - Frondi Tenere Ombra Mai Fu
14. Tasmin Little - Schindlers List
15. Paul Mccartney - Gratia
16. Stanley Myers - Cavatina
17. Michael Nyman - The Piano
18. Mario Lanza - Be My Love
19. Sarah Chang - The Four Seasons
20. Jose Carreras - Nessun Dorma

VBR kbps including Covers

HERE

African Vibrations: Original African Tribal Music

African Vibrations, Original African Tribal Music

Track Listings
--------------
CD 1 - Zulu
(01). Jabulisa Mkhize - Bakhulumangathi
(02). Abagqomi - Bakhuzeni
(03). Moving Stars - Incwadi Yediphu
(04). Glendale Sugar Mill Team - Ngidedele Nsizwa Ngidlule
(05). Colenso High Nkokhelo - Wenizwa
(06). Izimpigog (Hillcrest) - Uyisigqila Sotshwala
(07). Ubambo - Sibonabantu Ben Zondo
(08). Thula-Jabula - Dlana Amakhekhe
(09). Nongoma Black Angels - Mhla Sihambayo
(10). White Mambazo - Bazoyidela Inkani
(11). Zamanani (Ladysmith) - Wamuhle Umakoti
(12). Inketha Baweli (Mandini) - Akukho Ukuthula
(13). Colenso Abafana Benkokhelo - Nansi Lensizwa
(14). Jabulisa Mkhize - Amathol'amnyama
(15). Isibonelo Samabhungu - Wamuhle Mntanami
(16). Izihlobo (Kwamashu) - Bangibiza Ngesishimane
(17). Mehluleli Zulu - Liyanikhuza Ikhehla Bafana
(18). Giyani Brothers (Umtata) - Siyaziwa
(19). Isigiyane - Thina Sihambile
(20). Izihlobo (Kwamashu) - Ikhehla Lidlala Madayisi
(21). White Mambazo - Bazoyidela Inkani

CD 2 - Venda
(01). Venda Brothers - Maduna Fhano
(02). Mamphodo Na Khonani Yawe - Barani
(03). Tshigwada Tsha Toronto - Khohani Yanga
(04). Khavhatondwi - Ene a Ri E! Nne Ndi Ri E!
(05). Frank Nefhasi - Takalani
(06). Tshigombela Tsha Haramalamula - Mbilu Yanga
(07). Malende A Sambandou - Hamagiligida
(08). Tshigombela Tsha Tshikuwi - Nne Ri a Dzhena
(09). Malende A Maholoni - Ro Funana Ro Funana
(10). Shaya's Mavhoneni - Tshisiwana
(11). Adam Nkoeya - Infambe Iyakaya
(12). Colbert Mukwevho - Ndi Vlubva
(13). Venda Brothers - Mushe
(14). Mamphodo Na Khonani Yawe - Mukhethengwa
(15). Matangwa Tshilata - Gammbani
(16). Harepa Ntshengedzeni - Tshikona
(17). Enos Sigari - Bika Mutuku
(18). Frank Nefhasi - Vho Selina
(19). Patric Ranwashi - Luvhimbi
(20). Tsigwada Tsha Toronto - Hayani Hanga
(21). Zwavhumbwa Singers - U Sa Pfa
(22). Avhapfani Tshibubudze - Salungano

CD 3 - South Soto
(01). Thari Walter Morobane - Bophelo Ba Kajeno
(02). Sweet Memories - Mabewane a Matle
(03). Milky Way - Maafrika
(04). Billo Band - Dithwele
(05). Makhubu - Ntombi
(06). Sweet Memories - Palisa
(07). Ephram Thaele - Pehla Mokobong
(08). Virginia Gold Miners - Leribe
(09). Bohlokong Choral - Mamoriri Motshwana
(10). Future Lovers - Bophelo
(11). Zamdela - Ntate E Ntshiela Lefa
(12). Sweet Memories - Basotho Ba Batle
(13). Raindroppers - Didimala
(14). Pres. Steyn Gold Mine Band - Ngwanenwa
(15). Durban City Queens - Mmariha
(16). Israel Jnr. Band Maseli - Thuso
(17). Joyce Thabe - Mabone a Tsela
(18). Skatana - Sehwai
(19). Madiomo - Ke a Sokola
(20). Milky Way - Phamokate
(21). N.N. - Masu Ma Ponda

CD 4 - Xhosa / Swazi
(01). Majaha Akangwane - Usiyikayika
(02). Luvelo Lwemaswati - Silandzelendze
(03). The Villagers - Ngingamtsatsa Kanjani
(04). The Villagers - Evelinah
(05). Sweet Swazi Sounds - Kwentiwa Yini
(06). Bafana Benjabulo - Nokulunga
(07). Elijah Mango College of Education - Make Ngivulele
(08). Swazi Men - Kulukhuni
(09). Malkerns Male-voice Choir - Jim Yekela Tshwala
(10). Luvelo Lwemaswati - Lokulungai
(11). Sweet Swazi Sounds - Bengikwetsembile
(12). Majaha Akangwane - Wkhosi Sita
(13). Diamond Dolls - We Singani Sami
(14). Havelock Swazi Men - Solo Nguwe Umshongolo Wawo Amabhaca
(15). Swazi Men - Qubula
(16). Bafana Benjabulo - Indvumo
(17). Sweet Swazi Sounds - Umyalo
(18). Luvelo Lwemaswati - Asibeketeleni
(19). Majaha Akangwane - Imbongolo
(20). Sweet Swazi Sounds - Nguboyemphi
(21). The Villagers - Emaphikankani
(22). Attaza - Bomme Diedietsang

320 kbps including full scans

Part 1 | Part 2 | Part 3 | Part 4

Gino D'Auri - Flamenco Mystico

Guitarist Gino D'Auri was born in Rome, the grandson of a gypsy. He began studying classical guitar, but while in his teens, D'Auri was "traumatized by flamenco" when he saw the movie Sombrero with Jose Greco, the legendary flamenco dancer, and Geronimo Villarino, one of the all-time great flamenco guitarists. D'Auri began playing flamenco music and investigating the rich cultures that fed the tradition. In 1967, D'Auri moved to the Los Angeles area, where he played in the flamenco clubs. In 1976, he recorded with Caldera, a groundbreaking world fusion band, on their self-titled album. In 1980, Hearts of Space's Stephen Hill met D'Auri while Hill was producing a film soundtrack, and Hill was asked to produce D'Auri's first album, Nuevos Caminos (translated "New Paths"), on harpist Georgia Kelly's label (Heru Records). In 1984, the album was remastered by Sonic Atmosphere and re-released as Passion Play. According to Hill, D'Auri created a unique sound by amplifying his Japanese Takemine guitar and shaping the sound through a reverb unit. In the late 1980s, D'Auri played on two albums by Keiko Matsui, a Japanese new age/world fusion artist. D'Auri's next solo recording, Flamenco Mystico, was with Hearts of Space/World Class, in 1992, followed by Flamenco: Passion & Soul in 1997. D'Auri has toured with famed dancer Jose Greco and often plays at flamenco restaurants in Southern California, such as Los Angeles' El Cid and Lare's in Santa Monica.

Launching the new Hearts of Space World Class label is the world class flamenco guitarist Gino D'Auri. Gino takes off from the traditional flamenco forms, saturates them with authentic emotion and a thoroughly modern digital sound. This album includes his version of a much-loved piece by Francisco Tarrega, songs that evoke the time of the Moorish culture in Spain, dance-style flamenco songs and a tribute to the late gypsy guitarist Sabicas.

This music is unbelievably uplifting. For nearly decades Ive tried to find the "perfect" blend of world musical styles, largely in vain, despite the vast array of "fusion" and new age masters. After a really long time (way back in 1980 when I heard to the Moscow symphony render an Indian raga based symphony), this is the only CD that made my hairs stand on edge by its incredible blend of Flamenco with Middle Eastern and Indian musical textures woven in a unique, mature matrix.

1. Moros, Los
2. Guajira Antigua
3. Barrio Santiago
4. Minas, Las
5. Quelo De Triana
6. Flamenco Mystico
7. Rondena Para Sabicas
8. Recuerdos de la Alhambra

Ape (EAC Rip): 310 MB | MP3 - 320 kbs: 140 MB | Front Cover

Archives have 5% of the information for restoration

Ape
Part 1 | Part 2

OR MP3 320 kbps
HERE

Ravi Shankar - The Teacher - Key Works

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

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

320 kbps including Covers

HERE

La Música de Al-Andalús - Ensemble Al-Ruzafa

La Puertos de Oreinte La Musica de Al-Andalus (Almaviva) Las Puertas de Oriente (Aleppo, encrucijada musical de Oriente-Occidente) Omar Sarmini, canto.Ensemble Al-Ruzafa. Hames Bitar, dirección

Omar Sarmini is a Syrian singer. He is regarded as an icon of the Arab town vocal art and author of a vast musical spiritual repertory. Born in Aleppo in 1962, he grew up in religious circles and attended the rituals of the dhikr from a very early age, presided over by his father, the Shaykh Muhammad Sarmini. Thus the father was able to guide the son by inculcating in him the most essential elements of the sacred repertory. Omar Sarmini then continued his musical education with the city's Arab Youth Club. So, like every self-respecting singer, his education has included an obligatory passage via the sacred repertory of Islam. He is currently one of the rising stars on the musical scene in Syria.

(01). Samai Hijaz Kurdi- Saleh Al-mahdi
(02). Muaxaha Murra Altajanni- La Amarga Injusticia (Anَnimo)
(03). Muaxaha Zarani Almahboub- Me visitَ el Amado (Anَnimo)
(04). Muaxaha Afihi Zabian- Doy mi Vida Por Ti (Anَnimo)
(05). Samai Najlawand (Masoud Jamil)
(06). Muaxaha Ayuha Alsaqi- ،Ah copero! (Ibn Zuhor)
(07). Muaxaha Jadaka Algaith. Tiempo de Amores en Al-Andalus (Ibn Alkhatib)
(08). Lau Kunta Tadri- Si supieras (Mustafa Khalki)
(09). Samai Shad Araban (Jamil Bey)
(10). Mawwal (Tradicional de Aleppo)
(11). Qad Mili Ma Mal Alhawa- Pavonea con el Amor (Tradicional de Aleppo)
(12). Longa Nahawand (Jamil Bey)

Flac tracks (EAC Rip): 380 MB | MP3 - 320 kbs: 170 MB | Booklet Scans

Archives have 5% of the information for restoration

FLAC
Part 1 | Part 2 | Part 3

OR MP3 320 kbps
HERE

Balkan Beats 2

The journey continues ... what DJ Soko started in the Berlin-Kreuzberg underground about a dozen years ago, has now become an established trademark and a party burner for fans and admirers. After the first compilation “BalkanBeats” the interest and the excitement was great. It managed to not only cherish the grand Balkan brass orchestras but to also combine this congenially with varieties of Balkan music, not heard of so much before, i.e. ska mixed with folk, klezmer, brass, Roma music and jazz. The sounds flowing in from the Balkans is getting more and more exciting. “BalkanBeats volume 2” widens the range again. Here you find artists from ten different countries; Indian-oriental influences next to electronic music and classic gypsy tunes. DJ Soko has again dug deep into his magic box. Next to treasures, which he discovers on his journeys to his old homelands, he is now also being sent music from many artists who like the open concept of BalkanBeats. Little Balkan scenes also exist in other cities now. The DJs invite each other for guest appearances and exchange music. Everywhere you find people dancing wildly, whether it's at the Mehanata Bar New York, at Divan du Monde Paris or at the Schauspielhaus, Frankfurt. Despite his international commitments, DJ Soko is still doing his monthly BalkanBeats nights at the Mudd Club in Berlin every second and fourth Saturday. This is the home base of Balkanbeats plus a fixed address for Balkan fans. It is great to watch how more and more people get excited about this music and how other DJ's pick up this passionate music. This feedback then again inspires and encourages musicians in the Balkans. At home, masters of their art, like Fanfare Ciocărlia, are by now not only regarded as just another Roma brass ensemble but are respected as internationally acclaimed musicians. Young DJ's and producers in Croatia and Serbia are now more self aware of their roots and mix this with crazy new sounds. On “BalkanBeats volume 2” DJ Soko seeks to project these new style-crossing trends as well as to acknowledge purist sounds – just as it is being celebrated at their parties. Balkanbeats does not cut the edges though. No smoothness or clean shaveness here! The Balkans is torn apart: wild/romantic, whilst at the same time it is able to be a modern European region. Many talented people have emigrated. That is why you also find on “BalkanBeats volume 2”, artists from the States or from Belgium bringing their own new influences. Some artists have probably not even heard of each other before. Some come from remote villages whilst others are fully linked up and socialised in the capitals. As the borders in Europe disappear and the cultural exchange spans world-wide networks, the music also there has less and less clearly defined genres. Crossover! Passion is the keyword. You can find this in abundance in the Balkans. BalkanBeats does not preserve this culture like a museum piece as it swirls it onto the dancefloor to keep it alive. Whoever has danced through a night in the Berlin Mudd Club has an idea of how integration can work without words. DJ Soko (Bosnia) and his partner in crime Marko (Croatia) do not give a damn where the people on the dancefloor come from. Balkanbeats means tolerance, which is fun. What counts is, no dress code and to only dance together around the Balkan fire, which blazes in one or another form in all of the songs here. Balkanbeats try to capture this spirit between passion, delicate melancholy and it's very own unique craziness.

[01]. Sevdahbaby - Do U Like It?
[02]. Mitsoura - Lei Toi
[03]. Azis - Anti Geroi
[04]. Karaván & Boban Markovic - Szép Ez A Villag
[05]. Kal - Mozzarella
[06]. !deladap - Goldregen (n.o.h.a. Mix)
[07]. Biber - Gypsy Part One
[08]. Besh O Drom - Ha megfogom Az Ördögöt
[09]. Fanfare Ciocarlia - Hora Evreiasca
[10]. Postolar Tripper - Vuci, Ville I Balave Sopile
[11]. Kiril feat. Vlada Divljan - Baba Zumbula
[12]. Romashka - Loli Phabay (The Red Apple)
[13]. Boban Markovic Orkestar - Optisani
[14]. Va Fan Fahre - 31
[15]. Emir Kusturica & No Smoking Orchestra - Moldavian Song

Ape (EAC Rip): 350 MB | MP3 - 320 kbs: 130 MB | Scans

Archives have 5% of the information for restoration

FLAC
Part 1 | Part 2

OR MP3 320 kbps
HERE

Balkan Beats

When the first grenades were fired in the disintegrating Yugoslavia of the early 90s, a young Bosnian named Robert Šoko came to Berlin to start a new life.He didn't care if his neighbour was Bosnian, Serbian, or Croatian. Robert began to throw parties with like-minded emigrants and played the old yugo hits - a symbol of long gone, peaceful Yugoslavia.Vital survival training of emigrantstrying to regain a lost past, their own history, and identity. After over 10 years, the BalkanBeats parties are "legenda". Twice a month, BalkanBeats are blasting in Berlin's Mudd Club: Gypsy grooves, tribal beats and Balkan ska. BalkanBeats became an international cult affair. Now, Šoko plays New York and L.A. on a regular basis. BalkanBeats are highly addictive - it's in their savage energy, the colourful, fresh timbre, and passion. The inexhaustible diversity stems from Slavonic, Oriental, Jewish traditions, and from the culture of the Roma people. The music's natural openness enables an easy and exciting transfer to modern times. Fresh Balkan bands pick up those traditions and process them into an individual cultural amalgam. Artists such as Let 3 and Magnifico spoof their own Balkan roots, fuse them with rock, ska, or metal, and nevertheless pay respect. Fanfare Ciocarlia, Karandila, and the Boban Marković Orkestar radicalize classical Balkan brass music with maximum virtuoso skill, thus renewing an old tradition to something sounding fresh and exciting. Many of the bands are inspired by completely different traditions. Mahala Ra Banda throw you out of the Bucharest slums into the heat of New Orleans. BalkanBeats presents the greatest hits from the Mudd Club on a CD. Traditional and urban sounds - diverse, explosive, and just over the top.

[01]. Magnifico & Turbolentza: Hir Ai Kam, Hir Ai Go
[02]. Besh O Drom: Meggyújtom a Pipám
[03]. Mahala Ra Banda: Colindat
[04]. Yugoton & Kazik: Malcziki
[05]. Legen: Zumba
[06]. Kultur Shock: Blagunjo Dejce
[07]. Let 3: Tazi-tazi
[08]. Kayah & BregoviĆ: Prawy Do Lewego
[09]. Frank London's Klezmer Brass All Stars: Tsu Der Kretshme
[10]. Karandila Feat. Maya: Djelem, Djelem
[11]. Ssassa: Romanela
[12]. Sanja & Balkanika: Kermes
[13]. Boban MarkoviĆ Orkestar: Od Srca
[14]. Fanfare CiocĂrlia: Dusty Road
[15]. George Dalaras & Goran BregoviĆ: Night (nihta)

Ape (EAC Rip): 350 MB | MP3 - 320 kbs: 170 MB | Covers

Archives have 5% of the information for restoration

Ape
Part 1 | Part 2

OR MP3 320 kbps
HERE

Hilary Hahn / Zhu - Mozart: Violin Sonatas

Hilary Hahn kicks off Deutsche Grammophon's celebration of Mozart Year 2006 with her first-ever Mozart studio recording, a selection of her favorite violin sonatas by the Austrian master.

The 250th anniversary in 2006 of Mozart's birth is sure to be marked by countless reissues of classic albums, but if it also produces a handful of new recordings as rewarding as Hilary Hahn's, we'll really have grounds for celebration. This is Hahn's first Mozart disc, and more surprisingly it's also her first exploration of the duo sonata repertoire, following upon her many critically acclaimed concerto recordings (and her debut, a selection of Bach's solo sonatas and partitas). Hearing her in the more intimate company of pianist Natalie Zhu, a regular recital partner, is like making her acquaintance for the very first time, and Hahn's remarkable gifts shine through in this format, exposing the sensitivity of her musicianship and the flawless warmth of her tone, even under the closest scrutiny. Also apparent are her collaborative skills, for just like another duo who released a fine Mozart sonata disc in 2005 -- Mark Steinberg and Mitsuko Uchida -- Hahn and Zhu have been playing together (and playing Mozart together) for more than a decade, and it shows in every phrase. Although Steinberg and Uchida are more likely to surprise with an unexpected but carefully considered twist of perspective, Hahn and Zhu cultivate a bold and forthright personality, and anyone who knows and loves these sonatas wouldn't want to give up either disc, even if they overlap on two out of four works. Hahn is no stranger to the darker emotions of the E Minor Sonata, K. 304, but it's the three major-mode sonatas (especially the abundantly joyful A Major Sonata, K. 526) that give free rein to her youthful zest and elicit her most memorable performances. With those Mozart-year festivities just around the corner, it's hard to imagine a more auspicious herald than this immensely talented duo. Scott Paulin, Barnes & Noble

Wolfgang Amadeus Mozart (1756 - 1791)

Sonata for Piano and Violin in F, K.376

1 1. Allegro
2 2. Andante
3 3. Rondo (Allegretto grazioso)

Sonata for Piano and Violin in G, K.301

4 1. Allegro con spirito
5 2. Allegro

Sonata for Piano and Violin in E minor, K.304

6 1. Allegro
7 2. Tempo di minuetto

Sonata for Piano and Violin in A, K.526

8 1. Allegro molto
9 2. Andante
10 3. Presto Hilary Hahn, violin Natalie Zhu, piano

Ape tracks (EAC Rip): 290 MB | MP3 - 320 kbs: 170 MB | Scans

Archives have 5% of the information for restoration

Ape
Part 1 | Part 2

OR MP3 320 kbps
HERE

Ensemble David - Coptic Liturgies

Ensemble David - Coptic Liturgies

Coptic Liturgies_ as sung by the Ensemble David is an excellent recording of ancient Christian chant and liturgy from Egypt. Having recently attended an actual Coptic Orthodox liturgy (in the US) I was surprised in retrospect how genuine this music sounds. Most of the chanting is done in Coptic, the pre-Arab language of ancient Egypt written in the Greek alphabet. Several Greek phrases were incorporated into the Coptic liturgy such as the well-known "Kyrie elision" prayer ("Lord have mercy"). The liturgy also makes extensive use of Arabic as well. It is sung to a simple rhythm and accompanied by two types of musical instruments: symbols and a triangle. There is some speculation that knowledge of ancient Egyptian funeral rites had a later influence on how the early Church set up its liturgical celebrations. There could be similarities between mummification rituals and devotion to Christ who died and rose bodily from the grave. In all, this CD provides a great sampling of a chant that has both similarities and yet remains distinct from other Christian chants such as the Gregorian and Byzantine.

[01]. Hiten Ni
[02]. Amen Ton Thananton
[03]. Hôs Érof
[04]. Abô Oro
[05]. Agios
[06]. Ô Nim Nai
[07]. Golgotha
[08]. Aripsalin
[09]. E Agapi
[10]. Ti Epistoli
[11]. Chenouda
[12]. Ton Sina

192 kbps including Covers

HERE

Tânia Ârab - Lawk u Hairan. Kurdistan

Tânia Ârab
Lawk u Hairan. Kurdistan - Volume III, 1997

Track Listings
--------------
Hairan
1. Hairan
2. Agir barana
3. Nazlêy
4. Hay lélé Hay narma Ay Mina Docteur
5. Solo santur
6. Stayich Lawk
7. Dotman Mêwan

Fahad Sabir - santour
Uria Ahmad - 'ûd
Tânia Ârab - vocals, percussion, zarb

320 kbps including full scans

HERE

Ulla Pirttijarvi - Mattarahku askai (In Our Foremothers' Arms)

Ich bin über das Remixed-Album von Mari Boine auf diese CD aufmerksam geworden, weiterhin durch Randi Tytingvag - ich empfehle jedem dieses Album, der sich auf eine Mischung aus finnischen Texten, einer wundervollen Stimme und, kaum auszudrücken, einer ungewöhnlich warmen Mixtur aus Jazz, Elektronik, Folk einlassen möchte. Ich persönlich bekomme diese CD seit Kauf kaum aus dem Player.

01. Northern silk
02. Hear the sound of the yoik
03. They said he was a noaidi
04. He was rich and famous
05. The traditional Sámi hat
06. New York
07. The wedding yoik for Inger-Mari and Sudhir
08. The return of the swan
09. The storm is coming
10. Modern times
11. Time doesn't stop
12. In our foremothers' arms

320 kbps including full scans

HERE

Tambours du Burundi - Batimbo. Musiques et Chants

Tambours du Burundi
Batimbo. Musiques et Chants, 1992

In this album we find the famous drums of Burundi mixed with extraordinary voice timbres.
Released in 1992 on Playa Sound / Sunset Music France.

01. Umbumwe
02. Akazehe
03. Pastorale
04. Impinga N'Abagenzi
05. Ni Iry' Imbandwa
06. Umve Mama Urumviriza
07. Rufuku
08. Imparata
09. Njandagire
10. Murabanza Moribaze
11. Ngorore Ya Bahinda
12. Umubu
13. Bigoro
14. Umwimanyi
15. Ngwiza
16. Yewe Sha
17. Uri Inyambo Burundi

320 kbps including full scans

HERE

100 Best Romantic Classics "6"

100 Best Romantic Classics "1"
100 Best Romantic Classics "2"
100 Best Romantic Classics "3"
100 Best Romantic Classics "4"
100 Best Romantic Classics "5"
CD1: From Russia with Romance,
CD2: An Austro-German Romance,
CD3: A French Romance,
CD4: Romance in a Cold Climate,
CD5: England and America in Love,
CD6: Mediterranean Romance.

This 6 CD set contains an unrivalled collection of 100 favourite romantic classics, performed by some of the world’s leading artists. Among them are the singers Maria Callas, Natalie Dessay, Angela Gheorghiu. Barbara Hendricks, Luciano Pavarotti and Kiri Te Kanawa; instrumentalists Leif Ove Andsnes, Martha Argerich, Jacqueline du Pré, Yehudi Menuhin, Anne-Sophie Mutter and Maxim Vengerov; plus conductors Mariss Jansons, Riccardo Muti, Antonio Pappano, André Previn, Sir Simon Rattle and Herbert von Karajan.

CD6 MEDITERRANEAN ROMANCE

[01]. MASCAGNI Cavalleria rusticana, Intermezzo
[02]. PUCCINI Gianni Schicchi, O mio babbino caro
[03]. ALBENIZ Tango
[04]. PUCCINI La rondine, Chi il bel sogno di Doretta
[05]. VIVALDI The Four Seasons, Spring
[06]. MONTEVERDI L’incoronazione di Poppea, Pur ti miro
[07]. BOCCHERINI Minuet
[08]. MASCAGNI L’amico Fritz, O amore, o bella luce del core
[09]. TARREGA Recuerdos de la Alhambra
[10]. ROTA Romeo & Juliet, Love Theme
[11]. RODRIGO Concierto de Aranjuez
[12]. PUCCINI Madama Butterfly, Vagliatemi bene
[13]. VIVALDI Guitar Concerto in D
[14]. SARASATE Zigeunerweisen
[15]. QUARANTOTTO Time to Say Goodbye
[16]. ALBENIZ Sevilla
[17]. PUCCINI Turnadot, Nessun dorma

FLAC
Part 1 | Part 2

OR MP3 320 kbps
HERE

Pomak Gocmenlerde Müzik ve Pesna

Pomakların kökeni ile ilgili iki karşıt görüş mevcut. Bir görüşe göre Pomak Slavca "pomaçi" (yardımcı) sözcüğünden geldiği için Pomaklar, Slav kökenli Müslüman. Diğer bir görüşe göre ise Pomaklar 14. yüzyılda Rodoplar bölgesine göçen Ahilik örgütüne bağlı Türkler ya da Kuman Peçenek Türklerinin 11. yüzyılda Rodoplar'da kalmış etnik boyları.
Pomakların Anadolu'ya göçü, Müslüman ve Türk kökenli diğer toplulukları da kapsayan büyük göç hareketi içinde yer alır. Osmanlı Rus Savaşı sırasında Balkanlar'dan Anadolu'ya ilk büyük göç hareketi başladı. Balkan Savaşları'nın sonucunda Trakya, Rodoplar ve Pirin Makedonyası bölgelerindeki iller Bulgaristan'a katıldı. Pomakların önemli bir kısmı Trakya'ya ve Anadolu'ya göç ettiler ve Edirne, Kırklareli, Tekirdağ, Çanakkale, Balıkesir, Bursa, Manisa, Eskişehir gibi illerde birçok köy kurdular.
Yunanistan'la 1923-1924 yılları arasında yapılan mübadele anlaşmasında Pomak toplulukları da değiş tokuş programına alındı. Son olarak 1980'lerdeki Bulgar Devleti'nin "isim değiştirme" politikası nedeniyle Türkiye'ye göç ettiler.

PESNA

Bulgarcada şarkı, türkü anlamına gelen "pesen" sözcüğü, Pomaklarda pesna, pesniya ya da pense olarak kullanılıyor. Pomakların "fado"su olarak tanımlayabileceğimiz "pesna" bütünüyle sözel. Pomaklara özgü bu müzik kültürü, yaşlıların belleğinde korunuyor.
Pesnaların büyük bölümünde sevda, kahramanlık ve tarihi olaylar işleniyor.
Şükrü Paşa İstanbul'da (Enver Hoca)
Şükrü Paşa İstanbul'da
İstanbul'da canım tahtta
Tahtta oturuyor kahve içiyor
Kahve içiyor canım gözyaşı döküyor
Gözyaşı döküyor acı acı lanet ediyor
Kahpe olsun kör olsun
Kör olsun Enver Hoca
O sattı Türk toprağını
O sattı canım Urumelilereş
Sözlerin çoğu Pomakça olmasına karşın, Türkçe olanları da var. Albümde Pomakça pesnaların Türkçe çevirisi de bulunuyor. Çeviride bazı sözcükler için Bulgaristan Türklerinin kullandığı karşılıklar verilmiş. Kalan Müzik "Arşiv Serisi" kapsamında yayınlanan albümde kayıtlar İzmir'in Bayramlı, Çınardibi ve Manisa Karaağaçlı'daki alan çalışmalarında yapıldı.

320 kbps including full scans

HERE`