Tea music [7] - An Invitation To Tea

Posted By MiOd On 8:14 PM 0 comments
Tea music [1] - Chang Fu-quan - Tea
Tea music [2] - Tea Travel
Tea music [3] - Tea with Flower Fragrance
Tea music [4] - Oolong Tea
Tea music [5] - Tea & Pot
Tea music [6] - Chinese Tea Ballads

An Invitation to Tea (Teatime Pleasures)
Track Listings
--------------
1. Have a Cup of Tea
2. Please
3. A Maid`s Mind
4. Love of the Past
5. Innocent Times
6. Remembrances of Home
7. Yonder
8. Over the Water

APE (EAC Rip): 230 MB | MP3 - 320 kbs: 110 MB | Front Cover

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Rim Banna - Seasons Of Violet - Lovesongs From Palestine

Posted By MiOd On 6:19 PM 0 comments
Palestinian vocalist Rim Banna performs a selection of new Palestinian love songs with a fine international ensemble featuring Eivind Aarseth (guitar), Gjermund Silset (bass), Rune Arnesen (drums) and David Wallumr?d (keyboards), in addition to her husband Leonid Aleixenco (acoustic guitar). The title refers to the lilac, a violet flower which in Palestine is a symbol of love. All the songs have been composed by Rim Banna together with Leonid Aleixenco, while her mother has written some of the lyrics.

Palestinian artist Rim Banna is now releasing "Seasons of Violet", her second solo CD on the KKV label. Her previous release, "Mirrors of My Soul" (2005), has been well-received around the globe, opening doors for Rim Banna to the USA, Canada, Great Britain, Australia, India, the Arabic world and Scandinavia Her collaboration with KKV started with "Lullabies from the Axis of Evil" (2004). The impression she made on producer Erik Hillestad when she sang a lullaby for him in her house in Nazareth had such an impact that it landed her a recording contract. Her many fans have been eagerly awaiting her new record, and now it is finally here. She performs with the same band, featuring Eivind Aarseth (guitar), Gjermund Silset (bass), Rune Arnesen (drums) and David Wallumrød (keyboards), in addition to her husband Leonid Aleixenco (acoustic guitar). This time Rim gives us a selection of new Palestinian love songs. The title, "Seasons of Violet", reflects the lilac, a violet flower which in Palestine is a symbol of love. All the songs have been composed by Rim together with Leonid Aleixenco, while Rims mother has written some of the lyrics.

The songs:

* 1. The hymn of the sea 4.36
* 2. The night has fallen down 5.08
* 3. The light gown of soul 4.24
* 4. Seasons of violet 4.25
* 5. The first rain 4.59
* 6. Beit Allah 3.47
* 7. I'll come to you daisy like 4.44
* 8. After you left 3.48
* 9. The dream 4.38
* 10. A prayer 5.58
* 11. The weeping of the rose 5.20

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Tea music [6] - Chinese Tea Ballads

Posted By MiOd On 6:17 PM 0 comments
Tea music [1] - Chang Fu-quan - Tea
Tea music [2] - Tea Travel
Tea music [3] - Tea with Flower Fragrance
Tea music [4] - Oolong Tea
Tea music [5] - Tea & Pot
Track Listings
--------------
1. Tea Song of the Xiang River
2. Dance Music about Tea Plucking
3. Tea Song of Shu Mountain
4. A Tea Ballad
5. Tea Song of Dongting Lake
6. Tea Plucking Girls
7. Tea Party beside Xihu Lake
8. Tea Picker`s Dream

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Ravi Shankar - Sitar Concertos and Other Works

Posted By MiOd On 9:24 AM 0 comments
Alt text
Have you ever attended an ordinary party at which a stranger suddenly appears and does something remarkable? I was about to leave one recently where I met the woman who did voiceovers for the phone company’s automated messages. When she did her “please deposit an additional fifteen cents,” everyone cracked up. It was the peak of the evening. A few decades ago, Ravi Shankar decided to write two sitar concertos, probably as part of his “East meets West” campaign. By themselves, the concertos are nothing special. Both feature traditional thematic development. Both open with dramatic flourishes and introduce accessible musical devices early —flowing harps, legato strings, upbeat horns, and snappy percussion. Then Shankar’s sitar enters with its adagio moan and whine, and the party takes off. In Concerto No. 1, he’s clearly trying to find his element. While trying to find the edges, he noticeably pokes through the orchestral membrane. He’s like Johnny Depp in the formulaic Pirates of the Caribbean: flamboyant, inventive, quirky . . . and memorable. In Concerto No. 2, Shankar learns to integrate the orchestra more efficiently with the wild riffs of his difficult instrument. The music is less repetitive and takes a more chances. Like its predecessor, it is weakest during the Adagio, when sentimentality flashes its fawning smile. The other works on this two-disk set are more successful because they operate in the traditional raga medium. The duet with Jean-Pierre Rampal is satisfying and exciting. But the star cuts are the two he performs with Yehudi Menuhin. This extraordinary violinist has no trouble following, and sometimes leading, Shankar in his boldest forays. Like his eminent partner, Menuhin has both hands on the heartbeat of this music and they never stray. -

RAVI SHANKAR: Sitar Concertos and other Works – Ravi Shankar, sitar/ Yehudi Menuhin, violin/ Jean-Pierre Rampal, flute/ London Philharmonic Orchestra & London Symphony Orchestra/ André Previn and Zubin Mehta.

Alt text

CD: 1
(01). Morning Love (based on Raga Nata Bhairav) (1998 Digital Remaster) Jean-Pierre Rampal/Ravi Shankar/Alla Rakha/Kamala Chakravarti
(02). Raga Piloo (1998 Digital Remaster) Yehudi Menuhin/Ravi Shankar/Alla Rakha/Kamala Chakravarti
(03). Prabhati (based on Raga Gunkali) (1998 Digital Remaster) Yehudi Menuhin/Alla Rakha
(04). Concerto for Sitar & Orchestra (1998 Digital Remaster): First movement: Raga Khamaj Ravi Shankar/Terence Emery/London Symphony Orchestra/André Previn
(05). Concerto for Sitar & Orchestra (1998 Digital Remaster): Second movement: Raga Sindhi Bhairavi Ravi Shankar/Terence Emery/London Symphony Orchestra/André Previn
(06). Concerto for Sitar & Orchestra (1998 Digital Remaster): Third movment: Raga Adana Ravi Shankar/Terence Emery/London Symphony Orchestra/André Previn
(07). Concerto for Sitar & Orchestra (1998 Digital Remaster): Fourth movement: Raga Manj Khamaj Ravi Shankar/Terence Emery/London Symphony Orchestra/André Previn

CD: 2
(01). Raga Puriya Kalyan (1998 Digital Remaster) Ravi Shankar
(02). Swara-Kakali (based on Raga Tilang) (1998 Digital Remaster) Ravi Shankar/Yehudi Menuhin
(03). Raga Mala - A Garland of Ragas (Concerto No. 2 for Sitar & Orchestra): I. Lalit (Presto) Ravi Shankar/London Philharmonic Orchestra/Zubin Mehta
(04). Raga Mala - A Garland of Ragas (Concerto No. 2 for Sitar & Orchestra): II. Bairagi (Moderato) Ravi Shankar/London Philharmonic Orchestra/Zubin Mehta
(05). Raga Mala - A Garland of Ragas (Concerto No. 2 for Sitar & Orchestra): III. Yaman Kalyan (Moderato) Ravi Shankar/London Philharmonic Orchestra/Zubin Mehta
(06). Raga Mala - A Garland of Ragas (Concerto No. 2 for Sitar & Orchestra): IV. Mian ki Malhar (Allegro) Ravi Shankar/London Philharmonic Orchestra/Zubin Mehta

* Alla Rakha - Tabla
* Kamala Chakravarti - Tanpura
* Jean-Pierre Rampal - Flute
* Sir Yehudi Menuhin - Violin
* Ravi Shankar - Sitar

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Orkestina - Transilvania Express

Posted By MiOd On 6:58 AM 0 comments
Alt text
Balkanized gypsy and klezmer music from a band assembled in Spain and comprised of an Englishman, Irishman, Spaniard, and Bulgarian -- if that doesn't qualify as world music, then what does? With a basic lineup of fiddle, accordion, bass, and gadulka (a 13-string Bulgarian fiddle originally used to accompany dancing bears), Orkestina creates a wonderful noise, although it takes a little while to get fully warmed up. However, by the extensive "Mary," which runs through a couple of horas before heading into Celtic territory, they're all steaming ahead, with some superb playing that pushes higher and higher over the course of ten-plus minutes before a veritable musical explosion at the end, leaving the listener wondering how they can top that. But they do with "Momneele," a slow love song, drafting in singer Minka Nenova. And so it continues: "Horo No. 2" features some sterling accordion work from Jon Davison, and the Romanian "Sirba" suddenly takes off into a double-speed romp of jaw-dropping virtuosity. Smoothly negotiating complex time signatures, they ease through the klezmer mood of "Galitzyaner Tanz" before delving into traditional Bulgarian music for the closing "Groovski Ritmi," featuring some stunning work on the gadulka. Consider this album to be a joy and absolute pleasure. ~ Chris Nickson, All Music Guide

1. Horo no. 1
2. Manele
3. Mary
4. Momneele
5. Horo no. 2
6. Sirba
7. Grancharsko Horo
8. Galitzyaner Tanz
9. Groovski Ritmi

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Mercan Dede - Sufi Traveler

Posted By MiOd On 6:08 AM 0 comments
Alt text
Even electronic music's most-ardent fans understand that the ghost in the machine isn't conjured as a soulful or spiritual vibe. That comes by bringing in elements from more traditional styles. Understanding this, Turkey-born and Canada-based Mercan Dede intertwines thoughtful down-tempo programming with Sufi devotionals to create an imaginative hybrid that honors both styles. This two-disc effort, Dede's fourth release, includes an eight-part dance piece and a second disc of live performance featuring Dede and his group Secret Tribe. Not your average dance music, "Nar" is filled with impressionistic and moody soundscapes colored with Dede's ney (flute), jazz bass, violin, ambient electronics and, occasionally, devotional lyrics. "Seyahatname" is a more upbeat version of the same format with the band adding an emotional human imprint upon the tremendous ebbs and flows programmed by Dede. Earthy and inspirational, hip and ancient, Sufi Traveler is a voyage to modern Turkey that ably reconciles the past with the present and the future.

Disc: 1
1. Nar-1 Ney
2. Nar-1 Mey
3. Nar-1 Yar
4. Nar-1 Ask
5. Nar-1 Sems
6. Nar-1 Can
7. Nar-1 Cem
8. Nar-1 Seher

Disc: 2
1. Guilname
2. Semaname
3. Hayalname
4. Sahname
5. Neyname
6. Vefaname
7. Askname
8. Falname
9. Sirname

MP3 256 kbps including Front Cover

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Kocani Orkestar - A Gypsy Brass Band

Posted By MiOd On 6:06 PM 0 comments

Just about any brass band from the Balkans might consider themselves a "gypsy brass band," so strong is the Romany influence, with a majority of the bandmembers often from this ethnic background. This is a recording of a Macedonian brass band, which mixes in some instruments that would certainly be out of place in a typical American high school brass band. These include the accordion and the Turkish drum called a darbuka, layered on top of the obese, low-end sound of three baritone horns and one tuba. There's also a sax and clarinet player who tangles with leader Naat Veliov's splattering riffs, the leader's son on second trumpet, and a female vocalist tying the bow on the package. Veliov also gets the credit for the striking arrangements. This is a recording of folk music, yes, but organized with the high-powered finesse bandleader Buddy Rich described as "a right hand on your brain." Veliov has a wide choice of influences to tap into, not only the rich Turkish/Slavic/Balkan stew but the distant yet pungent aroma of Indian music stretching back to the Romany's original homeland. On the whole, the astonishing fluidity of the instrumental numbers makes it a bit harder to appreciate the vocal numbers with Violeta Filipova.

1. Solo Tapan
2. Srpsko Oro
3. Romski Cocek
4. Tarabuka Sol
5. Kerta Mangae Dae
6. Trepaza
7. Nejatov Cocek Veliov
8. Nic Can Bagna
9. Ciganski Cocek
10. Bulgarska Oro

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CHANTS ROMS Kek Lang - Romany Songs

Posted By MiOd On 5:02 PM 0 comments
Kek Lang
Winter Moons,Summer Suns
Romany Songs from Hungary
Alt text
Balkanized gypsy and klezmer music from a band assembled in Spain and comprised of an The gypsy families whose members make up the group Kek Lang (blue flame) were discovered when Tony Gatlif was making his film Latcho Drom. They all come from a little village near Nyabator in the eastern part of Hungary, where the songs still reek of mud, woodsmoke, bad vodka and loud swearwords. In typically Romany style this mixed group sings surprisingly complex folk music accompanied by accordion and guitar with jug or spoon used as percussion. It is essential to free oneself of all musical logic to enjoy these gypsy songs. The reward is there if one lets oneself go and be drawn into the music, with all its emotional turmoil, its chaotic undertones, both festive and naive, without any trace of bitterness. The music is a sort of challenge thrown out against the cold-heartedness of modern industrialized society and its technology.

(01). Memeiga (Premiere - First Version)
(02). Bolond Asszony
(03). Drago Szanasz Manghe
(04). Ternyi Pomnyi Telo Podo
(05). Telo Podo
(06). Ando Ghio Ando Foro
(07). Nani, Nani
(08). Szigyarenke Tele Phidel
(09). Csinta, Csinta Palacsinta
(10). Bogos
(11). Kea Devla Soke Tera
(12). Blowin In The Wind (D'Apres Bob Dylan)
(13). Sorpajipi Lulugyi
(14). Memeiga (Deuxieme - Second Version)

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Bebel Gilberto - Bebel Gilberto

Posted By MiOd On 3:57 PM 0 comments

Although Bebel Gilberto has been writing, performing, and recording since her childhood, this is only her second full-length solo album. The child of Brazilian legend João Gilberto and the celebrated singer Miucha, she comes by her musical talent honestly, but has honed and developed it carefully over the years, being careful not to overexpose herself or peak too early; as a result, she now emerges as a mature and fully developed singer despite her relative youth. Her eponymous sophomore effort is a delightfully warm and unaffected program of Brazilian pop, much (but not all) of it in a fairly traditional bossa nova style. There are electronic elements in the mix, but they are mostly kept in the background; instead of aggressive electronica or superimposed breakbeats, the instrumental accompaniment is mostly woven from organic percussion, acoustic guitars, bass, and piano. This all serves to keep one's attention where it belongs: on Gilberto's sweet, rich voice and her gorgeous melodies. Highlights include the lovely "Aganjú," the gently heartbroken "Every Day You've Been Away," and the lilting, almost funky "Cada Beiju."

[01]. Baby
[02]. Simplesmente
[03]. Aganjú
[04]. All Around
[05]. River Song
[06]. Every Day You've Been Away
[07]. Cada Beijo
[08]. O Caminho
[09]. Winter
[10]. Céu Distante
[11]. Jabuticaba
[12]. Next to You

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Flamenco Lounge

Posted By MiOd On 2:38 PM 0 comments

Track Listings
--------------
Disc: 1
[01]. Gracia De Mujer
[02]. Amores De La Medina
[03]. Suspiros
[04]. De Amor Llore
[05]. Hispalis
[06]. Acordes Chill
[07]. Nuevas Raices
[08]. Tormento
[09]. Cumbres
[10]. Colores
[11]. Aroma Pa' Tu Cara
[12]. Platea

Disc: 2
[01]. Hablame Del Mar
[02]. Por El Albero
[03]. Pata Negra
[04]. Conjuro Que Alegra El Alma
[05]. Jaleo
[06]. Madero Hecho Cruz
[07]. Altozano
[08]. Mancha De Mora
[09]. El Conjuro
[10]. Albaicin
[11]. Caprichos De La Alhambra
[12]. Sarao

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Hushang Zarif - Tar

Posted By MiOd On 6:48 AM 0 comments

Hushang Zarif was born in 1938 in Tehran. After completing his early studies in primary school he continued studying music at National Iranian Conservatoire under Ruhollah Khaleqi.
He chose tar as his first instrument and began to study with Musa Ma'rufi, the great Iranian musician. His other masters were Ruhollah Khaleqi, Javad Ma'rufi, Hoseyn Tehrani and other teachers at the Conservatoire. He was always a top student in music lessons and he benefited for 4 years from Ostad Ali-Akbar Shahnazi during his advanced studies in the conservatoire. He graduated in 1958 and was employed by the Ministry of Culture and Arts. At the same time he began to play in different ensembles and orchestras. He played as a concert musician and also as a soloist in the National Orchestra under A.-M. Khadem-Misaq and A. Haq-Kerdar, then in Orchestra of Saba under H. Dehlavi and the Great Orchestra of the national Instruments under M. Meftah. Invited by Dehlavi, then the director of the Conservatoire, he bagan a process of teaching that lasted more than 17 years during which he managed to train many prominent musicians.
He has played in the Payvar Ensemble for more than one decade and has toured in Asian, European and North American countries; Among his major achievements are a concert tour in 20 universities of the United States to present Persian classical music to the American audience; followed by a participation in Shankar Laal Music Festival (India, 1975) and then Insburg Music Festival (Austria, 1985).
Zarif also plays setar and tombak with exceptional dexterity and for a while he cooperated with the ensemble of tombak-players led by Hoseyn Tehrani. He also cooperated in note-setting of the first method of tombak playing supervised by Dehlavi, and in Vocal Radif, the Version of Mahmud Karimi edited by M.-T. Massoudieh.
Many of his performances are with Payvar Ensemble. He has also recorded solo tar in Dashti/Esfahan, and some gushehs of the Radif of Musa Ma'rufi. His performances of the complete studies of Primary Tar Lessons (1st and 2nd Books of Conservatoire), Dastgah-e Rast-o-Panjgah (Ostad A.-A. Shahnazi), Chaharmezrabs of Ostad Jalil Shahnaz, and Pieces Composed by Ostad Farhang Sharif have been published. A collection of his own compositions is going to be released. He has received a first Degree of Arts and now he teaches tar at the Music Faculty of Art University and in the Girls' Conservatoire of Music in Tehran.

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Hamdi Benani - Malouf de Annaba dans la Nouba Cika

Posted By MiOd On 5:45 AM 0 comments

Track Listings
--------------
(01). Nouba Sika Bacheraf
(02). Nouba Sika Istikhbar
(03). Nouba Sika Msaddar Akhbirouni
(04). Nouba Sika Kursi, Insiraf Ya saat
(05). Nouba Sika Insiraf 1 Hillal el bane
(06). Nouba Sika Insiraf 2 Dak echarab
(07). Nouba Sika Insiraf 3 Dir ya nadim
(08). Nouba Sika Kursi
(09). Nouba Sika Insiraf 4 Ya chabih
(10). Nouba Sika Khlass Lakaytouha
(11). Hawzi Istikhbar ushaq
(12). Hawzi Hawzi 1 Fadh el wahch
(13). Hawzi Hawzi 2 Ya daw ayani

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Zanzibar: Music of Celebration

Posted By MiOd On 4:02 AM 0 comments
Long before world fusion was a marketing category for the music industry, African, South Indian, and the Middle Eastern musical cultures commingled on the Tanzanian island of Zanzibar. Situated at a confluence of intercontinental trading routes in the Indian Ocean, Zanzibar provided -- and continues to provide -- a natural meeting place for polyglot sounds from around the globe. Zanzibar: Music of Celebration presents a sampling of live field recordings made on this island crossroads between 1989 and 1990. A Topic Records and British Library National Sound Archive release, it gives us a glimpse of Zanzibar's vibrant music scene by way of its two main styles: Taarab and Maulidi. The CD's first five cuts introduce Taarab, which is often played at weddings and other large festivals around the Swahili coast. From the lush, Egyptian-influenced sound of Culture Music Club's exotically orchestrated "Dhikrayat" to the Indian imbued sounds of Changanlal Keshavij Pithadia's "Prayer," Taarab underscores the diversity of Zanzibar's cultural makeup. Alternatively, Maulidi is customarily reserved for sacred occasions, such as celebrating the birth of Mohammed, though it too is making rounds into more secular settings. The two examples of Maulidi heard here -- Sheikh Othuma Rahman's staid "Recitation From the Koran" and Rashid Makame's strident "Kidumbak" -- reflect both the traditional and more contemporary versions. Whatever it is, Maulidi or Taarab, all the cuts on Zanzibar: Music of Celebration beam with an aura of revelry. Janet Topp Fargion's liner notes and photographs complement her unique field recordings and give use a first-rate introduction to the multifarious cultures and musics from this unique Indian Ocean outpost. ~ John Vallier, All Music Guide

1. Dhikrayat - Culture Musical Club
2. Mwambieni - Culture Musical Club
3. Prayer (Indian Taarab)- Chaganlal Keshavji Pithadia
4. Nakupa Salamu - Chaganlal Keshavji Pithadia
5. Na Mnikome - Mkongwe Bakari
6. Kasida - The Kilimani Madarasa
7. Recitation from the Koran - Sheikh Othuma Rahman
8. Kidumbak - Rashid Makame

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Mojtabâ Mirzâdeh - Iranian Violin Improvising

Posted By MiOd On 6:30 PM 0 comments

The largest collection of Classical Persian violin improvisations performed by late Ostad Mojtaba Mirzâdeh (d. 2005), the greatest master of Persian violin.

Disc 1
1. Moghadameh Segah
2. Zarbi Mokhalef Segah
3. Avaz Mokhalef Segah
4. Chaharmezrab Mokhalef Segah
5. Moghadameh Shur, Shahnaz
6. Zarbi Shahnaz
7. Chaharmezrab Shahnaz
8. Avaz Shur

Disc 2
1. Moghadameh Bayat Tork
2. Zarbi Bayat Tork
3. Avaz Bayat Tork
4. Chaharmezrab Bayat Tork
5. Moghadameh Shushtari
6. Zarbi Shushtari
7. Chaharmezrab Shushtari

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The Art of the Afghan Rubab. Music of Central Asia 3

Posted By MiOd On 9:19 AM 0 comments
Homayun Sakhi The Art of the Afghan Rubab.
Music of Central Asia Vol.3 Smithsonian Folkways, 2006
Alt text
From Kabul to California, Homayun Sakhi is admired as the outstanding Afghan rubâb player of his generation, a charismatic virtuoso who has pushed the limits of his instrument. With tabla player Taryalai Hashimi, Sakhi plays music that is uniquely Afghan, yet resonates strongly with the spirit of Indian raga.

1. Raga Madhuvanti
2. Raga Yaman
3. Kataghani

Homayun Sakhi - rubab, vocals
Ghulam Bahauddin - tanbur
Rahim Takhari - ghijak, dutar, vocals
Muhammad Wali Nabigul - tabla

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Gabriela Mendes - Tradicao

Posted By MiOd On 5:09 AM 0 comments
There is no end to the treasures on that distant clutch of islands Cap Vert (Cape Verde) and Gabriela Mendes is the latest in a long line of traditional singers willing to share those riches far and wide. Traditional mornas, sweetly sung and gently accompanied by nimbly picked guitars are at the heart of these ten songs


Gabriela Mendes was born in 1973 in São Vicente. Her musician father emigrated abroad — like so many others — to work for his family and she remained with her mother, wistfully thinking of her missing father as the radio played the sad songs of longing for which the islands are so famous.

Her house was also full of musicians dropping in and practicing, while she also developed her voice as a leading chorister. Several years later, she would start singing in bars and festivals inspired by her love of traditional music. It is tempting to speculate that the church singing influenced her clear, bright vocal tones.

This collection stays close to the familiar rhythms and sounds made famous by her idol Cesaria Evora, but adds the fresh youth of her expressive voice to the mix. She is accompanied by a rich mix of percussive instruments and guitars, plus piano and accordion.

Within the form, she finds room for a wide range of tones from wistful to mischievous and upbeat to laid back. While songs such as ‘Pedra’ push the limits with jazz overtones, she is just as adept at adding new spice to traditional songs like ‘Curral ca tem capóde’.

A welcome addition to the handful of internationally known singers from Cap Vert.

Gabriela Mendes - Tradicão is out on Nocturne

(01). [Gabriela Mendes] Ness bô jardim
(02). [Gabriela Mendes] Ness tempo di nha bidjssa
(03). [Gabriela Mendes] Tradiçمo
(04). [Gabriela Mendes] Ausência
(05). [Gabriela Mendes] Sabu
(06). [Gabriela Mendes] Nôs vivência
(07). [Gabriela Mendes] Curral ca tem capode
(08). [Gabriela Mendes] Pa longe um ta bai
(09). [Gabriela Mendes] Resposta menininhas de monte sossego
(10). [Gabriela Mendes] Pedra

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Baba Zula - Double Oryantal

Posted By MiOd On 5:19 PM 0 comments

Baba Zula is a Turkish musical group, founded in Istanbul in 1996, featuring founding members Levent Akman Murat Ertel as well as Coşar Kamçı who replaced original member Emre Onel in 2005. BaBa Zula added live drawing artist Ceren Oykut into the mix in 2004. Her presence onstage has added an important visual aspect to BaBa Zula's live performances. Akman, Ertel, and Onel originally formed Baba Zula as a side project of now disbanded Anatolian rock group Zen.

Musical style
Baba Zula go to great lengths to provide their fans with a unique live show experience. Their ritual-like performances are a mixture of disciplines of art, often featuring belly dancers, elaborate costumes, poetry, theatre and live animation, delivering viewers a tantalizing audio-visual feast.

By mixing oriental instruments such as the darbuka, electric saz, and spoons with electronics and modern sounds, BaBa Zula creates a sound all their own called "Oriental Dub". While a ney can represent the past Sufi-Islamic tradition, and a clarinet is the symbol of the music of the Turkish gypsies, an electric saz together with a wooden spoon can serve as a musical compass to Turkish musical roots going as far back as pre-Islamic, shamanic times, through Anatolia reaches all the way up to present-day Istanbul. Despite sounds that might initially come to mind when one hears the phrase "Oriental Dub", Baba Zula's music is in fact rock'n roll that rolls in a way that westerners have not heard since the late 1960s rock epoch. Baba Zula share their legacy with us through their music, a music born out of Istanbul and influenced by the memories of Istanbul passed on to them from generations past.

The group, which from the very beginning has shown great interest in featuring guest musicians and players in concerts and albums, has been accompanied by stars such as the Thracian Selim Sesler (clarinet master), the Canadian singer Brenna MacCrimmon (specialized in Balkan folk music), Alexander Hacke (E.N.), Fred Frith (from Henry Cow, John Zorn, etc), Jaki Liebezeit (Can), Hüsnü Şenlendirici (clarinet master from "Laço Tayfa"), Ralph Carney from San Francisco (saxophonist who worked with Tom Waits and The B-52's) and the diva Semiha Berksoy (first Turkish opera singer and painter).

Baba Zula's debut album, Tabutta Rovasata (Sommersault in the Coffin) (re-released by Kadraj in 2006) includes the original music score for Dervis Zaim's first movie of the same name released in 1996, about a car thief who returns the cars he has stolen to their original owners and falls in love with a peacock. The album also includes four songs on which the movie's stars Ahmet Ugurlu, Tuncel Kurtiz and Aysel Aydemir contribute vocals.

Baba Zula's album, Three Plays from Seventeen pieces (Doublemoon Records) comprising music created for the plays The Little Prince by Antoine de Saint Exupéry, Frog Tales by Arnold Lobel and Kitchen Accidents by Perihan Mağden, was released in 1999. Along with a number of other artists, Ralph Carney, Brenna McCrimmon and Selim Sesler also took part in this album as guest stars. Baba Zula also made the music for the film Renkli Türkçe (Colored and in Turkish), directed by Ahmet Cadırcı.

Their third album Psychebelly Dance Music, released in May 2003, was mixed and mastered by the British musician and producer Mad Professor, who previously worked with Massive Attack, The Orb and Lee Perry.

Their fourth album Duble Oryantal, which was released on Doublemoon Records in May 2005, reunited them with mix-master Mad Professor, Sly & Robbie and Alexander Hacke and reflects the culmination of years of fearless musical adventuring, and as usual there is a talented and eclectic supporting cast.

On the 2007 release, Roots, Baba Zula return to their original format as a trio and only the core members of the BaBa Zula family, such as vocalist Brenna MacCrimmon, can be heard on only one song. The group also show off a new perspective on their trademark sound "oriental dub", courtesy of the group's first trip to Japan in the spring of 2007, where they befriended a Japanese sound engineer. Traditional Turkish influences on the album include works by important composers and lyricists in the history of Turkish music, such as Neşet Ertaş and Pir Sultan Abdal as well as analog recording techniques courtesy of Turkish producer Mehmet Ateş.

Baba Zula have composed several mood-setting pieces for movies over the years. Their most recent release is an original score for the film Dondurmam Gaymak. The band also appeared in the Berlin International Film Festival Golden Bear award-winning director Fatih Akın's film Crossing the Bridge, that explores the sounds of Istanbul. The group also provided music for the film by recording with Einstürzende Neubauten's Alexander Hacke.

Baba Zula have performed at festivals such as the Roskilde Festival (Denmark), Sofia Film Festival (Bulgaria), Klinkende Munt Festival] (Belgium), Arezzo Wave Festival (Italy), Images of Middle East (multi-city Denmark tour), Cologne Triennale (Germany), Printemps de Bourges (France), Şimdi/Now Festival (Germany), the Boost Festival (Netherlands) and the Venice Biennial.

(01). [BABA ZULA] gün aydin
(02). [BABA ZULA] gerekli seyler
(03). [BABA ZULA] baba hastanede
(04). [BABA ZULA] sipa
(05). [BABA ZULA] yavas orman
(06). [BABA ZULA] ِzgür ruh
(07). [BABA ZULA] zaniye oyun havasi
(08). [BABA ZULA] galiba hamileyim
(09). [BABA ZULA] hizli orman
(10). [BABA ZULA] pirasa
(11). [BABA ZULA] eyvah dayim geldi
(12). [BABA ZULA] çiçekli ipek sabahlik
(13). [BABA ZULA] islak sevdaliliar
(14). [BABA ZULA] istanbul çocuklari
(15). [BABA ZULA] zerzevat adam
(16). [BABA ZULA] belvü
(17). [BABA ZULA] bir sana bir de bana
(18). [BABA ZULA] gerekli seyler (dub)
(19). [BABA ZULA] ِzgür ruh (dub)
(20). [BABA ZULA] istanbul çocuklari (dub)
(21). [BABA ZULA] sipa (dub)

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Abida Parveen - "Raqs-e-Bismil - Dance of the Wounded"

Posted By MiOd On 2:13 PM 0 comments
It's at times difficult to differentiate Sufi devotional music from Ghazals -- both rely on an eloquent rendition of Urdu poetry in praise of a beloved, though in the case of devotional music the same expressions could refer to the divinity. On the very extremes of these seemingly related styles, devotional genres like Qawwali purport the high intensity of recital facilitated by the inclusion of a group of musicians who repeats the key verses, and heavy percussion including hand clapping. Ghazals, on the other hand, are less exaggerated and in a light classical style; yet there has been an explosion of artists who easily accommodate the two styles in their works, especially in Pakistan. This overlap has led to the proliferation of the subgenre Kafi, epitomized by Abida Parveen. It's easy to appreciate and identify this genre in her style which has a numbed intensity and is very much straight pitched. Raqs-E-Bismil ("Dance of the Wounded") holds a special significance in Parveen's career. Firstly, a release through the major record label from India confirmed wider reach in the Indian subcontinent as opposed to earlier, haphazardly released albums. Secondly, rather than dedicating an album to one particular poet; as Parveen had done quite frequently earlier; Raqs-E-Bismil witnesses Parveen singing to the poetry of various poets. With three songs on the word by Hazarat Shah Niaz and one each by poets Asghar Gondvi ("Zaahid Ne"), Maulana Hasrat Mohani ("Roshan Jamal-E-Yaar"), Hazrat Zaheen Shah Taaji ("Ji Chahe"), and Jigar Moradbadi ("Jalwa Ba Qadra"), Parveen makes sure to pick her favorite poetry for this album. More importantly, due to the seemingly important stature of this release, she sticks to the Kafi genre of singing without straying to other extremes and thus brings out an album that displays her at her very best. ~ Bhasker Gupta, All Music Guide

[01]. Taarab. Bashraf- Dhikrayat-Taarab. Bashraf- Dhikrayat
[02]. Taarab. Song- Mwambieni-Taarab. Song- Mwambieni
[03]. Indian taarab. Song- Prayer-Indian taarab. Song- Prayer
[04]. Indian taarab. Song- Nakupa Salamu-Indian taarab. Song- Nakupa Salamu
[05]. Taarab ya wanawake. Song- Na mnikome- Taarab ya wanawake. Song- Na mnikome
[06]. Maulidi. Kasida-Maulidi. Kasida
[07]. Maulidi. Recitation from the coran-Maulidi. Recitation from the coran
[08]. Kidumback-Kidumback

MP3 192 kbps including Covers

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Tea music [5] - Tea & Pot

Posted By MiOd On 12:30 PM 0 comments
Tea music [1] - Chang Fu-quan - Tea
Tea music [2] - Tea Travel
Tea music [3] - Tea with Flower Fragrance
Tea music [4] - Oolong Tea
Alt text
Tea & Pot introduces eight famous Chinese teapots through classical Chinese musical instruments. The composers, Zhang Fu-quan and Hao Han, bring the world of the teapot to tea-loving people. Perfect for the waiting room or during treatments.

(01). Light as Rosy Clouds
(02). Starry Sky
(03). Carefree Dreamer
(04). Verdant Message
(05). World of Transparence
(06). Taste of Rurality
(07). Older Allure
(08). Tiny and Dainty

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Syria : Hamza Shakkûr and the Al-Kindî Ensemble Sufi Songs of Damascus

Posted By MiOd On 2:41 AM 0 comments
Syria : Hamza Shakkûr and the Al-Kindî Ensemble Sufi Songs of Damascus
The Whirling Dervishes of Damascus Sufy liturgy from the great mosque of Ommeyyads The Great Master Junayd was asked why the Sufis felt such powerful emotions in their spirit and the urge to move their body when listenning to sacred music. This way his reply : " When God asked the souls in the spirit world, at the moment of the First Covenant : " Am I not your Lord ? ", the gentle sweetness of the divine words penetrated each soul for ever, so that whenever one of them hears music now, the memory of this sweetness is stirred within him causing him to move."

In the early 9th century, when the Muslim mystics organised their Sufis brotherhoods or orders, they adopted music as a support for meditation, as a means of access to the state of grace or ecstasy, or quite simply as " soulfood " in other words, something that give new vigour to a body and soul tired by the rigours of the ascetic life. In sufism, the sama' (meaning literally 'listenning') denotes the tradition of listenning in spiritual fashion to music, chanting and songs of various forms, all ritualised to a greater or lesser degree.
The very meaning of the world sama' suggests that it is the act of listenning that is spiritual, without the music or poetry being necessarily religious in content. The major preoccupation of the Muslim mystics was to give the ecstasy a real content and the music a true meaning.
The Sûfis mystics brotherhoad known as Mawlawiyya (Turkish : Mevlevi-s, more familiar to us in the West as the "whirling dervishes") was founded at Konya (Anatolia) by the great Persian poet Jalâl al-Dîn al-Rûmi (1207-1273).
Although we associate this ritual above all with Turkey, local traditions have been in existence in Syria, Egypt, and Iraq since the 16th century. They survived there after the dissolution of all Sûfi fraternities in Turkey in 1925 and the suicide of the Great Master 'Abd al-Halîm Thsélébî Bashî.
Damascus is one of the principal centres of Islam, the former capital of the Ummayyad dynasty and a stage in the pilgrimage to Mecca. In their meeting-places there (takiyya or zâwiya), the Mawlawîyah adopted the original suites (Wasla), modes (maqâm) and rhythms. The ritual may not be performed in the mosques, where musical instruments are either completely forbidden or else only allowed in the form of percussion instruments, which are generally played in the courtyard.
Certain great mosques, such as the Umayyad Mosque (also known as the Great Mosque of Damascus) possess a specific vocal repertory . The sacred suites are known there as nawba-s, a term reserved for secular suites by the former inhabitants of Andalusia and the Maghribi.

Bi hamdika yâ ilâhî
O God, I begin my entreaties by praising your goodness.
In humility and acceptance I turn to Thee.
If Thou dost not grant me forgiveness, who else could do so ?
Thou art Allah, our generous Lord,
I have entrusted my earthly fate to Thy heavenly powers.
Grant me Thy succour, relieve my worried breast.
Thou knowest my intimate secrets just as my outward acts,
O Thou, my God, forgiving and full of Mercy.

Allah, Allah, lâ ilâha illâ-llâ, Ataynâka bi-l-fakr
Allah, Allah, there si no other God but Allah
We come to Thee, poor and bereft,
Thou who holdest all riches
And constantly pours Thy blessings down on us.
May Thy generosity last for ever,
God, may this prayer on the Chosen One, mean for us
Protection and serenity.
With Thee at my side at all times
I can renounce all worldly goods.

Sheikh Hamza Shakkûr - Singer
Julien Jâlal Eddine Weiss - Arabic zither (Qânun), artistic direction
Ziyâd Kâdî Amin - Reed flute (Ney)
Qadri Dalal - Lute (luth)
Adel Shams el-Din - Percussion (riqq)
Suleyman Al-Khechn, Abdallah Chakour - Choir (Munshiddin)
Hatem al-Jamal, Maher al-Jamal
Hicham al-Khatib, Ghassan Janid - Dervishes (Mawlawi)

[01]. Al-Salam Al-Rabi: Taqsim Huzam/Taqsim Sikah/Mawwal Sikah
[02]. Al-Salam Al-Rabi: Taqsim Huzam/Taqsim Sikah/Mawwal Sikah
[03]. Ghayri Ala S-Sulwan Qadir...: Taqsim Rast Qanun/Taqsim Rast Nay/Layali Rast/Ibtihal Bayyati
[04]. Ghayri Ala S-Sulwan Qadir...: Taqsim Rast Qanun/Taqsim Rast Nay/Layali Rast/Ibtihal Bayyati
[05]. Chanting (Tartil) Of The Qur'an

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Mehmet Emin AY - Dolunay

Posted By MiOd On 2:21 AM 0 comments
Excellent (Arabic & Turkish) Sufi Music
Track Listings
--------------
[01].Taleal Bedru Aleyna
[02].Hicret
[03].Na't-i Serif
[04].Innilte Ya Riha's Saba
[05].Munacaat
[06].Na't-i Serif
[07].Tesbihat

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The Musicians Of The Nile - Luxor To Isna

Posted By MiOd On 1:48 AM 0 comments
This album captures powerful and eerie melodies which can be traced back to the time of the Pharaohs.
Originating from the furthest reaches of Upper-Egypt, The Musicians of the Nile have criss-crossed Europe over the last 20 years. Like the ancient bards of time past, the difference is that they move through space and cultures as comfortably on an airplane as on the back of a donkey.

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

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

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

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

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

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

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

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Sangeet Sangam Vol. 4 A Meeting Of Melodies

Posted By MiOd On 10:13 PM 0 comments
Sangeet Sangam Vol.1 (A Meeting Of Melodies)
Sangeet Sangam Vol.2 (A Meeting Of Melodies)

Ustad Rais Khan is the scion of one of the most distinguished musical lineage of India and hails from Indore. His father and guru Ustad Mohammad Khan was acclaimed as the greatest sitar, surbahar and veena player of his times. Young Rais debuted musically at the age of five and was immediately hailed as a prodigy. His first sitar, presented by his father, was made out of a coconut. Since those early years, his brilliant technique of playing the sitar through elegant pacing and blinding speed entwined with sweetness has gained him recognition as one of the great masters of his instrument. Indeed, just the tone of his sitar is instantly identifiable and appealing. He is a master of the gayaki and (way of singing). Rais Khansaab is also a vocalist and is the first one to record the geet Ghungroo toot gaye for BBC London in 1978. His uncles, Ustad Vilayat Khan and Imrat Khan, are also well-established names in music. Rais Khansaab is one of the rare musical personalities for whom music is a passion and a sense of celebration.

Sangeet Sangam Vol. 4
Dr. L. Subramaniam & Ustad Rais Khan
A Meeting of Melodies

1. Raga Kirwani - Alap & Thanam, Jod
2. Raga Kirwani - Pallavi, Gat In Aditaal & Teental

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Tea music [4] - Oolong Tea

Posted By MiOd On 7:55 PM 0 comments
Tea music [1] - Chang Fu-quan - Tea
Tea music [2] - Tea Travel
Tea music [3] - Tea with Flower Fragrance
Track Listings
--------------
(01). [Zhang Fu-quan] Tie-guan-yin
(02). [Zhang Fu-quan] Feng-huang-dan-cong
(03). [Zhang Fu-quan] Shui-jin-gui
(04). [Zhang Fu-quan] Bai-hao-oolong
(05). [Zhang Fu-quan] Yong-chun-fo-shou
(06). [Zhang Fu-quan] Da-hong-pao (Big Red Robe)
(07). [Zhang Fu-quan] Tie-luo-han
(08). [Zhang Fu-quan] Bai-ji-guan

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Tea music [3] - Tea with Flower Fragrance

Posted By MiOd On 6:09 PM 0 comments
Tea music [1] - Chang Fu-quan - Tea
Tea music [2] - Tea Travel
Flower Tea incorporates tea with flowers: tea invites the fragrance of flowers and flowers augment the flavor of tea. Both virtues compliment each other. In this edition the musician composes for different features of tea and associate the music with sounds of nature such as the flowing of streams, chirps of insects and birds and the beating of waves. Listening to the music the:

[01]:Pearl-orchid Ta-fang Tea
[02]:Plum-blossom Ch`imen Red Tea
[03]:Lotus Chen-mei Tea
[04]:Taitai Mao-chien Tea
[05]:Rose Green Tea
[06]:Osmanthus Lungching Tea
[07]:Jasmine Yin-hao Tea
[08]:Magnolia Cloud-fog Tea
[09]:Gardenia Puto Tea
[10]:Chrysanthemum Puerh Tea

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Tea music [2] - Tea Travel

Posted By MiOd On 7:24 PM 0 comments
Tea music [1] - Chang Fu-quan - Tea
As a blending art, tea is evolved into an abundant image by mixing fragrance of the earth, magnificence of mountains and rivers, moisture of rain and dew, and cultural temper.
In this edition, the composers depict exquisitely tastes of tea and scenes of tea plantations in different areas by applying various features of musical instruments, such as Flute, Panhu, Kucheng, Lute, Sheng, alto Juan, and alto Sona, and combining local musical qualities with sounds of nature.

1:Cloud-fog Tea, in Mt. Lu
2:The Buddha`s Tea, in Mt. Puto
3:San-p`ao Tai Tea, in Kansu
4:Mao-chien Tea, in Hsinyang
5:Wrapped Tea, in Taiwan
6:Uigur Green Tea, in Sinkiang
7:Mao-feng Tea, in Hwang Shan
8:Omei Flower Tea, in Mt. Omei

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The Rough Guide to the Music of India

Posted By MiOd On 5:10 PM 0 comments

Always colourful and vibrant, India's musical diversity is breathtaking. From the glitz and glamour of Bollywood to the transcending beauty of Ravi Shankar's sitar, explore the unique sounds of the sub continent. Artists include: Asha Bhosle, Ravi Shankhar, Zoe And Idris Rahman, Aruna Sairam, Seeta Doraiswamy, T.H. Subashchandran, Vishwa Mohan Bhatt & Musicians Of Rajasthan, Wadali Brothers, Sohan Nath 'Sapera', Shivkumar Sharma And Zakir Hussain, L. Subramaniam, Hemant Kumar And Lata Mangeshkar. Bonus CD by Debashish Bhattacharya: Live In Calcutta.

There's too much Indian music to represent on one album, but the rough guide does a good job. There are some suprises here, even for those familiar to Indian music - brass band, saxophone and guitar reworked into classical music, a "raga on drums," and a modern-sounding Baul folk song. An excellent and compelling duet on sarangi and sitar is the album's centerpiece. Recommended, but not if you don't already love traditional Indian music.

Ravi Shankarr, Ali Akbar Khan, Bismillah Khan, Hariprasad Chaurasia, Ram Narayan, Alla Rakha, Ustad Vilayat Khan and other masters are all absent. But it seems to focus on younger artists, and those keeping the tradition alive. It even gives a reasonable introduction to Indian Bolywood film music style to someone like me who is new to it. So I recommend it, but it's limited, because Indian music is so vast, and varied.

Disc: 1
01. ASHA BHOSLE: Katra Katra
02. ZOE AND IDRIS RAHMAN: O, River (O Nodi Re)
03. ARUNA SAIRAM: Saravanabhava
04. SEETA DORAISWAMY: Vatapi Ganapatim
05. RAVI SHANKAR: Megh
06. T.H. SUBASHCHANDRAN: Moorsing Solo
07. VISHWA MOHAN BHATT & MUSICIANS OF RAJASTHAN: Helo Mharo Suno
08. WADALI BROTHERS: Bulleya Ki Jaana Main Kaun
09. SOHAN NATH 'SAPERA': Phagun ka Lehra
10. SHIVKUMAR SHARMA AND ZAKIR HUSSAIN: Mishra Tilang In Keharwa Tala
11. L. SUBRAMANIAM: Illalo Pranatarthi
12. HEMANT KUMAR AND LATA MANGESHKAR: Man Dole Mera Tan Dole

Disc: 2
1. Raga Maru Bihag Aalaap
2. Mahu Bihag Jod-Jhala
3. Maru Bihag Gat In Madhyala Rupak Tala
4. Maru Bihag Gat And Jhala In Drut Tintala
5. Raga Khamaj Aalaap
6. Anandam In Anandi (Raga: Mishra Shivaranjani)

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Tea music [1] - Chang Fu-quan - Tea

Posted By MiOd On 9:41 PM 0 comments
Zhang Fu-quan, a highly praised musician in mainland China,entered the Composition Department of Central Music Academy in 1960 and then transferred to the China Music Academy to continue his study. His famous works include “Su San”, “Fan Xu-dong” and “The Wedding Ceremony” and so on. His profound attainments and high artistry attracted attention domestically and abroad.

Drinking tea has developed into a form of art in Chinese culture. In this album, the composer makes the best use of different characteristics of musical instruments, including Pai-Hsiao (blowed instrument), Gao-Hu (bowed instrument), Ku-cheng (plucked instrument), Pi-Pa (plucked instrument), alto Sheng (blowed instrument), etc., and combines peculiarities of local music to describe different tastes of tea and views in different regions. While listening to the music, the listener could make a mental travel to the tea plantation, as if the had enjoyed the unique flavor of different tea.

1. Cloud Fog, in Mt.Lu (8:18 )
2. The Buddha's Tea, in Mt.Puto (7:06)
3. San-p ao Tai Tea, in Kansu (7:49)
4. Mao-chien Tea, in Hsinyang (6:26)
5. Paochung Tea, in Taiwan (7:27)
6. Uigur Green Tea, in Sinkiang (7:05)
7. Mao-feng Tea, in Hwang Shan (8:34)
8. Omei Flower Tea, in Mt.Omei (7:01)

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Camarón de la Isla - El Mundo del Flamenco DVD

Posted By MiOd On 7:07 PM 0 comments
CAMARÓN DE LA ISLA - THE WORLD OF FLAMENCO

In the first programme (José Monje Cruz 'Camarón de la Isla', 1975) we see a Camarón who is still very young and witty. However, his legend was already taking shape, and his famous 'espantás' (instances when performances are cut short, due to nerves, lack of inspiration or disdain for the audience), about which the gypsy cantaor (flamenco singer) talks to the presenter Fernando Quiñones, were occuring. The genius from the island sings siguiriyas, tientos-tangos and bulerías, with Ramón de Algeciras' accompaniment.
In the second programme (Nuevos Rumbos del Cante, The new paths of flamenco singing, 'Camarón de la Isla', 1981), which is also devoted to the gypsy cantaor, we can already see him with a beard, and accompanied by Tomatito, who was to be his tocaor (flamenco guitarist) until his death. 'La leyenda del tiempo', which drew some criticism from orthodox flamencologists, had just been released. The cantaor himself discusses this with Quiñones. Camarón performs a granaína in the tone of a malagueña, followed by a malagueña de Chacón (Chacón's malagueña), and then he sings soleá, tangos and bulerías.
In the third programme (El Mundo del Flamenco, The World of Flamenco, 1964) we can enjoy a very young Paco de Lucía during his beginnings in Madrid tablaos (establishments with a stage used for flamenco performances). He performs a siguiriya, the same guitar playing style with which he accompanies the dancing of a couple. He then accompanies Porrinas de Badajoz with a fandango, and the company of Dolores de Córdoba by playing bulerías.

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Sangeet Sangam Vol.2 (A Meeting Of Melodies)

Posted By MiOd On 2:50 PM 0 comments
Sangeet Sangam Vol.1 (A Meeting Of Melodies)

The violinist Vishnu Govind Jog studied with a variety of musical greats including Allauddin Khan. He has performed in a variety of jugalbandi combinations. Paradoxically, despite his stature and skills, no CD release stands out as instantly recommendable.

1. Raag Kalyani (Yaman) Alap & Jod [feat. Pandit V.G. Jog]
2. Pallavi in Mishra Chapu / Roopak Taal (feat. Pandit V.G. Jog)
3. Pallavi in Adi Taal (feat. Pandit V.G. Jog)

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Pour ceux qui aiment le jazz ""For those who like jazz ..."

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Pour ceux qui aiment le Jazz Live : Les concerts de Daniel Filipacchi et Frank Ténot
Interprètes : Duke Ellington; Miles Davis; John Coltrane; Stéphane Grappelli; Count Basie; Louis Armstrong; etc.
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Disc 1:
(01) ART BLAKEY & THE JAZZ MESSENGERS - Blues March
(02) Ella Fitzgerald - Mack The Knife
(03) Count Basie - Lil' Darlin
(04) HERBIE MANN & JOAO GILBERTO - Desafinado
(05) Errol Garner - SummertimeHERBIE MANN & JOAO GILBERTO - Desafinado
(06) LOUIS ARMONSTRONG - Sometimes I Feel Like A Motherless Child
(07) LIONEL HAMPTON - Flying Home
(08) John Coltrane - Naima
(09) JOHN LEE HOOKER - Boogie Chillun
(10) CANNONBALL ADDERLEY - This Here
(11) THE MODERN JAZZ QUARTET - Django
(12) KING CURTIS - Honky Tonk
(13) DJANGO REINHARDT & STEPHANE GRAPPELLI - Minor Swing
(14) BILLIE HOLIDAY - Lover Man
(15) CLIFFORD BROWN & MAX ROACH - Jordu
(16) Jimmy Giuffre - The Train And The River

Disc 2:
(01) DON WILKERSON - Camp Meetin'
(02) RAY CHARLES - What'D I Say (Parts I& Il)
(03) MILES DAVIS - Le Petit Bal (AU BAR DU PETIT BAC)
(04) LESTER YOUNG - Lester Leaps In
(05) OSCAR PETERSON - Blueberry Hill
(06) DUKE ELLINGTON - Kinda Dukish, Rockin' In Rhythm
(07) COLEMAN HAWKINS - Laura
(08) JIMMY MCGRIFF - All About My Girl
(09) SIDNEY BECHET - Petite Fleur
(10) ROLAND KIRK - Bye Bye Blackbird
(11) SARAH VAUGHAN - Body And Soul
(12) CHARLIE PARKER & DIZZY GILLESPIE - A Night In Tunisia
(13) THELONIOUS NONK - Crepuscule With Nellie
(14) STAN GETZ -'Roud Midnight
(15) HORACE SILVER - The Preacher
(16) CHARLES MINGUS - Oh Lord Don'T Let Them Drop That Atomic Bomb On Me

Compilation / Art Blakey / Cannonball Adderley / Clarke-Boland Big Band / Count Basie / Dizzy Gillespie / Duke Ellington / Eddie Vinson / Gerry Mulligan / The Concert Jazz Band / Jimmy Giuffre / Jimmy Smith / Lionel Hampton / Louis Armstrong / Miles Davis / John Coltrane / Oscar Peterson / Sidney Bechet / Stéphane Grappelli / Sven Asmussen / Thelonious Monk

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The Kroumata Percussion Ensemble & Manuela Wiesler, Flute Play Music by Jolivet, Harrison, Cage & Sandström, 1984 THE KROUMATA ENSEMBLE was formed in 1978 by five professional percussionists in Stockholm. They all wanted both to study the growing repertoire for percussion ensemble in greater depth and to play with other instrumentalists, singers, dancers, speakers, choirs and orchestras. Many Nordic composers have written expressly for the Kroumata Ensemble. When the group threatened to split up the Regional Music Authority stepped in and employed the members who are thus enabled to devote themselves fulltime to percussion music. They have made a succession of tours in the Nordic countries and also in Holland, England, Hungary, Czechoslovakia, Switzerland, Austria and West Germany. The name Kroumata comes from the ancient Greek and is believed to have been used of percussion music in general. The members of the group are Ingvar hallgren, jan Hellgren, Andres Holdar, Anders Loguin and Leif Carlsson.
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André Jolivet - Suite en Concert for flute and percussion 16:22 01. I. Modéré 02. II. Stabile 03. III. Hardiment 04. IV. Calme. Véloce Lou Harrison - First Concerto for Flute and Percussion 7:47 05. I. Earnest, fresh and fastish 06. II. Slow and poignant 07. III. Strong, swinging and fastish John Cage - Amores (1943) 9:16 08. I. Solo for prepared piano 09. II. Trio (9 tom-toms, pod rattle) 10. III. Trio (7 woodblocks, not Chinese) 11. IV. Solo for prepared piano 12. Sven-David Sandström - Drums 14:40 Manuela Wiesler - flute Richard Pilat - prepared piano The Kroumata Percussion Ensemble conducted by Anders Loguin Digital recording: May 31 to June 2, 1984 at the Concert Hall Gothenburg, Sweden 320 kbps including full scans HERE

Posted By MiOd On 10:46 AM 0 comments
The Kroumata Percussion Ensemble & Manuela Wiesler, Flute
Play Music by Jolivet, Harrison, Cage & Sandström, 1984
THE KROUMATA ENSEMBLE was formed in 1978 by five professional percussionists in Stockholm. They all wanted both to study the growing repertoire for percussion ensemble in greater depth and to play with other instrumentalists, singers, dancers, speakers, choirs and orchestras. Many Nordic composers have written expressly for the Kroumata Ensemble.
When the group threatened to split up the Regional Music Authority stepped in and employed the members who are thus enabled to devote themselves fulltime to percussion music. They have made a succession of tours in the Nordic countries and also in Holland, England, Hungary, Czechoslovakia, Switzerland, Austria and West Germany.
The name Kroumata comes from the ancient Greek and is believed to have been used of percussion music in general. The members of the group are Ingvar hallgren, jan Hellgren, Andres Holdar, Anders Loguin and Leif Carlsson.

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André Jolivet - Suite en Concert for flute and percussion 16:22
01. I. Modéré
02. II. Stabile
03. III. Hardiment
04. IV. Calme. Véloce
Lou Harrison - First Concerto for Flute and Percussion 7:47
05. I. Earnest, fresh and fastish
06. II. Slow and poignant
07. III. Strong, swinging and fastish
John Cage - Amores (1943) 9:16
08. I. Solo for prepared piano
09. II. Trio (9 tom-toms, pod rattle)
10. III. Trio (7 woodblocks, not Chinese)
11. IV. Solo for prepared piano
12. Sven-David Sandström - Drums 14:40

Manuela Wiesler - flute
Richard Pilat - prepared piano
The Kroumata Percussion Ensemble conducted by Anders Loguin

Digital recording: May 31 to June 2, 1984 at the Concert Hall Gothenburg, Sweden

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The 13th Tribe - Ping-Pong Anthropology

Posted By MiOd On 8:44 AM 0 comments
The 13th Tribe
Ping-Pong Anthropology, 1992
The music for the (self-built) PVC clarinets consist of single tones and melodic fragments which construct wide and pulsating soundscapes where the musicians of THE 13TH. TRIBE wander around, searching for hidden possibilities of enrichment and transformation into new, imaginary landscapes. Since 1984, Werner Durand is working with instruments which he has built out of PVC/Acryl and which are blown with mouthpices of trombones, clarinets or „neys" and are conjuncted with digital delay. He was born/lives in Germany and has studied Idian and Iranian classical music and has performed his own music and that of numerous new music composers. On this CD, he is accompanied by the well-known Norwegian saxophonist Erik Balke, who has performed extensively in Jazz improvisation contexts, created music for theatr and who has studied African and Balinese music; the Brasilian guitar player Silvia Ocougne, who has performed in countless musical settings including contemporary, Jazz, early music, Third Stream, Classical and Brazilian styles; and, as a guest musician, the Belgian percussionist Pierre Berthet who has performed within contemporary and improvised music and who has created homemade percussion instruments and sound installations.

Ping-Pong Anthropology defies categorizations. Two members of the 13th Tribe, German Werner Durand and Norwegian Erik Balke, perform on invented instruments, mostly wind instruments without finger holes, which are actually assemblages of PVC tubes of various lengths. The third musician, Brazilian Silvia Ocougne, provides cyclic rhythmical structures on prepared guitar. Percussionist Pierre Berthet appears as a guest on three tracks. Durand and Balke play games of "call and response" (reproduced in stereo, they do sound like a ping-pong game) over Ocougne's cycles, each one moving at his/her own pace, periodically losing the others and catching up on them. This process creates soft, unreal, slow-evolving textures belonging to both meditative and avant-garde music. Because of its ritualistic patterns and similarities between the Tribe's devices and such autochthonous instruments as the didjeridoo, the Alp horn, or even the pan flute, this music has a distinctive exotic quality. Somewhere between the Andes and Australia probably lies an island where the 13th Tribe's music may be used for the religious ceremonies of a postmodern civilization.

Erik Balke - Pan-Bone (1,2,7,8,9); B-flat PVC-Clarinet (1,2,5); B-flat PVC-Clarinet with Oil Can Resonator (4,6); Percussion Oil Can (3)
Werner Durand - Pan-Ney (1,2,3,7,8,9); Pan-Bone (8,9), F PVC-Clarinet (5); F PVC-Clarinet with Oil Can Resonator (4,6)
Silvia Ocougne - Hammered and plucked Acoustic-Guitars (2,3,4,6,8); Pan-cussion (1)
Pierre Berthet - Bendir (8,9); Pipe Drum (5)

1. Dream Hunters
2. Hawaiian Office I
3. Khazar
4. Can-nibals I
5. Lofoten Part II
6. Can-nibals II
7. Ping-Pong Anthropology
8. Hawaiian Office II
9. Exhausted Pipes

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Vision of Peace: The Art of Ravi Shankar

Posted By MiOd On 7:42 AM 0 comments

Vision of Peace is a reissue compilation of two of Ravi Shankar's most celebrated Deutsche Grammophon LP recordings 'Towards the Rising Sun' and 'Ravi Shankar Plays Ragas' dating from the late 70's. Shankar's crossover efforts during this period were groundbreaking in their day (indeed, how many have followed his lead in ours!) and here for instance Japanese koto virtuoso Susumo Miyashita and shakuhachi master Hozan Yamamoto are featured in the ensemble in five selections. This is a joyous, inspired celebration by India's most renowned living musical ambassador of peace.

This compilation collects several of Ravi Shankar's lesser known but crucial recordings. The second disc captures two essential of his known explorations into the ragas that are the standard of Indian classical music but leave much ground for improvisation. The first disc however, is the stand out as it finally brings to cd, a long out of print lp "East Greets East" that has Ravi Shankar playing with known Japanese classical musicians and the interplay between the Japanese classical pieces (with standard instrumentation such as the koto and shakuhachi) and the sitar and tabla (with room for solo works from each group) create an essential interplay between two genres of traditional ethnic music that leave out the new age trappings that often dampen the genre of world music. This is one of Ravi Shankar's most successful collaborations becauase: West Meets East: The Historic Shankar Menuhin Collection is somewhat unsuccesful in that Ravi Shankar's music does not benefit from traditional western orchestration and:
Passages although an idea that was long overdue (since Philip Glass was inspired to begin his journey into minimalism by working with directly with Ravi Shankar) is somewhat less than successful again due to the quasi new age aspects of the work (a genre which has become dated, while the important works within it have returned to the original genres they stemmed from as new age from the beginning was destroyed by rampant commercialism). Although clearly as a first listen one would purchase a more known work by Ravi Shankar such as:
India's Master Musician with "Vision of Peace" having three classic ragas plus an exploration into world music that has never been attempted before or since by Ravi Shankar this is a well worthwhile purchase.

Disc 1:
1. Padhasapa - Padhasapa [East Greets East] - Susumu Miyashita
2. Kaharwa - Kaharwa [East Greets East] - Ustad Alla Rakha
3. Improvisation on the Theme of "Rokudan" - Improvisation on the Theme of "Rokudan" [East Greets East] - Ravi Shankar
4. Namah Shivaya - Namah Shivaya [East Greets East]
5. Tribute to Nippon - Tribute to Nippon [East Greets East] - Ravi Shankar
6. Raga Hemant - Vilambit Gat in Teental - Drut Gat in Ektal - Raga Hemant - Vilambit Gat in Teental - Drut Gat in Ektal [Homage to Baba Allauddin] - Ravi Shankar

Disc 2:
1. Alap - Alap [Raga Jogeshwari] - Ravi Shankar
2. Jor - Jor [Raga Jogeshwari] - Ravi Shankar
3. Gat I (Tala: Jhap-tal) - Gat I (Tala: Jhap-tal) [Raga Jogeshwari] - Ravi Shankar
4. Gat II (Tala: Ek-tal) - Gat II (Tala: Ek-tal) [Raga Jogeshwari] - Ravi Shankar
5. Alap - Gat I (Tala: Tin-tal) - Gat II (Tala: Tin-tal) - Alap - Gat I (Tala: Tin-tal) - Gat II (Tala: Tin-tal) [Raga Hameer] -Ravi Shankar

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Trio Fado - Com que voz

Posted By MiOd On 7:40 PM 0 comments
Trio Fado
Com que voz, 2005

If you are looking for the musical expression of the Portuguese within ethnic music, you’ll find the Fado: an urban and emotional music, rich in melancholy and longing. Trio Fado plays this music with big devotion, leading the audience to old Lisbon, which becomes experienceable through their songs.
The musicians of Trio Fado connect Berlin in which they live, with Portugal, their common native country. With her yearning voice Maria Carvalho literally dives into the profound songs of the Fado. António de Brito cantillates the male version of the Fado with strong and smoky temperament. Daniel Pircher, an Austrian who went to school in Portugal, generates the absolutely essential sound of the Fado on his twelve string Guitarra Portuguesa, gently flattering around the voice. With his cello arrangements the "fourth trio member” Benjamin Walbrodt gives to the Fado evening a classical quality.
The Trio Fado interprets famous Fados of different epochs with their own arrangements. In their compositions and texts the group preserves the old form of the Fados and intensifies them by the influence of the musical experiences of the musicians. The variety of the instrumentation and the lyrical appeal of the lyrics enrich the earthy, original form of the Fados.

Maria Carvalho | vocals
Maria Carvalho grew up in a village close to Porto. At that time traditional, as well as pop music was an integral part of everyday life in Portugal. Singing was a natural form of the expression of the people. To escape the pinched circumstances Maria moved to London and Paris for Au-Pair jobs and finally came to Berlin where she lives till now. Here she also gave birth to her son Lucas. With the time the longing to Portugal became stronger and stronger.
By the meeting with António de Brito, who sang Portuguese songs long since in restaurants and in parties, Maria Carvalho also found a possibility to maintain the connection with her native country. If she closes her eyes while singing, she allows the pictures of recollection to rise to the surface and let the audience take part in it with her songs.

António de Brito | vocals and guitar
António de Brito sings the male version of the Fado with strong and smoky temperament since the early 90s in the Portuguese restaurants of Berlin.

Daniel Pircher | portuguese guitar
Daniel Pircher was born in Berlin, moved to Portugal at age of ten and at the age of eleven he learned to play to the guitar. Three years later he founded his first rock band with self composed songs. In addition he played in the bass for the audio productions of his father Armin Pircher (Amor Perfeito), who devoted himself to Portuguese music. This influence led to the fact that Daniel, in spite of various rock and pop formations, formed the Portuguese group „Filhos da madrugada“ in 1996 in which he played the classical guitar.
From summer 1998 he started dealing intensely with the Mongolian music and learned the traditional overtone singing. At the same time he had a small label, produced electronic music and published various Techno sampler. In 2000 he started to play the Portuguese guitar and founded the group Fado Incorporated and later it’s successor, the Trio Fado. In the same year he also founded, as a singer and guitarist together with the cellist Benjamin Walbrodt, the group Extravagante and presents a program with multi-faceted own compositions and interpretations of pieces of José Afonso and other Portuguese composers.
In 2003 the group Terrakottonium followed, in which he uses his overtone singing and Crete stoneware sound jugs, which hang in a 4m2 big and 3 m high metal scaffolding.

Benjamin Walbrodt | cello
At age of five Benjamin Walbrodt already demand for a cello and as a result got violoncello lessons. He studied violoncello in the college for music "Carl Maria von Weber" in Dresden and in the conservatoire "Nikolai Rimskii-Korsakov" in St. Petersburg and concluded with an orchestra certificate. He worked in the classical symphony orchestra of the Schleswig-Holstein theater.
However, classical music only did not make him happy! The cellist appeared beside his classical engagements in all possible formations and styles: Solo, in the Russian folklore duet with Juri Sosnovski, with a jazz-funk and a Metal band, a kind of Country blues band, in the “Dreigroschen” opera with Shelly Kupferberg, with the Melodiaorchester Dresden (a 30s hit orchestra), Free jazz, a gospel formation, a tango and a Tori Amos-cover band, in dance theater-productions, film (e.g. „Schnapphahn und Kallaputschni“ from Thilo Schimenz) and television productions of the Croatian broadcasting company at the upbeat island festival on Hvar, or with various new serious music ensembles or chamber orchestras.
He had concert tours to Israel, Switzerland, Italy and with more than 1000 cellists with the Cellissimo Grandissimo for an earthquake charity concert in Kobe – Japan, in which also of Twelve cellists of the Berlin philharmonic orchestra took part. The resulted enriched his style and his ideas. His music productions for children: "Barbar, the small Elephant“, "carnival of the animals“, "the small guitar“ appeared in „Kein Tag ohne Musik“ publishing, Hamburg.
The desire for the music experience par excellence, let him meet Daniel Pircher. The influence was canalized to the foundation of the Extravagante duet. The result: Pure Sound joy and a special liability to the expression of an extravagant attitude to life. A taste of it offers the CD with the miraculous story of Jorge Amado "Der Gestreifte Kater und die Schwalbe Sinha“ (PATMOS) to which Extravagante played the music together with Maria Carvalho. On another CD "In dieser einen stillen Nacht“, he accompanies stories and poems read by Petra Kelling, Dieter Mann, Otto Mellies, Ulrich Mühe and Otto Sander.

(01). Disse-te adeus
(02). Madrugada de alfama
(03). Que Deus me perdoe
(04). Con que voz
(05). Vivo na noite
(06). A saudade é como o vento
(07). Asa negra
(08). O fado é a Mouraria
(09). Grao de arroz
(10). Foi Deus
(11). Guitarrada
(12). Barco negro

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Sutaras - Call of the Ancestors

Posted By MiOd On 7:02 PM 0 comments
Sutaras
Call of the Ancestors. Traditional Lithuanian Music, 1993
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SUTARAS was founded in 1988 by professional musicians from the Lithuanian Folklore theatre. Their repertoire includes folk music from all over Lithuania played on traditional folk instruments characteristic of each of its ethnic regions. They perform a wide variety of music ranging from shepherd's melodies to dance tunes. The musicians also sing, dance and tell stories.

Since ancient times, the Lithuanian people have expressed their love of country through their songs and handworks. Archaeological finds, place names, and ancient chronicles bear witness to the strong spiritual and material culture of the Lithuanian and other Baltic peoples. Travellers and historians from abroad documented the Balts traditions, beliefs as well as songs and musical instruments.
Lithuanian cultural researchers conducted more thorough analyses of these subjects. they collected folk instruments, documented their crafting methods, recorded melodies and their connections to various occasions. All of this collected and classified knowledge is available today to those who wish to study or enlarge it including musicologists, instrumentalists, craftsmen and music enthusiasts.
Today, ancient instruments are recreated through drawings and descriptions, while accordions and violins uncovered during ethnographic expeditions find new voices after restoration. Ancient Kankles once gathered dust in museums, but in the hands of talented folk artists they sound again through reproductions. traditional music can be heard on many occasions, and not only during concerts. It has returned into Lithuanian everyday life as a priceless gift of our ancestors.

In this CD is recorded a wide variety of Lithuanian vocal and instrumental music. You will hear shepherd's instruments, various kinds of kankles (bord zithers) and modern instruments common throughout Europe as well as Lithuania. Here you will be able to savour the accords of ancient "Sutartines" (polyphonic songs) as well as compare songs from the various ethnic regions of Lithuania. 20-page booklet with colour pictures and information about Lithuanian traditional songs and instruments included.

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Terry Riley - The Harp of New Albion

Posted By MiOd On 5:10 PM 0 comments
Terry Riley
The Harp of New Albion, 1986
The Harp of New Albion is a transfixing solo piano recording, conceived and performed by world-renowned minimalist composer, the ever-innovative Terry Riley. His inspiration for this work came from a legendary harp, left behind in the New World in 1579, on the shores of Nova Albion, which is now called San Francisco Bay. A Native American medicine man is said to have found the harp and placed it on a cliff where the westerly winds played upon it and temperature and humidity changes created an ever-shifting set of tonalities.
Riley bases the ten movements of The Harp of New Albion on the concept of tonalities. The liner notes enclosed in both the compact disk and cassette explain the complicated ratios Riley devised for tuning his octaves. He says, "The idea of piano as harp influences my method of playing, as does the tuning from which the particular consonances and dissonances determine the emerging energies that flow through both instrument and performer."
Although Riley improvises throughout The Harp of New Albion, each movement is defined by structural or composed elements. Astonishingly, the "halo" of harmonics drifting above his solo piano creates an orchestral sound, complete with horns, reeds, strings and voices. At times, the melodic interplay is ethereal, the micro-tonal relationships within the standing waves of sounds creating a haunting spectrum.
Special note should be taken of the majestic Bösendorfer Imperial grand piano, especially tuned for Riley to play in the acoustically-fabulous Academy of Music in München, Germany.

CD 1
1. The New Albion Chorale/The Discovery
2. The Orchestra Of Tao
3. Riding The Westerleys

CD 2
1. Cadence On The Wind
2. Premonition Rag
3. Return Of The Ancestors
4. Ascending Whale Dreams
5. The Magic Knot Waltz
6. Circle Of Wolves
7. Land's End

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Soriba Kouyaté - Live in Montreux

Posted By MiOd On 11:09 PM 0 comments
Soriba Kouyaté
Live in Montreux2, 2003
"Ladies and gentlemen, for the final part of the Act World Jazz Night, I am very proud to present to you a very special group of people, including this wonderful artist who has created such an incredible impact, Soriba Kouyaté, ". These words set off one of the most exciting journeys through the world of musical beauty and rebellion at the 2000 Montreux Jazz Festival. Soriba Kouyaté overwhelmed both public and press with his passion, technical brilliance, and amazing sound. You can hear it for yourself - this live recording is proof that the Senegalese's reputation as an important innovator of the Kora is justified.

Soriba Kouyaté was born on December 23rd 1963 in Senegal's capital, Dakar. He was born to be a musician: he is the son of Senegal's most famous Kora player, and playing music is a family tradition. Soriba's father Mamadou Kouyaté has not only performed regularly for Senegalese president Senghor, he also founded the country's first Kora school. His father felt a debt to his ancestors; they were all Griots, wise men of the Mali empire who carried with them the oral history of the people, sang the praises of and gave council to kings and nobles. The Griots with their Koras were living libraries who handed down the wisdom and tradition of the land through song, strengthening the community's morality and sense of self-worth.

To Soriba, the pride of being the heir to a Griot family is combined with a critical attitude towards the protective part the Griots are playing in African society. Kouyaté is critical of traditional values, an attitude that early on left its mark on his approach to the "sacrosanct" instrument. So it was no accident that severe conflicts arose even at his father's Koraschool, concerning the correct approach to playing the Kora. With the body carved from a large calabash gourd, 21 strings, and a tonal range of three octaves, the Kora is able to produce multifold interlacing patterns both as a percussive and a melodic instrument. The music itself is passed on from father to son, from one generation to the next. The first rifts in the edifice of tradition appeared in the 1980's when Gambia's Foday Musa Suso, Mali's Toumani Diabate, and Mory Kante (who made a name for himself through his hit "Yé Ké Yé Ké'') inserted the sound of the Kora into the context of jazz, rock, and pop, causing a furor.

But no one has taken it as far as the Kora virtuoso from Senegal. Soriba electrically amplified the instrument. He reset the pegs so that he could quickly re-tune the pentatonic-tuned strings, plucked the strings like a guitar, slapped
them like a bass. And his repertoire had little to do with his forefathers: "Early on I had listened to the music of Miles Davis, George Benson, and Wes Montgomery; and when I start to play a song from James Brown, the audience is astounded. That's when I get more applause than father". While the traditionalists scoffed at him as a screwball, Soriba was confident of the public's acclaim. After his involvement with such musical giants as Dizzy Gillespie, Hugh Masekela, Peter Gabriel, Youssou N'Dour, along with two highly praised studio productions, Kanakassi (ACT 9272- 2, 1999), and Bamana (ACT 9288-2, 2001), his assent to the world stage was assured - as was the applause and acclaim of the world public.

And there would be no lack of applause during his performance at Montreux. With his perfectly-meshed band, the Kora-rebel outdid himself, playing with a lyrical enthusiasm that combined a seldom-heard alliance between European jazz and African innovation. It's an exhilarating nine-composition performance, a mixture of funk and fusion in which two continents find a musical equilibrium. Soriba frees the Kora from the straight-jacket of African tradition and, in the context of jazz, gives it an equal role as a front-line instrument. After the brilliant Montreux 2000 concert, the Kora's use in Western music as an exotic-sounding atmospheric filler is relegated to the past - thanks to Kouyaté!

1. Diarabi
2. Mariama
3. All Blues
4. Deli Guelema
5. Autumn Leaves
6. Afrilude
7. St Louis-Dakar
8. Kaïra
9. Bani

Soriba Kouyaté - kora
Matthieu Michel - trumpet
Linley Marthe - bass
Joël Allouche - drums

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