Posted By White Rose On Tuesday, October 30, 2007 5 comments
60 Most Beautiful World Famous Melodies Of Superb Quality For That Sentimental Moment.
Some of you might be skeptical about instrumental music, but I assure you that the beauty and quality of this music is unrivaled and well worthy of having in your music playlist. Everytime I listen to this music again, I feel like I have just listened to it for the first time. The lasting effects of this beautiful music is endless and haunting.
| MP3 320 kbps | Incl. Covers | 525 MB | TRACK LISTINGS Disc: 1 [01].More Than I Can Say (Saxophone) [02].La Paloma (Guitar) [03].Rain Star (Piano) [04].Right Here Waiting For You (Flute) [05].Conquest (Saxophone) [06].Oh Carol (Saxophone) [07].Everything I do,I Do It For You (Guitar) [08].Can You Feel The Love Tonight (Flute) [09].Les Premiers Sourires De Vanessa (Piano) [10].My Heart Will Go On (Flute) [11].Love Story (Guitar) [12].I Will Always Love You (Flute) [13].Dolannes Melody (Piano) [14].Jasmine Flower (Saxophone) [15].(Saxophone) [16].Quelquse Notes Poan Anna (Guitar) [17].Unchained Melody (Flute) [18].Ballade For Adeline (Piano) [19].Hotel Califonia (Saxophone) [20].Moon River (Violin & Guitar) Download HERE Download HERE Disc: 2 [01].Spring Breeze (Saxophone) [02].Love Follow Us (Piano) ***** [03].Moon River (Saxophone) [04].Endless Love (Guitar) [05].The Sound Of Silence (Flute) [06].Sentimenal (Saxophone) [07].Flower Heart (Piano) [08].The Lonely Shephard (Saxophone) [09].End Of Road (Guitar) [10].Woman In Love (Flute) [11].Stranger In The Shore (Saxophone) [12].I Will Always Love You (Piano) [13].For Elise (Saxophone) [14].Scarborough Fair (Guitar) [15].Yesterday Once More (Flute) [16].Forever In Love (Saxophone) [17].Love Like A Tide (Piano) [18].Auld Lang Syne (Saxophone) [19].Summer Kisses,Summer Tears (Guitar) [20]. Sailing (Flute) Download HERE Download HERE Disc 3 [01].All Out Of Love (Piano) [02].Love Is Blue (Piano) [03].Green Sleeves (Saxophone) [04].It Never Rains In Southern California (Trumpet) [05].Going Home (Saxophone) [06].For Elise (Piano) [07].Time To Say Goodbye (Flute) [08]How Do I Live (Guitar) [09].Kiss From Rose (Guitar) [10].Don't Cry For Me Argentina (Flute) [11].A Comme Amour (Piano) [12].No Matter What (Saxophone) [13]. Speaking Softly Love (Violin & Guitar) [14].Sad Movies (Saxophone) [15].Sha La La (Saxophone) [16].Casablanca (Guitar) [17].Big Big World (Flute) [18].Souvenirs Denfance (Piano) [19].As Long As You Love Me (Saxophone) [20].Edelweiss (Violin) Download HERE Download HERE

Turkmenistan - La musique des bakhshy

Posted By MiOd On Monday, October 29, 2007 2 comments
Credits to AmbroseBierce (Ripper & Uploader) Turkmenistan - La musique des bakhshy / The Music Of The Bakhshy VDE-GALLO VDE-651, 1991
Turkmenistan is one of the republics in Central Asia belonging to Russia.Their music is mainly from Turkish and Iranian origin, although there are many other influences. It is mainly a vocal music, sung by men, the bakhshy, who accompany themselves with a lute, the dutâr, and/or a fiddle (the ghidjak). They also use in instrumental music a flute (the garghy tüydük), a kind of clarinet (the dilli tüydük), and a Jew's harp (the qopuz). They sing for all kinds of important events and ceremonies, such as weddings, the birth of a child, the circumcision of boys, boys' first haircut, and so on. The only time music is not used is for death. In Turkmenistan, the term "bakhshy" is of Mongolian origin and designates the singer, the musician, and the storyteller, and they are professionals with a particular status; their training can last more than ten years. This CD gives the listener an excellent overview of the diversity and quality of this very particular music. ~ Bruno Deschênes
TRACK LISTINGS 01. Gongurbash Mukamy 02. Dalmidi 03. Gelinder 04. Ak Yuzli 05. Don Govum 06. Begler 07. Yarym 08. Yaranlar 09. Yara Degmesin 10. Sona Gelin 11. Garybym 12. Gitme Gorogly 13. Balsayat 14. Ner Gezgin 15. II Yagshy 16. Gelemen 17. Daglar 18. Novayi 19. Bibining 320 kbps mp3, including full booklet scans Download Part One Download Part Two

Turquie - Musiques villageoises d'Anatolie

Posted By MiOd On Monday, October 29, 2007 2 comments
Credits to AmbroseBierce (Ripper & Uploader) Turquie - Musiques villageoises d'Anatolie / Turkey - Anatolian Village Music VDE-GALLO VDE-797, 1994 TRACK LISTINGS Music from the Village Festivals 01. Cine Taksimi Ve Ikiparmak Zeybegi 02. Pehlivan Güres Havasi 03. Silsaray Horon Havasi 04. Karabag Kafkas Oyun Havasi 05. Dirmil'in Calgisi 06. Su Dirmil'in Calgisi 07. Tahtaci Mengisi Personal Music 08. Terekeme Kars Oyun Havasi 09. Chanson d'Āsik de Sivas 10. Uzun Hava (Chant Long) 11. Yayla Türküsü 12. Yörük Oyun Havasi 13. Karakoyunlar Icermege 14. Uzun Hava 15. Improvisation on the Kaval Flute 16. Artvin Ata Bari Women's Music 17. Oyun Havasi 18. Tabancamin Sapini 19. Gurbet Elde 20. Kina Türküsü 21. Kina Türküsü 22. Nennen 23. Berdelim 24. Uzun Hava 25. Agit 26. Cagrisa Cagrisa Havada Turnam 27. Ninni 320 kbps mp3, including full booklet scans Download Part One Download Part Two

Azad - Armenia, Traditional Music

Posted By MiOd On Monday, October 29, 2007 1 comments
Ensemble Azad Armenia - Traditional Music, 2006

The traditional music ensemble AZAD (‘Freedom’ in Armenian) performs festive and nostalgic music from Armenia. This recording, consisting mainly of instrumental pieces (there are two vocal tracks), takes us to visit the various regions of this mountainous country, with dance music – ‘aparani’ from north of Yerevan, ‘kotchari’ from eastern Anatolia, ‘shatakhi dzenapar’ from the Shatakh region – and pieces that accompany the daily lives of its people

(01). Le Berger 02. For Anne Marie
(03). Aparani
(04). Bouquet de Fleurs
(05). Hingala
(06). Kotchari
(07). Enzeli
(08). Hommage ą l'Arménie
(09). Hartanakh/Zonaradikos
(10). Ari Yar 11. Shatakhi Dzenapar
(12). Danse d'Arménie
(13). Danse des Pźcheurs

320 kbps, including Covers


Candy Dulfer - For The Love Of You

Posted By White Rose On Sunday, October 28, 2007 1 comments
Performing since age seven, band leader of Funky Stuff since age fourteen, international recording artist since age nineteen, touring the world since age twenty. Candy Dulfer's 1990 solo debut album 'Saxuality', recorded at the age of nineteen, sold over a million copies worldwide and was nominated for a Grammy Award. Her fourth album 'For the love of you' (1997) was a major hit in the USA and remained in the Billboard charts for over forty weeks. Her sales for her solo albums are now well over two and a half million CD's worldwide.
| MP3 224 Kbps | All Covers | 103 MB | TRACK LISTINGS 01. Saxy Intro 02. Saxy Mood 03. Gititon 04. For The Love Of You 05. Smooth 06. Give Me Some More 07. Once You Get Started 08. Bird 09. Wish You Were Here 10. Allright 11. Sunday Cool 12. Girls Should Stick Together 13 For The Love Of You (Bonustrack) Download HERE

Dave Koz - The Dance

Posted By White Rose On Saturday, October 27, 2007 1 comments
Dave Koz - The Dance : Piano/Vocal/Chords With Pull-Out Sax Solo Section
Dave Koz crosses a number of pop boundaries on this CD, bringing tunes associated with genres from Motown ("I'll Be There") to New Country ("The Dance") into the smooth jazz orbit while somehow managing to put a personal stamp on them all. His perky soprano sax blends beautifully with Luther Vandross on "Can't Let You Go," while he and Montell Jordan add new dimensions to the pure pop of Wham's "Careless Whisper." The collaborations continue with nice guest spots by Burt Bacharach, trumpeter Chris Botti, and David Benoit, while Koz does some compelling and innovative work with multiple overdubbed saxes on the pulsing Latin beat of "Cuban Hideaway.
| MP3 320 Kbps | All Covers | 149 MB | Track List 01. Together Again 02. I'm Waiting for You 03. Can't Let You Go (The Sha la Song) - Dave Koz, Luther Vandross 04. Careless Whisper - Montell Jordan, Dave Koz 05. Love Is on the Way - Chris Botti, Dave Koz 06. Know You by Heart 07. Surrender 08. You Are Me, I Am You - Marc Antoine, Dave Koz 09. Dance - Dave Koz, BeBe Winans, BeBe Winans 10. Cuban Hideaway 11. Bright Side - Jonathan Butler, Dave Koz 12. Don't Give Up - Burt Bacharach, Dave Koz 13. Right by Your Side 14. I'll Be There Download Part One Download Part Two

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

Posted By MiOd On Saturday, October 27, 2007 0 comments
Iran, cradle of the most ancient cultures in the world, has remained a land of inspiration where, in all epochs, painters, poets, mystics, philosophers and musicians have flourished. Iranian music, like Indian music, is modal, but in its structure it seems to be more closely related to ancient Greek music. On this 2-CD set, young musicians such as the singer Golpayegani and older musicians such as kamantché player Ashgar Bahari show the intensity of discipline, technique, emotion and skill of interpretation that make Iranian music perhaps the most profound and most human musical system of our time.

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


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

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

| MP3 320 Kbps | All Covers & Booklet | 280 MB |

Part 1
Part 2
Part 3

ALGERIA (Institut Du Monde Arabe)

Posted By MiOd On Friday, October 26, 2007 4 comments

Arab-Andalusian artist Nassima has gathered works of the great Sufi masters, from lbn Arabi to the emir Abd el-Kader. She revisits almost a millennium of tasawwuf mysticism using newly composed music that dwells on the originals' quest for universal peace. These recordings, were made at the Institut du Monde Arabe in Paris, recorded live in concert.
[01].Musique Andalouse d'Alger : Nassima, chant & mandole
Track Listings
01. Prélude Instrumental A La Flûte Nây
02. Touchia
03. Solo Instrumental Au Violon Alto
04. Bonnes Gens, Soyez Indulgents Envers Moi
05. Solo Instrumental A La Mandoline
06. Ami, J'Ai Eu Beau Dissuader Mon Coeur D'Aimer
07. Salut A Mes Amis ...
08. Le Bien-Aimé Dont Je Suis Eprise
09. Mon Petit Oiseau Au Charme Secret
10. Dieu Apportera La Consolation
11. Amour, Jamais Je Ne Désespère
12. J'Ai Embrassé Ses Mains
13. Qui Peut Me Dire
14. Fais Passer Les Coupes De Vin

320 kbps including full scans



Nassima, Algerian singer from Blida now lives in France. In this episode, it makes the honor of the Andalusian Sufi poets and the Maghreb. From Ibn'Arabi to Sheikh Khaled Bentounès (born 1949), through the Emir Abd el Kader itself, these are messages of peace and love, finely interpreted by Nassima and his musicians. Among them violinist Rachid Brahim Djelloul.


01. Mon Dieu Très Aimé
02. Layla!
03. Vision De L'aimé
04. Solo De Luth
05. Je Suis L'amour
06. Présence Divine
07. O Mon Seigneur!
08. Le Sacrifice D'abraham
09. L'amour Divin
10. Au Coeur De La Nuit
11. Sagesse Suivi De Complaintes
12. Paix...Salâm

128 kbps files including full booklet scans


Credits to AmbroseBierce (Ripper & Uploader)

[03].Cheikha Remitti Aux souces du Rai / The Sources of Rai
Institut du Monde Arabe 321008, 1999


01. Hiyya Bghat Es-Sahra - Elle Aime Le Sahara
02. Sidi Taleb
03. Dana Wa Dana
04. Sidi Abed
05. La Camel
06. Ya L'hmam, Ya L'imam - Pigeons Et Colombes
07. Debri, Debri - Debrouille-Toi
08. Djat Thawwes - La Touriste
09. Charrag Gattaa - Dechire, Lacere
10. Fatma, Fatma
11. Win Rak Tergoud - Ou Dors-Tu ?
12. Ya Lemmima - La Mere 13. Bakhta

320 kbps mp3; including full booklet scans
Part One
Part Two


Posted By MiOd On Friday, October 26, 2007 0 comments
El Hajj Muhammad El Anka : Early life; He was born on May 20, 1907, under the name Aît Ouarab Mohamed Idir Halo, on 4 Rue Tombouctou in the Casbah of Algiers. His family was originally from Béni Djennad (Tizi Ouzou Province); his father was Mohamed Ben HadJ Saîd, and his mother was Fatma Bent Boudjemaâ. His father was taken ill on the day of his birth, and had to be replaced by a maternal uncle for registering the birth, which caused an error recording his name. His uncle presented himself as such to the registry employee, by saying "Ana Khalou" ("I am his uncle" in Arabic), and the employee wrote "Halo". So he became Halo Mohamed Idir from then on. He studied in three schools from 1912 to 1918: Koranic (1912-1914), Brahim Fatah (in the Casbah) from 1914-1917, and another in Bouzaréah until 1918. He left school to go to work before his 11th birthday. Musical career; At the age of 13, the orchestra leader sheik Mustapha Nador noticed his passion and innate sense of rhythm at a festival his group was playing at, and took him on as a Tardji (tambourine player) with his orchestra. The sheik and orchestra taught him the mandolin, which became El Anka's favorite instrument. After the death of sheik Nador on May 19, 1926, in Cherchell, El Anka took over the organization of festivals for the group. The orchestra included Si Saîd Larbi (real name Birou), Omar Bébéo (Slimane Allane) and Mustapha Oulid El Meddah among others. In 1927 he began taking part in the courses taught by sheik Sid AH Oulid Lakehal, which he followed assiduously until 1932. In 1928 he was first exposed to the general public, by recording 27 discs (78 rpm) for Columbia, his first publisher, and taking part in the inauguration of Radio PTT Algiers. On August 5 1931, popular sheik Abderrahmane Saîdi died, and El Anka helped to fill the void. His popularity, supported by the new record player and radio, only grew; he was once invited to perform for the King of Morocco. After Columbia, he made another 10 78 rpm disks with Algériaphone in 1932, and another ten 78 rpm records with Polyphone. Upon return from Mecca (in memory of which he composed the song "El Houdja") in 1937, he reformed his orchestra, and toured Algeria and France. After the Second World War, El HadJ Muhammad El Anka was invited to direct popular music on ENRS Algiers Radio which succeeded Radio PTT. The popular music he promoted from 1946 became "chaâbi". In 1955 he began teaching chaâbi as a professor at the municipal Academy of Algiers. His first pupils all became sheiks in their turn, including Amar Lâachab, Hassen Said, and Rachid Souki. In total, El Hadj El Anka wrote nearly 360 songs ( qaca' id ) and produced approximately 130 records. Notable works included "Lahmam lirabitou", "ltif Sebhan ellah ya" and "Win saâdi win". He died on November 23, 1978, in Algiers, and was buried in the cemetery of El-Kettar.

Maurice El Medioni - Pianoriental

Posted By MiOd On Friday, October 26, 2007 3 comments
"The basis of my music is Andalusian, but I mix in Boogie Woogie, Jazz and Latin. Despite this my music still has the resonance of the Maghreb." Maurice El Médioni
Maurice El Médioni grew up in Algeria, in the Mediterranean port of Oran where he lived with his family in the Jewish quarters in the 1930s. Médioni´s life took a drastic turn when his brother purchased an old piano at the flea market and brought it home. Within days, Maurice, nine years old, taught himself, without the guidance of a teacher, to play popular French songs he had heard on the radio. As the influences in his life changed so did his musical style. When Algeria was liberated from the French in 1942, Maurice was playing the piano for the American troops at the US Forces Red Cross Bar in Oran. With Maurice´s permission, the soldiers used his piano to play the popular jazz and boogie-woogie numbers. By observing the dancing fingers of the soldiers he quickly learned to play these musical styles and incorporated them into his unique style. To meet the requests of the soldiers, he picked up boogie-woogie and Latino numbers. Later, befriending three Rai singers from Algeria, he was brought into the Andalous music culture, where he introduced the piano into the Rai music. Maurice gained popularity in his area and soon became the respected pianist for “l´Opéra” in Oran, joining talented musicians from many different parts of North Africa as well as other Jewish artists like Lillie Boniche and Lili Labassi. In 1962, after 8 years of civil war, Algeria gained independence from France and most Algerian Jews, including Maurice and his family, were forced into exile: “Life was good in Algeria, but when we left, we had to live hand to mouth. It’s very tough to be driven from your country when you don’t want to leave. It’s not like being an emigrant searching for a better life.” After his many years at the top of the music scene in his homeland, Maurice adapted quickly and again reached stardom in Paris, where he remained for many years. Later, the unique musical style of Maurice was recognized internationally and his career skyrocketed as demand grew. Today, at the ripe age of 77, he resides in Marseilles. He still charms the ears of onlookers, using his left hand to form the eclectic sounds of Boogie, Jazz and Cuban rhythms and his right hand shaping a unique Arabic style. For his new PIRANHA release Descarga Oriental. The New York Sessions he teamed up with Latin super-drummer Roberto Rodriguez to accomplish his great dream of a Cuban interpretation of his music. The CD immediately shot to the TOP OF THE WORLD of Songlines's March/April issue.
| MP3 256-320 Kbps | All Covers & Booklet |110 MB | TRACK LISTINGS 01. Ouine Rak 02. Touchia Remelmaya 03. Seli Homomek 04. Rimone Rametni 05. Ahla Ouassahla 06. Samai Andalou 07. Ana N'habek 08. Ne Dis Rien 09. Ticaraca Tchoub 10. Nefrah Ounghanni 11. Aalek Ma Nessber 12. Califto Bilbedri 13. Touchia Sica 14. Ouine Ene Bato 15. Touchia Zidane 16. Seli Homomek 17. Choucha Ya Choucha 18. Dor Beha Ya Chibani 19. Alala Ilali 20. Ouahd'el Ghoziel 21. Emchi Ya Rassoul 22. Ebkaou Aala Kheir Download Part One Download Part Two Press, Quotes, Interview

Orchestre Andalous - Attawachi Talata

Posted By MiOd On Friday, October 26, 2007 0 comments
Orchestre Andalous Dirige Par My Ahmed Loukili
Moulay Ahmed Loukili first learned music from his father, then auditor free to the mosque Quaraouiyine university where he met his first teacher, Mohamed Berrada Zahi he teaches oud, and Mohamed Abdelkader Ayyoush Kourrish who initiate directory san'a on. But its true masters will Al-Brihi and Al-Mtiri, which will make also a tribute to his talent. Until 1936, Loukili is part of the orchestra Al-Brihi in Fez, then returned to Tangier where he founded the association al-fan Ikhwan (brothers of Art), which organizes concerts and provides musical education. Professor at the Conservatory of Tetouan, Loukili opportunity to deepen his knowledge of repertoire supported san'a 'specific styles of Tetouan and Chefchaouen. In 1952 he became head of the radio orchestra, a position he assured until his death at the end of 1988. The style of Ahmed Loukili is characterized by precision dawr (poetic meter) and a perfect control of the use of taratin (empty syllables completing dawr), as well as his constant desire to correct the errors of language and grammar very common among the musicians. In a constant effort to research and analysis, he also promotes restoration of excavating san'a partially forgotten that he reconstructed the meter and melodic passages Leaving students in the towns where he lived, Ahmed Loukili also made fans everywhere who are, quite rightly, for one of the greatest master of Arab music. The preservation of documents concerning the safeguarding visual recordings are regarded as a cultural and artistic value priceless. A replay recordings in black and white 1960s and 70s are regarded as national cultural heritage in Morocco.
| MP3 192 kbps | All Covers | 75 MB | Track listing 1.Attawachi Talata 2.Insiraf Kodem Lhijaz Lemchargi 3.Sanaii Men Kodem Listihlal * Run time: 53.15 mins Download HERE PW : WeLove-music

Hassam Ramzy - Kouhail "Traditional Saaidi Dance Music"

Posted By White Rose On Friday, October 26, 2007 2 comments
Hossam Ramzy - Discography Hossam Ramzy - Best of Abdul Halim Hafiz Hossam Ramzy - Best Of Om Kolthoum Hossam Ramzy - Best of Mohammed Abdul Wahab

This is a must for all fans and connoisseurs of authentic Egyptian dance music! Hossam Ramzy gathered around him the top musicians of Cairo’s famous Mohammed Ali Street such as Moustafa Sax and Farouq Mohammed Hassan and many others and created great music of his home country with dancers in mind. You can find here original styles from various regions of Egypt.

1. Ala Hesb Wedad Galbi
2. Ala Nur El-Ain
3. Ya Nakhletin
4. Eddalla ya Gamal Hemdan
5. Mahla Layali El-Amar
6. Faris El-Foursan
7. El-Ourban
8. Raqset El-Assaya

| EAC WAV 1411 kbps(530 MB) - MP3 - 320 Kbps (130 MB)| Covers (H.Q)

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3 | Part 4

OR MP3 320 kbps

Mohammad Reza Mortazavi - Wind & Fire

Posted By MiOd On Thursday, October 25, 2007 2 comments
Credits to AmbroseBierce (Ripper & Uploader) Mohammad Reza Mortazavi Wind & Fire Privately published, 2003 TRACK LISTINGS 1. Travel Fever 2. Ego-Echo 3. Subtleties 4. The Will 5. Wind & Fire 192kbps, unfortunately no booklet available.
Mohammad Reza mortazavi was born in 1978 in Isfahan/Iran. at the age of six he began his musical training at the music academy in Isfahan with master Hossein Purabutaleb. After receiving a thorough musical education he started on his own way. His novel and unique understanding of music secured him a leading position at a wide variety of music festivals. The characteristic charm of his work consists not only in the creation of new styles and techniques, but also in the confident applications of these techniques to the purpose of communicating new spiritual contents and musical sensations. This has made him successfully introduce the percussion instrument tombak in Iran and abroad as a solo instrument beyond its traditional role as a mere musical accompaniment Download HERE OR Download HERE

Tango Festival in Granada

Posted By MiOd On Wednesday, October 24, 2007 2 comments
A stellar tango album - recorded live at the International Festival of Tango, Granada, Spain, featuring the greatest composers in Tango such as Piazzolla, Stamponi, Discépolo, Federico … some of them actually performing live on stage! El último café performed by the Orchestra Leopoldo Federico or Retrato de Julio Ahumana with Federico as a bandoneón soloist! A real classic!
| EAC, APE, CUE - 240 MB | MP3 320 Kbps - 110 MB | All Covers | TRACK LISTINGS [01]. Retrato de Julio Ahumana (Picture of Julio Ahumana) [02]. Beba (The Babe) [03]. Último Café (The Last Coffee) [04]. Variaciones Sobre "Mi Refugio" [Variations of "My Refuge"] [05]. Preludio Nochero (Prelude of the Night) [06]. Amurado [07]. Balada Para un Loco (Ballad for a Madman) [08]. Canbakacge [Exchange] [09]. Canción de Buenos Aires (The Song of Buenos Aires) [10]. Contame Una Historia (Tell Me a Story) [11]. Silencio (Silence) [12]. Ciudad Triste (Sad City) Performers include: Leopoldo Federico, Nestor Marconi, Horacio Ferrer.Recorded live at the International Festival Of Tango, Granada, Spain APE [240 MB] Download Part 1 Download Part 2 Download Part 3 OR MP3 320 Kbps [110 MB] Download Part One Download Part Two

Rahim Alhaj - When The Soul Is Settled: Music of Iraq

Posted By MiOd On Wednesday, October 24, 2007 0 comments
Credits to AmbroseBierce (Ripper & Uploader) Rahim Alhaj - oud Souhail Kaspar - percussion
The last century has visited more than its share of tragedy and suffering upon Armenia, Iraq and Iran, and it would be easy to romanticize the musical heritage of the region. The world-music panel at the January 2007 Association of Performing Arts Presenters (APAP) conference in New York attracted a striking mix of people, among them a young Iraqi exile who related the difficulties he confronts in seeking to study Iraqi classical music with elderly tradition bearers, and spoke passionately to the audience about the music's tenuous future in his homeland and abroad. His concerns are certainly borne out by recent history in Iraq, although the future of Iraqi music may not be quite as bleak as he seemed to suggest. Consider the work of another Iraqi exile, Rahim Alhaj, who studied oud in Baghdad with Salim Abdul Kareem and Munir Bashir (1930-1997), the latter widely regarded as the most important oud player of the contemporary era, as a master of Iraqi maqam (roughly, "mode"). In Iraq, "maqam" refers to a sense of melodic movement and structure; to a specifically Iraqi vocal tradition; and to the concept of a spiritual station. Shortly after graduating with honors from the Baghdad Conservatory of Fine Arts (1990), Alhaj fled Iraq, dogged by the Hussein regime. He lived for a decade in Syria and Jordan before gaining asylum in the United States in 2000; Alhaj now resides in Albuquerque. On the strength of When the Soul Is Settled, Rahim Alhaj is a worthy successor to Bashir. The repertoire consists of nine extended taqsim ("improvised") maqamat in pan-Iraqi style. The music represents a continuum that extends from North Africa into the Levant and eastward into Central Asia. Alhaj is ably accompanied by Lebanese master percussionist Souhail Kaspar, trained at the Conservatory of Traditional Arabic Music, Aleppo, Syria, and now resident in Los Angeles. The extensive notes (with musical transcriptions, bibliography and discography) are in English and Arabic.
As received from his teachers and transformed by his considerable musical gifts and life experience, Rahim Alhaj carries on a significant strand of Iraqi musical tradition toward future generations—in his own way, in his own time. Alhaj studied music in Baghdad with Munir Bashir and other great teacher-performers. His extended improvisations on the oud, accompanied on Near Eastern percussion by Souhail Kaspar, include uniquely Iraqi pieces. Together they represent a proud tradition's meeting with modernity. Extensive bilingual notes, 32-page booklet. 73 minutes. Rahim Alhaj is a master of the oud (Arabic lute). All but one of the nine tracks span between 7-11 minutes. Alhaj's original taqsim (instrumental improvisations) provide a contemporary interpretation of maqams (the unique pitches on the Arabic musical scale along with their melodic movement). Alhaj's material is also rooted in and derived from this Iraqi musical tradition. For example, "Taqsim Maqam Hijaz" includes a rendition of the famous Iraqi song "Atop the Palm Tree." In fact, each piece includes improvisation followed by a famous song. While it might have been more interesting for some of the pieces to be arranged with a fuller maqam ensemble sound of spike fiddle (joza) and dulcimer (santur) too, some of the cuts do feature percussionist Souhail Kaspar plays goblet drums (tablah, dumbak) and small tambourine (riqq). Apparently, he didn't use a frame drum (daf) that maqam ensembles sometimes include. In "Taqsim Maqam Sika" and "Taqsim Maqam Hijaz," the riqq (or daff) makes its most prominent appearance and provides for a colorful expression in that piece. Born in Lebanon, Kaspar studied music in Syria but now makes his home in Los Angeles. While the 32-page CD booklet could have said more about Kaspar's instruments, the bilingual musical explanations for each track are educational. A prodigy who began playing oud at age nine, Rahim Alhaj subsequently graduated from Baghdad Conservatory in 1990. He also holds a degree in Arabic Literature. In 1991, after the first Gulf War, Alhaj's activism against the Saddam Hussein regime led to is forced move to Jordan and Syria. The political refugee relocated to the U.S. in 2000 and now lives in Albuquerque, N.M. There, he won the 2003 Albuquerque Arts Alliance Bravo Award for Excellence in Music. On this album (his fourth overall), the accomplished and proficient musician says that the intent of each piece is to reflect the maqam tradition and, in doing so, to settle the soul. He does a fine job of introducing us to the musical and aesthetic of the Iraqi style. Rahim's music has both delicate and forceful moments. Its full-bodied essence speaks forcefully as he combines traditional Iraqi maqams with more contemporary inspiration and insight. While this kind of improvisational global sound may be novel to many westerners' ears, its strength is its creativity and imagination that take us on an impressive 73-minute atmospheric journey. His closing number, "Taqsim Maqam Saba" is an emotional expression of sorrow and grief. There also seems to be a prevalent thread in his compositions for peace, hope, optimism and compassion in the future. Undoubtedly, Rahim misses his homeland, but he also makes soul-settling and cathartic musical statements about his musical rejuvenation and personal renewal in the United States. - Joe Ross Oud soloist and composer Rahim Alhaj has carried his (roughly) five-thousand-year-old music tradition more than seven thousand miles, from his birthplace in Baghdad to his current home in Albuquerque, New Mexico. The political map of Iraq’s boundaries today include the regions where ancient Ur, Sumer, and Babylon arose, flourished, and finally fell. Indeed, Baghdad occupies one of the oldest continually inhabited spots on Earth, near the confluence of the Tigris and Euphrates rivers. Scholars believe that the instrument Alhaj plays, a short-necked Arabian lute called the oud (Arabic: al 'ud), originated in that region along with cities, the cultivation of food crops, and one of the very earliest written languages. Alhaj was born in Baghdad, and he began playing oud at age nine. He performed his first solo concerts when he was fourteen, by which time his passion and talent for music already were obvious. Alhaj attended the Baghdad Conservatory of Fine Arts’ six-year program beginning in 1984, studying under Munir Bashir, a master teacher and among the best-known oud players of the 20th century. Alhaj also studied with the influential composer and oud player Salim Abdul Kareem and composer Jamil Bashir, Munir's brother. He graduated with honors and a degree in music composition, and picked up another degree in Arabic literature from Al Mustansiriyah University in Baghdad. But life under Saddam Hussein’s rule was oppressive. Young Alhaj not only resolutely refused to join the ruler's Baath party, even though this severely limited his professional opportunities, and instead was active in the artistic resistance, opposing the regime and writing protest songs. For that he twice landed in prison in the latter half of the 1980s, once for a year and a half, where he suffered painful and regular beatings by his jailors. Fearing for her son’s life, his mother raised tens of thousands of dollars shortly after the first Gulf War (1991) to obtain false identity papers and help him leave his native land. Alhaj recounts that she sold virtually everything she had to pay his way to freedom. He saw her alive only once more, when he visited his homeland in 2004 for the first time in thirteen years. Interviewed on USA’s National Public Radio late in 2006, he recalled: "I had never been away [from home] until I left Iraq, actually. When I crossed the border between Iraq and Jordan, they took my instrument from me. And this is the saddest moment in my entire life.... [At that moment] I had a choice between: leave my instrument or have life. I had to leave. And so I left Iraq and left my instrument. And now I have a beautiful, beautiful oud from Iraq." According to an article in Smithsonian magazine in November 2006, the oud he plays today was made by a childhood friend, Farhan Hassn, who still lives in Iraq. The face of the instrument is inlaid with images of two homing pigeons, such as Alhaj and Hassn raised in Baghdad when they were boys. Today, Alhaj raises homing pigeons in his backyard. Alhaj lived in Jordan for three years, then moved to Syria, where he met and married Nada Kherbik. They came to the United States under a UN refugee resettlement program in 2000 and made a home for themselves in Albuquerque. Along with the general devastation he witnessed during his 2004 visit were personal losses. His father had passed away in the intervening years and the music conservatory— his alma mater— was empty, burned and silent. Alhaj is both composer and instrumentalist, performing concerts solo concerts throughout North America, in the Near East and Western Europe. Recently he has performed his own compositions with several string quartets and a symphony orchestra, with extensive tours planned in 2008 and beyond. Rahim Alhaj is one of a very few professional oudists actively re-vitalizing and thereby preserving the Iraqi art music tradition in our time. His Smithsonian CD was released in October 2006 and is entitled When the Soul Is Settled: Music of Iraq. He is accompanied on the disc by Souhail Kaspar, a Lebanese-born master percussionist now based in California, Mr. Alhaj's first CD, The Second Baghdad ( 2002) and the next, Iraqi Music in a Time of War ( 2003), are both available on VoxLox Records. The 3rd release was a collaboration with the Saddaqa String quartet, entitled Friendship: Oud/String Quartet Ensemble ( 2005), Fast Horse Recordings.
Touching Hearts with Ancient Music, Newly Formed Bill Nevins talks with Iraqi composer and musician Rahim Al Haj "Music is like a clock, it moves around in a circle," declares oud master Rahim Al Haj, sipping tea on the patio of an Albuquerque coffee shop. Al Haj is an innovative musician, and his own life has been formed by cycles of music, indeed. He has travelled in his person and in his music from his homeland into exile and then back home again as a true messenger of hope. A Baghdad native and a serious student of the classical and folk music of his native Iraq, he was imprisoned twice by the regime of Saddam Hussein, in part for refusing to compose musical tributes to that regime's military adventures during the 1980s. His life came under threat by the Saddam regime at the time of the First Gulf War. With great difficulty, Al Haj escaped in 1991, eventually making his way as a political refugee via Syria and Lebanon to New Mexico in 2000. Here, in relative poverty, he began the long process of learning English, adjusting to a very different culture, and re-establishing himself as a musical authority, performer and composer. His work has been marked by a thematic dedication to principles of peace and reconciliation in the form of wordless musical "poems" and by formal innovation on the ancient styles of the Iraqi maqam. Now he lectures at the University of New Mexico and he is in demand for performances nationally and internationally, with several acclaimed albums to his credit. Rahim Al Haj performed in June, 2006 at the Kennedy Center in Washington, D. C. for the release of his latest CD, When the Soul Is Settled:Music of Iraq, which features the percussion playing of Souhail Kaspar (Smithsonian Folkways Recordings). His earlier CDs are: Friendship: Oud/String Quartet Ensemble (2005), Iraqi Music in a Time of War (2003) and The Second Baghdad (2002). During the past three years, Rahim Al Haj has performed concerts across the USA, in Europe and throughout the Arab nations of Africa and the Middle East. This ongoing musical tour has included a bittersweet return to his homeland, where Al Haj played his music for long-missed relatives and friends and brought charitable assistance to children hurt by the continuing war. While he notes that the fall of Saddam has been a good thing for Iraq, he is an outspoken opponent of the current war, calling for peace and healing. The musical circle has turned for Rahim Al Haj, and turned well. He has had to work to make that happen, and it has not been easy. Rahim recently talked with this reporter about music, culture and his own experiences. Rahim objects to the common use of the term "world music", declaring, "There is nothing that is really Western or Eastern music--we made that all up. What is so-called "world music"? That completely depends on your perspective, where you are located yourself. What is exotic in one place is commonplace or traditional in another. There is only the world, and there is only music." A proponent and defender of musical traditions, at the same time that he is an innovator, Rahim is not a fan of all popular music. He explains, "Sometimes it seems that bad music dominates worldwide. Computer music, for instance, is about nothing--it is nothing! This is because people are not educated about their own musical traditions. But really, all music is linked, and can be the thing that brings us together. I've heard Lebanese singers, for example, borrow rhythms from Europe and translate them to Arabic song, and I have seen African rhythms brought into Iraqi music. " Rahim opposes the use of music to build war enthusiasm, yet he recounts how music itself has sometimes transcended propagandistic expropriation, as happened in Iraq, "Sometimes good music can even emerge from a very bad situation. In the 1980s, during the Iran-Iraq War, we listened in Iraq only to war music. I once counted 669 songs about Sadam Hussein. A song writer whom I greatly admired, Kazem Al Sahar, a very skilled classical composer, recorded one himself in order to stay out of jail, but he did a marvelous job with the melody. People sang and loved it for its musical beauty. The music reached past the official subject, to people's hearts. " Kazem Al Sahar now lives in Canada and is one of the more famous Arabic singers in the world. His own music is an example of beauty which comes, ironically, out of extreme adversity. Rahim replies, "Well, the way to reach people is through stories, from the heart. I don't use lyrics in my compositions--which in itself is a radical change from the Iraqi tradition of the oud accompanying lyrics--but I do talk before performing. I tell stories to help people put the music into words. For example, when my songs are about horses running, or trees, I tell the audiences about those images from Iraq which I have seen and loved. I am giving them an invitation to think about a part of the world that they may hear about, but that they don't know about. " Rahim's instrument, the oud, has a 5,000 year history, though it is still often seen as exotic in America. Rahim comments, "People are not familiar with the oud in America, though it is the ancestor of guitars and other stringed instruments. The oud would be the central instrument in an Arabic orchestra traditionally, like the piano. Perhaps the exotic perception here derives from the fact that the quartertone, or microtone, used in our music does not exist in Western music." Rahim strives to bridge the gap between western audiences and Arab musical tradition, working with a string quartet and composing works for oud and orchestra. "I think of it as a conversation between East and West, a dialogue," he says. Along with his political activity, Rahim's music got him deep trouble with the Saddam Hussein government. With a pained expression, he recalls the experience."I composed a piece, titled 'Why?', which was based on a poem by a longtime friend who lost his legs in the Iran-Iraq War. The song talked about the tense, anxious time of that long war, especially for young people subject to the draft. It asked questions such as about 'Why the poor and the rich?' and 'Why the healthy and the wounded and sick?' The song used the name of Ali, the cousin of Mohammed, but it really criticized Saddam and the situation of injustice in Iraq at that time. 'Why?' became very famous in Iraq. It touched people's sensibilities and it gave them comfort. It was a curse on Saddam, but not by direct name. The song became so widely known and sung that most people did not know who wrote it. It became very effective." Rahim's life was threatened and to survive he had to leave Iraq clandestinely, as a political refugee. Over several years he made his way through Syria and Jordan and eventually settled in New Mexico. He details that odyssey: "Catholic Charities sponsored my coming here as a political refugee, following my appeal to the UN in Jordan. Albuquerque was chosen by the UN as my destination because of the similarity of climate,a desert, to Iraq, and because New Mexico was thought of as a center of art and culture. When I left Iraq in 1991, I had to use false documents to get out. My mom sold everything to buy them and to bribe somebody to get me out. I had been imprisoned twice and tortured because I was involved in the democratic resistance to the regime. " "They took away my oud at the border. That was the saddest moment of my life. I had had that instrument since I was nine, and I literally slept with it. That was very painful. I am happy to say that I have four or five ouds now." Rahim's initial adjustment to life in America was not easy, as he recounts: "I knew no English. I learned from reading Nietzsche because I heard from a friend that the best way to learn a language is to choose a book that you love in your own language. So I started speaking English in Albuquerque by quoting Nietsche in English translation. Then I went to the local community college to try to learn more English. Catholic Charities found me a job, at MCDonald's. I did not at first understand and I thought they wanted me to play background music for diners in a restaurant. So, I tried to politely explain that my music is really not suitable for dining. When the caseworker told me that I would be a dishwasher, I lost it. I threw every bad English word I knew at him." "Instead of that, I worked as a security guard for $6 an hour, but that was not going to pay back the money that I owed Catholic Charities for my passage here. So, I rented a hall at the University of New Mexico myself, and a friend helped me put up hand drawn flyers announcing an oud concert, my first in America." "The local newspaper gave advance notices. The concert was sold out! In the following few months, I was invited to give concerts at The Outpost and other New Mexico music venues, and not long after I found myself touring the country with concerts." Rahim explains how, in 2004, he finally managed to return to visit his family and even to perform his music in Iraq: "The actress Ali McGraw came up to me at a concert in Santa Fe and introduced herself. I had seen her in Love Story--it was the first movie I cried at. We became good friends, and she helped make arrangements for me to go back and forth to Iraq. My mother and Ali have exchanged gifts. She is a very good person. In Baghdad, I played for my family by kerosene lamps; there was no electricity. It had been thirteen years since I had seen them." Asked what is the primary message of his music, Rahim responds thoughtfully, "Peace and compassion and love. Those three concepts are in the music, and the drive is to learn, to understand, though not to know." Rahim Al Haj has spoken out publicly against the present war in Iraq. Asked about how his music relates to the present world political situation, Rahim smiles slightly and answers, "The music energizes people. It may influence them, and they may take action. The music contains the drive for the message of peace and compassion and love. The music should be involved with real life, we should talk about important matters. In Iraq right now, as in most of the world,what is vital is what we can find in that brings us together, not so much that tears us apart. I try to talk about these things, about the common links between us all, at my concerts, not just provide entertainment."
Rahim AlHaj is an Iraqi oud musician and composer. He was born in Baghdad, Iraq and began playing the oud (an Arabic lute) at age nine. Early on, it was evident that he had a remarkable talent for playing the oud. Rahim studied under the renowned Munir Bashir, considered by many to be the greatest oud player ever, and Salim Abdul Kareem, at the Institute of Music in Baghdad, Iraq. Mr. AlHaj won various awards at the Conservatory and graduated in 1990 with a diploma in composition. He also holds a degree in Arabic literature from Mustansiriya University in Baghdad. In 1991, after the first Gulf War, Mr. AlHaj was forced to leave Iraq due to his political activism against the Saddam Hussein regime and began his life in Jordan and Syria. He moved to the U.S. in 2000 as a political refugee and has resided in Albuquerque, New Mexico, ever since. Rahim AlHaj has performed all over the world, on tour with Munir Bashir, his teacher, as well as solo and with his string quartet project, including numerous concerts in Lebanon, Iraq, Syria, Jordan, Morocco, Tunisia, Kuwait, Bahrain, Egypt, and France and hundreds of concerts in the United States. Mr. AlHaj has released several recordings. The Second Baghdad, released in 2002, and Iraqi Music in a Time of War, released in 2003, were both produced by VoxLox record label. His East meets West CD entitled Friendship (Rahim AlHaj, Oud & Sadaqa Quartet) was released in December 2005 by Fast Horse Recordings. His When the Soul is Settled: Music of Iraq, produced by Smithsonian Folkways Recordings, was released in June 2006, and an oud and sarod CD with Amjad Ali Khan will be released later in the year. AlHaj's music delicately combines traditional Iraqi maqams with contemporary styling and influence. His compositions are about the experience of exile from his homeland and of new beginnings in his adopted country. He is one of the true oud masters from Iraq. Rahim says that "my music invites the listener to discover the true spirit of the musician." His compositions are about loss, hope, freedom, and longing. His songs establish new concepts without altering the foundation of the traditional Iraqi School of oud based in Baghdad.
Rahim AlHaj, virtuoso oud musician and composer, was born in Baghdad, Iraq and began playing the oud (the grandfather of all stringed instruments) at age nine. Early on, it was evident that he had a remarkable talent for playing the oud. Mr. Alhaj studied under the renowned Munir Bashir, considered by many to be the greatest oud player ever, and Salim Abdul Kareem, at the Institute of Music in Baghdad, Iraq. Mr. AlHaj won various awards at the Conservatory and graduated in 1990 with a diploma in composition. He also holds a degree in Arabic Literature from Mustunsariya University in Baghdad. In 1991, after the first Gulf War, Mr. AlHaj was forced to leave Iraq due to his activism against the Saddam Hussein regime and began his life in Jordan and Syria. He moved to the US in 2000 as a political refugee and has resided in Albuquerque, NM ever since. Rahim AlHaj has performed hundreds of concerts all over the world, on tour with Munir Bashir, as well as solo and with his string quartet, including in the Middle East, Europe and the United States. Rahim’s music delicately combines traditional Iraqi maqams with contemporary styling and influence. His compositions are about the experience of exile from his homeland and of new beginnings in his adopted country. His songs establish new concepts without altering the foundation of the traditional Iraqi School of Oud. Mr. AlHaj currently has four CDs. His latest, When the Soul is Settled: Music of Iraq, produced by Smithsonian Folkways Recordings was released in June 2006 at a performance at the Kennedy Center in Washington, DC. Don Heckman, reviewing the CD for the Los Angeles Times, wrote: “Alhaj's spontaneous inventions are constantly fascinating — a convincing affirmation of the rich culture of an embattled area of the world." (January 7, 2007). Friendship: Oud and Sadaqa String Quartet, a unique musical collaboration between East and West, was released in December 2005 on Fast Horse Recordings label and received two Grammy nominations. The Second Baghdad, (2002) and Iraqi Music in a Time of War, (2003) are both produced by VoxLox Records. His plans for 2007 CD releases include Home Again, touching and evocative original compositions portraying his trip to Iraq after 13 years in exile and a flamenco guitar/oud CD with Ottmar Liebert, Jon Gagan and Barrett Martin. Rahim won the Albuquerque Arts Alliance Bravo Award 2003 for Excellence in Music and was dubbed: “The Prophet with an Oud” by a music reviewer at the College of William and Mary. There have been a number of recent national articles about his life and musical message including in the Smithsonian Magazine (November 2006), Time Out New York Magazine, (December 13, 2006), NPR All Things Considered feature interview, (December 2006), Los Angeles Times Music Review (January 7, 2007), Global Rhythm (January 2007),Times of London (December 2006), Village Voice Top Picks for 2006 and CMJ’s New World Top Ten (February 2007) and a Reuter’s International News article. Mr. AlHaj’s CD’s have become best sellers and are frequently featured on national radio shows and movies worldwide, including the BBC, NPR All Things Considered, ABC National Radio Australia, Amy Goodman’s Democracy Now and NPR’s Studio 360.
More information about the artist, including concert dates and how to get his recordings, is available online: Touching Hearts with Ancient Music, Newly Formed Bill Nevins talks with Iraqi composer and musician Rahim Al Haj 320 kbps, including full booklet scan Download Part One Download Part Two

Shruti Sadolikar - Ragas Mian-ki-Todi, Vibhas, Bhairavi

Posted By MiOd On Wednesday, October 24, 2007 2 comments
Credits to AmbroseBierce (Ripper & Uploader) Shruti Sadolikar Ragas Miyan-ki-Todi, Bibhas, Bhairavi Nimbus NI 5346, 1992 Raga Miyan-ki-Todi 1. Vilambit Khayal: Baju Re Muhammad Shah (Tintal) 2. Drut Khyal: Langara Kankariya Ji Na Maro (Tintal) Raga Bibhas 3. Khyal: He Shyam, Shyam (Rupaktal) Raga Bhairavi 4. Thumri: Baju Band Khul Khul Jan (Dipchandital) Shruti Sadolikar - vocals Anand Krishna Kunte - sarangi Anindo Chatterjee - tabla
The great vocalist Alladiya Khan (1855-1946) was also a composer who created a serene, balanced and intricate vocal style (gayaki), which he taught in all its particulars to his sons and a number of dedicated disciples. Representing a younger generation of khyal singers, Shruti Sadolikar-Katkar received her inintial training from her father who was also a disciple of Alladiya Khan and his son, Bhurji Khan. In 1968, Shruti continued her studies with Gulubai Jasdanwala, a musician with a vast repertoire of Khyal compositions (bandishes) in the Alladiya Khan tradition. To broaden her knowledge, she has received guidance from Azizuddin Khan, the grandson of Alladiya Khan. She is accompanied in this recording by Anindo Chatterjee on Tabla and Anand Krishna Kunte on Sarangi. Her label debut with Anand Krishna Kunte on sarangi and Anindo Chatterjee on tabla. A slow unfolding done in sensitive and revealing fashion. ~ Ken Hunt
320 kbps mp3, including full booklet scans Download Part One Download Part Two

Aicha Redouane - Nahda du Proche-Orient

Posted By MiOd On Tuesday, October 23, 2007 0 comments
Credits to AmbroseBierce (Ripper & Uploader) Aďcha Redouane et l'ensemble al-Adwar Nahda du Proche-Orient Le Chant du Monde 274 1154, 2002 TRACK LISTINGS Wasla en maqâm bayyâtî 01. Hâta ayyuha s-sâqî 02. Lî habîbun 03. Lâ tukhfî Wasla en maqâm sigâ 04. Bashraf-tahmîla Karabatâk (instrumental) 05. Jalla man 06. Taqsîm qânűn (instrumental) 07. Ghayri 'alâ s-silwân Wasla en maqâm bayyâtî 08. Solo riqq 09. Samâ'î Muhayyar (instrumental) 10. An'im bi-waslika 11. Gaddidî yâ nafsî Aďcha Redouane - voice, musical direction Habib Yammine - riqq Salah el-Din Mohammad - qânűn Oussama Hantira - kamân Recording date: February 1999 (live, Périgueux)
The art of the maqam was popular in Cairo about 100 years ago, and helped give rise to some of the great Arabic singers of the 20th century. Its roots are in both classical and scholarly culture, with a strong emphasis on improvisation, both vocal and instrumental. Aicha Redouane and her ensemble, led by frame drum master Habib Yammine, revive the art of the maqam with great splendor and panache, not to mention a huge amount of ability -- just listen to the riqq (frame drum) solo in "Wasla En Maqam Bayyati" to understand what the touch of genius can do. This is complex music; its lyrical subject is mostly love, both sacred and profane, and it demands a lot of the listener. However, it's more than worthwhile. Redouane herself has a wonderful touch in her phrasing; on "Gaddidi Ya Nafsi" she's nothing short of magnificent, while the entire backing is splendid and sympathetic -- kudos to both the violin and qanun (hammered dulcimer) players. It might not be for the casual listener, but anyone who has a taste for Middle Eastern music will eat this up. ~ Chris Nickson
"From the Tamazight (Berber) tradition of the Moroccan Middle-Atlas to the vocal art of the Arab maqam from the Middle East, Aďcha Redouane’s vocal talent covers a wide variety of styles and genres (Berber, jazz-blues, Western singing...). All these have been a natural part of her atypical itinerary ever since her early years. She gave up architectural studies in order to devote all her time and energy to the tradition of the maqam, and as self-taught artist specialising in this genre, she carved out her own education as a singer and a qanun player (board zither). In 1990, she was awarded a grant by the French Ministry of Culture to continue her musical research. 1993 was the turning point in her career with her first triumphant performance at the Théâtre de la Ville in Paris, and the release of her first CD produced by Ocora Radio France. It was awarded a Choc de la Musique by the magazine Le Monde de la Musique and a Diapason D’Or by Diapason. Her second CD was produced by the Institute of the Arab World (IMA) in Paris and is recommended by Classica magazine. For her concerts, she is accompanied by the al-Adwar ensemble that she co-founded with the Lebanese percussionist and ethnomusicologist Habib Yammine. These concerts are like real journeys in to the world of tarab or musical ecstasy."
320 kbps mp3 including full booklet scans Download Part One Download Part Two

Gnawa - Home Songs

Posted By MiOd On Tuesday, October 23, 2007 4 comments
Credits to AmbroseBierce (Ripper & Uploader) Gnawa - Home Songs Accords Croisés AC 117, 2006 TRACK LISTINGS 01. Merchane Family - Chalabati 02. Hamid Kasri - Aicha Hamdouchia 03. Collectif - Bouyandi 04. Zef Zaf - Foul gnawa 05. Hassan Boussou - Katib Allah 06. Abdelkader Merchane - Hamadi 07. Collectif - Bangoro 08. Abdelkebir Amlil - Instrumental 09. Hamid Kasri - Hamdouchia 10. Amida Boussou - Boulila 11. Zef Zaf - Tombouctou 12. Collectif - Sidi Koumy 13. Hassan Boussou - Soye 14. Selon Zef Zef (Video) Artists : Gnawas Home Songs , Hamid Kasri, Amida et Hassan Boussou, Abdelkebir Merchane, Zef Zaf et Abdelkader Amlil
Intimate blues from the heart of Africa sung by some of the greatest Moroccan Gnawa voices. The village of Tamesloht is a holy place in the arid lands south of Marrakesh. In the moonlight, its telluric walls resound with the motto of protective gnawa spirits. Between the call to prayer and the humming of insects, its sound universe is inhabited by Sub-Saharan Africa and age-old migrations. This tribute to the brotherhood's saints is both intimate and transgressive, bearing the healing melodies of their ritual drums and krakebs. "Gnawa home songs" is an exceptional gathering of great soloists (vocals and guembri lute), brought together by Emmanuelle Honorin and Karim Ziad. It features Hamid Kasri and Amlil, from Rabat, H'mida and Hassan Boussou, from Casablanca, and the Merchane family from Marrakesh.
320 kbps mp3 including full booklet scans Download Part One Download Part Two

Sussan Deyhim - Madman of God

Posted By MiOd On Tuesday, October 23, 2007 5 comments
Sussan Deyhim
Madman of God.
Divine Love Songs of the Persian Sufi Masters

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

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

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

320 kbps including full booklet scans


Hossein Alizadeh - Radif Navazi

Posted By MiOd On Sunday, October 21, 2007 0 comments
Credits to AmbroseBierce (Ripper & Uploader) Hossein Alizadeh & Djivan Gasparyan - Endless Vision Hossein Alizâdeh & Majid Khalaj - Homayun Concert
Hossein Alizadeh is one of Iran's leading classical composers and musicians. A virtuosic player of the six-stringed Persian tar, four-stringed Persian sehtar and eleven-stringed Azeri tar, Alizadeh has continued to extend the musical traditions of his homeland. In addition to composing orchestral pieces such as "Riders of the Plains of Hope," "Revolt," "Hey Nava," "Torkaman," "Raz-O-Niaz" and "Song of Compassion," Alizadeh has recorded the entire "Radif," based on an interpretation by Mirza Abdullah. Alizadeh was destined to become a musician. His mother, a Persian from Arak, and his father, an Azeri from Urmia, both loved music. In 1962, shortly after seeing his first tar in a Tehran music store, Alizadeh began taking lessons in the instrument. By his late teens, he had mastered the stringed instrument. His knowledge of music was further expanded during the childhood summers that he spent in Tabriz and Urmiya, two major cities of the Azerbaijoni region of Iran. Tuning into a radio station from Soviet Azerbaijoni, he became enchanted by Azerian music. Following his graduation from a high school-level music conservatory, Alizadeh worked as a composer at the Center for the Intellectual Development of Children in Tehran, studied at the Center for the promotion of Classical Persian Music and attended art college. After earning a bachelor's degree in music composition and performance from the School of Music at the University of Tehran, he continued with graduate studies at the University of Fine Arts in Tehran. In the aftermath of the Islamic revolution of 1979, Alizadeh became increasingly interested in Azerian music and went to Tabriz to study with Ali Salimi. Alizadeh began his professional musical career with the Iranian National Orchestra, rising to the position of conductor and soloist of the National Orchestra of Radio and Television of Iran. He continued to promote Persian classical music with the Aref Ensemble and the Shayda Ensemble. Alizadeh's first professional experience in Europe came when he joined the orchestra of the Bejart Ballet Company for performances of the Maurice Bejart ballet, Gulistan." In the early 1980s, Alizadeh studied composition and musicology at the University of Berlin. Alizadeh has taught at the University of Tehran and the Tehran Music Conservatory. In the fall of 1997, he taught world music at Cal Arts in Velencia, CA. ~ Craig Harris, All Music Guide
Hossein Alizadeh Radif Navâzi. Radif of Mirzâ Abdollâh According to Nur-Ali Borumand Mahoor Institut of Culture and Art M.CD-237, 2007 TRACK LISTINGS CD 1 01.-37. Dastgâh-e Shur 37.-47. Âvâz-e Abu'atâ CD 2 01.-14. Âvâz-e Bayât-e Tork 15.-17. Âvâz-e Afshâri 18.-21. Âvâz-e Dashti 22.-29. Âvâz-e Bayât-e Kord 30.-57. Dastgâh-e Homâyun CD 3 01.-07. Âvâz-e Bayât-e Esfahân 08.-38. Dastgâh-e Chahârgâh 39.-58. Dastgâh-e Segâh CD 4 01.-49. Dastgâh-e Mâhur CD 5 01.-22. Dastgâh-e Navâ 23.-62. Dastgâh-e Râstpanjgâh 320kbps mp3, including full 68-pages-booklet scan Download Part1 Download Part2 Download Part3 Download Part4 Download Part5 Download Part6 Download Part7 Download Part8 Download Part9

Mohammad-Rezâ Ebrâhimi - Sanâ. 'Ud Solo Playing

Posted By MiOd On Sunday, October 21, 2007 1 comments
Credits to AmbroseBierce (Ripper & Uploader) Mohammad-Rezâ Ebrâhimi Sanâ. 'Ud Solo Playing Mahoor Institut of Culture and Art M.CD-241, 2007 TRACK LISTINGS 01. Pishdarâmad-e Homâyun 02. Chand-Zarbi-e Homâyun 03. Âvâz in Darâmad 04. Piece in Bayât-e Râje 05. Modulation to Shur and Dashti 06. Zarbi-e Dashti 07. Piece in Shur 08. Modulation to Chahârgâh 09. Hafti-Zarbi-e Chahârgâh 10. Modulation to Homâyun 11. Piece in Homâyun 12. Moqaddame-ye Segâh 13. Piece in Segâh 14. Âvâz-e Muye 15. Reng-e Segâh Download Part One Download Part Two

Rahala - Enshaallah

Posted By MiOd On Sunday, October 21, 2007 0 comments
Credits to AmbroseBierce (Ripper & Uploader) Rahala Enshaallah United One 402 4569 2008 2, 1996 TRACK LISTINGS 1. C'est la Vie 2. Seven 4 Mal 3. Falak 4. You My Love 5. M. Sea 6. Hope (Enshaallah) 7. Free Aere 8. Moharam 9. Khalek Beid Hosam Shaker - kanoun Michael Wehmeyer - keyboard, frame drum Mohammed Abdallah Fouda - vocals, nai Hassanin Bayomi Hindi - muzmar Roman Bunka - guitar Aymen El Newahi - rabab Birnd Kircher - saxophone Ahmed El Saidi - saxophone Armin Metz - bass Thomas Ritthoff - drums, percussion Sayed Balaha - tabla, riq, percussion
Hosam Shaker (kanoun) from Cairo and Michael Wehmeyer (keyboards) from Berlin started a new band project in the fall of 1996. Rahala is a conglomeration of arabic and german musicians. Their music takes us through dense atmospheric pieces which on one hand have influences in oriental music and on the other, lean towards european jazz.
Rahala is an Egyptian-German co-production of Hosam Shaker and Michael Wehmeyer with five Egyptian and five German musicians. It's the first Worldjazz-group that boasts kanun, muzmar and rababa and ventures into the juxtaposition of many influences from all directions. Hosam Shaker (kanun) studied music at the age of fourteen at the Egyptian Academy of Arts in Cairo, obtaining his Master's Degree" in 1989. He led the "Arabic Sextett" of the Cairo Opera, performing in Japan, Korea and Europe. Formerly a member of the World music Group "Sharkiat", Hosam played with Roman Bunka's "Color me Cairo" at the 1994 Berlin Jazz Festival. He was honored as one of the finest musicians in the Middle East. Today, Hosam runs the Egyptian Institut for Folk Instruments and Heritage in Cairo and, since the beginning of 1998, he has been performing with the Trio and Quartet Rahala. Michael Wehmeyer (p, keyboard, frame-drum) grew up under the musical and personal influences of Mal Waldron, Christian Burchard and Roman Bunka. For 14 years, he traveled with the legendary group "Embryo" in Europe, India, Africa and Arabia, playing with the "Karnataka College of Percussion" (India), the "Yoruba DunDun Orchestra" (Nigeria), Paramashivam Pillar, Ramesh Shottam (both India), and Alan Blairman, Charlie Mariano (both USA). He was also co-founder of the group Dissidenten. Currently, Michael composes soundtracks for film, television and theater and established the projects, "Ethnic Affairs" and "Rahala." Since late 1997, Michael Wehmeyer is also a member of "Kirit" and is in the throes of finishing his first solo CD.
320kbps mp3, includes full booklet scan Download Part One Download Part Two Rahallah - Kanon Bazaar TRACK LISTINGS 1. Ya Msafer Wahdak 2. Al-Ensaniaa 3. Kona Fi leh 4. El-Warda El-Zarka 5. Daa Wallahee Haraam 6. Sobhanak 7. Al-Ensaniaa 2 8. Ana We Enta Download HERE

Al-Andalus Collection [7].Omar Metioui - La Fuente del Amor Secreto

Posted By MiOd On Sunday, October 21, 2007 1 comments
Credits to AmbroseBierce (Ripper & Uploader)
Al-Andalus Collection [1]. Salim Fergani - Prado de Gacelas
Al-Andalus Collection [2]. Naseer Shamma - Maqamat Zíryáb
Al-Andalus Collection [3]. Eduardo Paniagua - JARDIN DE AL-ANDALUS
Al-Andalus Collection [4]. Salim Fergani - Dos Corazones
Al-Andalus Collection [5]. Naseer Shamma & Oyoun - Hilal
Al-Andalus Collection [6].Eduardo Paniagua - Agua de la Alhambra
Omar Metioui was born in Tangiers, Morocco in 1962. He initially studied pharmacology in Brussels, before returning to Tangiers to study solmization, Andalusi singing and oud at the Conservatory of Music and Dance. Between 1976 and 1980 he sang and played the oud with El Arbi s-Siyyar, the main Andalusi orchestra in Tangiers. He is currently first lute with the Conservatory orchestra, and continues to perform throughout Europe and the Arab world.
Omar Metioui La Fuente del Amor Secreto - The Fountain of Secret Love El Laúd en la Música Andalusí-Magrebí - The Lute in Music from Al-Andalus and the Maghreb Pneuma PN-430, 2002
  1. Improvisación modo r-Rásd (taqsím tab' r-Rásd)
  2. San'a instrumental, btáyhí r-Rásd: "Lawláka má himtu waydá"
  3. Interludio en modo r-Rásd
  4. Preludio, twíshya quddám r-Rásd
  5. Poema de Ibn 'Arabí, 1165-1242
  6. Muwwál modo Síka, "Laqad Sára Qalbi" - "Mi corazón adopta todas las formas"
  7. Anon.
  8. Improvisación modo Hiyáz Kabír (taqsím tab' Hiyáz Kabír)
  9. San'a instrumental, bsít Hiyáz Kabír: "Tará l-lawza y qála lí sáhib"
  10. Improvisación modo Mezmún (taqsím tab' Mezmúm)
  11. San'a instrumental, qá'im wa-nisf al Istihlâl: "Al waslu yá mahláh"
  12. Sídí Qaddúr l-'Alami, s. XVII
  13. Muwwál modo z-Zerga, casida "El perdón"
  14. Anon., Núba al-Isbihán
  15. Preludio, twíshya
  16. Anon.
  17. Improvisación modo Raml l-Máya (taqsím tab' Raml l-Máya)
  18. San'a instrumental, qá'im wa-nisf al Isbihán: "Má hlá r-rahíq "
  19. Sídí Qaddúr l-'Alami, s. XVII
  20. "La Fuente del Amor Secreto", casida "El perdón"
Performers: Omar Metioui (lute, arabic lute, voice), Said Belcadi (voice, tar, darbuka), Hassan Ajyar (voice, choir), Eduardo Paniagua (qanun), David Mayoral (zarb), Ahmed Al-Gazi (rabab), Noureddine Acha (nay), Abdessalam El Amrani Boukhobza (tar, fuqara), Said El Ouerdighi (fuqara (sonorous respiration)), El Kabit Touhiar (fuqara (sonorous respiration)), Montasser Touihar (fuqara (sonorous respiration)), Mohammed Dahdouh (fuqara (sonorous respiration)), Abdelaziz Dahdouh (fuqara (sonorous respiration))
The tracks on this CD are a mixture of solo oud and traditional Andalusian pieces for ensemble, and it also features the oud players Said Belcadi and Hassan Ajyar. As well as his normal oud, Omar Metioui uses the Tunisian ud 'arbi (on track 12), which has four pairs of gut strings tuned to fifths and is played with an eagle quill. The lute in music from Al-Andalus and the Maghreb. Eduardo Paniagua said "Omar Metioui, with his introspection in the style of the old masters from the beginning of this century, is giving back to the lute the importance which this instrument had historically in Hispano-Arab music." Indeed, playing of this calibre makes one wonder why the instrument lost any ground at all.
1/ Improvisation mode r-Rásd (taqsím tab'), ‘űd solo Tab’ r-Râsd, c’est le mode de base de nűba r-Râsd dans le répertoire de al-âla. Il possčde une structure proche du pentatonisme c’est ce qui lui donne un caractčre gnâwî (confrérie religieuse d’origine africaine (Soudan) qui possčde un répertoire musical propre). D’ailleurs en Tunisie il est connu comme le râsd ‘abîdî c.-ŕ-d. râsd des esclaves, pour rappeler son origine afro-berbčre. Dans ce mode de Ré on néglige partiellement le troisičme degré (fa # ) et le sixičme (si) de l’échelle du tab’, ceci provoque une sensation de ponctuation qui génčre une énergie positive et incite au mouvement. 2/ San'a instrumental, btâyhî r-Râsd: lawláka má himtu waydá, (‘űd, drbűga, târ) Cette san’a appartient au troisičme mouvement de nűba r-Rásd et emploie le rythme btâyhî qu’on chiffre en 4/4. Ce rythme qui appartient ŕ la derničre phase du mîzân et qui est appliqué au mode râsd incite ŕ la danse et la joie. 3/ Interludio en modo r-Rásd (‘űd solo) Cet interlude sert seulement ŕ rétablir l’atmosphčre du tab’ afin d’attaquer la pičce suivante. 4/ Preludio/ twíshya Quddám r-Rásd, (‘űd, drbúga, zarb) Grâce ŕ la flexibilité d’interprétation du rythme quddâm (3/4) dans sa phase lente, chaque nouvelle exécution de cette twîshya d’apparence ascétique constitue un moment de retrouvailles avec l’esprit de la musique arabo-andalouse. 5/ Muwwál modo Síka, poema de Ibn 'Arabí, (‘űd y voz) Ici, l’intervention de la voix ouvre un autre horizon sur le monde fascinant de l’improvisation. Le mode sîka, ou mode de mi, exprime la nostalgie de la séparation. C’est un mode dominant dans l’expression flamenca. Le počme appartient ŕ l’un des plus grands mystiques qu’est engendrée l’humanité, il s’agit de l’andalou du XIIéme sičcle, Muhyi d-Dîn Ibn ‘Arabî connu comme la maître supręme. 6/ Improvisación / taqsím Hiyáz Kabír, (‘űd solo) Le mode Hiyâz Kabîk utilise le Re comme note fondamentale de l’échelle et possčde sa propre nűba dans le répertoire de al-âla. Il détient une échelle intéressante avec le second degré abaissé et le troisičme augmenté. Cet intervalle de seconde augmentée revient presque toujours dans la formule conclusive descendante du tab’ et lui confčre une personnalité propre. 7/ San'a instrumental, bsít Hiyáz Kabír : tará l-lawza y qála lí sáhib (‘űd solo) Ces deux airs appartiennent ŕ la derničre partie (insirâf) de la premičre phase rythmique de nűba Hiyáz Kabír. On peut presque les apparenter ŕ des danses médiévales. 8/ Improvisación/taqsím modo/tab' Mezmúm Le mode mzműm exprime des sentiments de bravoure et d’honnęteté. Ce mode de Do est avant-gardiste dans l’introduction d’un jeu qui penche vers la verticalité et qui met un accent particulier sur les intervalles de tierce, quinte et octave. 9/ San'a instrumental, qá'im wa-nisf al-Istihlâl : Al waslu yá mahláh, (‘űd solo) Cette san’a m’accompagne toujours dans mes ruminations mentales. Elle me fascine par sa simplicité et par la multitude de tournures qu’on peut imaginer pour ne jamais se lasser de réinventer sa trame mélodique. Le rythme qá'im wa-nisf (8/4) est particulier quant ŕ la répartition des accents dans la mesure (dawr) et possčde un effet de surprise en regroupant tous les temps forts vers la fin de la séquence de frappes. 10/ Muwwál modo z-Zerga poema (‘űd y voz). Poema Sîdî Qaddűr l-‘Alamî. Ce mode suit les inflexions de l’âme en se soumettant ŕ ses désirs. Il est utilité surtout dans le répertoire du malhűn (chant populaire des corporations artisanales qui se base sur la poésie dialectale) et celui des confréries religieuses (zâwya). 11/ Preludio/ twíshya de nűba al-Isbihán, Ici, j’utilise un ‘űd différent accordé un ton plus haut. Alors que l’instrument précédent est accordé un ton et demi plus haut. Le degré des notes auxquelles je me réfčre dans ces notes est conforme au diapason est non pas ŕ l’accordature que j’ai préconisé pour l’enregistrement de ce CD. La twíshya appartient au mode Isbihân (Re) qui possčde toute une nűba dans le fameux chansonnier (kunnâsh) al-Hâik (1800). On l’appelle twîshya de la nűba, parce qu’elle est utilisable pour chacune des cinq phases rythmiques de la nűba. 12/ Improvisación/taqsím modo/tab' Raml l-Máya ('úd 'arbí) J’utilise dans cette improvisation le ‘űd ‘arbî (Tunisie). Avec seulement quatre chœurs doubles, une accordature différente en quintes embrassées, un manche qui donne un intervalle de sixte au point d’intersection avec la table, des cordes en boyau, un plectre en plume d’aigle, cet instrument andalou-maghrébin nous plonge dans une atmosphčre, une esthétique et une dynamique trčs différentes du ‘űd sharqî (oriental). 13/ San'a instrumental, qá'im wa-nisf al-Isbihán : Má hlá r-rahíq, ('úd 'arbí y voz) Cette san’a, que Eduardo Paniagua m’a incité ŕ chanter en solo, possčde une mélodie simple mais qui nécessite une grande sensibilité dans son exécution. Mon maître Műlây Ahmed Lűkîlî (1909-1989?) jouissait d’une voix remarquable qui possédait l’une des qualités principales dont doit bénéficier une voix traditionnelle, selon la sagesse chinoise, l’antiquité. En choisissant ce morceau, je pense rendre hommage ŕ mon maître que Dieu l’ait dans sa grande miséricorde. 14/ La fuente del amor secreto, poema Sîdî Qaddúr l-'Alamí (cofradía al-Shushtarî) De cette fontaine jaillit un vin qui symbolise l’Amour. Tant que l’eau coule, l’espoir de l’Union existe. La poitrine des fuqâra (derviches) se déchire et fait entendre des gémissements profonds qui laissent l’auditeur attentif écrasé sous la pression de l’Unique. Rien ne peut arręter cette respiration de l’âme. Le seul moyen pour pouvoir supporter cette épreuve c’est d’arriver au stade supręme de l’extase. Il faut sortir de soi męme pour pouvoir réaliser l’Union. Le ‘űd, tout comme la voix, aident le faqîr, qui savoure le message herméneutique de la parole des grands mystiques, ŕ réaliser une ascension progressive vers l’immatériel. Il faut boire de cette fontaine afin de transcender la vérité divine. Glossaire : al-Âla (lit. instrument) : répertoire des onze nűba marocaines. Mîzân (lit. mesure ou balance) : Ce terme désigne le rythme, chacune des cinq parties ou phases rythmiques d'une nűba et l'instrument de percussion târ (tambour de basque). Muwashshah (lit. ornementé) : c'est une poésie strophique qui rompt avec la métrique classique arabe. Structure rythmique et multirime, le muwashshah est constitué de stances et d'un nombre variable d'hémistiches. Muwwâl : improvisation libre de la voix sur un mode défini qui crée un dialogue voix-instrument trčs prisé par les connaisseurs. Nűba : composition musicale constituée de cinq phases rythmiques (mîzân). Elle comporte une série de pičces vocales et instrumentales qui se succčdent selon une rythmique et un ordre établis. Samâ' (lit. audition) : concert spirituel, désigne le répertoire des confréries religieuses qui est basé essentiellement sur le chant vocal. San’a (œuvre d’art) : pičce vocale avec une structure bien définie. Elle constitue l’élément principal dans l’édifice du mîzân. Tab' (plur. tubű') : mode, désigne l'échelle modale, ses caractéristiques ainsi que la réaction psychophysiologique qu'elles peuvent déclencher. Twîshya : Pičce instrumentale rythmée. Elle se place souvent comme deuxičme partie du mîzân, juste aprčs la bugya. Parfois, elle peut intégrer le coprs de la san’a. Zajal (lit. émouvoir) : sorte de muwashshah qui utilise la langue dialectale. Zâwya (lit. angle) : sičge d'une confrérie religieuse et lieu de culte.
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