Masters of Indian Classical Music

Posted By MiOd On Monday, December 31, 2007 2 comments
This beautiful and very relaxing double CD presents the greatest exponents of Indian classical music playing ragas and light classical pieces on the instruments they each are famous for: Amjad Ali Khan (sarod), N. Rajam (violin), Ravi Shankar (sitar), Bismillah Khan (shehnai), Zakir Hussain (tabla), Hariprasad Chaurasia (bansuri) and Ram Narayan (sarangi). The booklet provides extensive information about the artists, the music and the instruments in four languages.

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

Track Listing:

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

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

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

Part 1 | Part 2

Re-Orient - Indian World Music Fusion

Posted By MiOd On Monday, December 31, 2007 0 comments
Baluji Shrivastav & Friends - Indian World Music Fusion - Re-Orient
LA Daily News, USA "...a veritable feast of sound. Lovely stuff." Album Description Here Re-Orient have created a feast of world music integration, presenting a mystical and spiritual blend, taking musical hybrids to a new plane. A melting pot of sitar, saxophone, piano, tablas, and other traditional and contemporary instruments.

This album conjures up reminiscences of the great ‘Mahavishnu Orchestra’. Here Baluji Shrivastav and friends have created a feast of world music integration, presenting a mystical and spiritual blend, taking musical hybrids to a new plane. A melting pot of sitar, saxophone, piano, tablas, and other traditional and contemporary instruments. This could be considered the Taj Mahal of world music fusion!

(01). Bird Dancer
(02). Tarana 14
(03). Pani Hari
(04). Zigmondi
(05). Child of the Emerald Air
(06). Karuna Cariña
(07). Unforgotten Days
(08). In the Bamboo Forest
(09). Tarana 16
(10). Garuda

Ape tracks (EAC Rip): 330 MB | MP3 - 320 kbs: 140 MB | Scans

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Ghazal - Lost Songs of the Silk Road (Inde-Iran)

Posted By MiOd On Sunday, December 30, 2007 3 comments
A fascinating meeting of Persian and Indian musical and cultural influences. Iranian musician Kayhan Kalhor, North Indian virtuoso Shujaat Hussain Khan, and Swapan Chaudhuri playing the kamancheh (spike fiddle), sitar, and tabla, respectively, met in New York for the sessions that led to this album, a melding of related but separate musical traditions that embrace vocal music (courtesy of Khan) as well as instrumental music into a mesmerizing whole. ~ Bruce Eder, All Music Guide

The word ghazal means a type of Persian (Iranian) poetry and also describes an old style of romantic ballad often sung in India. The classical music traditions of Iran and India both feature complex scales and rhythms that demand a lifetime of study. However, they are highly compatible with each other, and combining them allows for fresh insights and deeper pleasures. Shujaat Hussain Kahn is the son of the legendary sitarist Ustad Vilayat Khan, and his own command of the multistringed instrument is a wondrous thing. He is joined by Iran's Kayhan Kalhor, a master of the kamancheh, a spiked violin with a woodsy tone, and the setar, a small lute thought to be a prototype of the sitar. The brilliant tabla drummer Swapan Chaudhuri rounds out an all-star trio. Together they make exciting, accessible, richly melodic music that will delight listeners of all tastes and backgrounds. --Christina Roden

There's nothing strange about fusing Persian dastgah with North Indian raga.... They've got a similar emphasis on ornament and improvisation, and even though there's a world of difference between them, when the two traditions come together on Ghazal, the music makes perfect sense ... none of the players here are exceptional; they're subtle, measured, and lyrical. But the music they've made--completely improvised in the studio, only 40 minutes after meeting each other--is beautifully evocative, and as perfect as fusion ever gets: poetic, dynamic, alive.

1. The Saga of the Rising Sun
2. Come With Me
3. You Are My Moon
4. Safar-Journey

Ape (EAC Rip): 350 MB | MP3 - 320 kbs: 150 MB | Front Cover

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Operation Rai 2008 (Mixed By DJ Kim)

Posted By MiOd On Friday, December 28, 2007 2 comments

Raï (Arabic: راي) is a form of folk music, originated in Oran, Algeria from Bedouin shepherds, mixed with Spanish, French, African and Arabic musical forms, which dates back to the 1930s and has been primarily evolved by women in the culture. The word raï is Arabic for “opinion.” Singers of raï are called cheb (young) as opposed to sheikh (old) the name given to Chaabi music singers; the tradition arose in cities like Oran and elsewhere in Tlemcen, primarily among the poor. The word raï means literally opinion but is colloquially used as an interjection along the lines of oh, yeah! Traditionally sung by men, at the turn of the 20th century, female singers became common.

History Oran is a seaport in Western Algeria, known since the Spanish invasion centuries ago; Spanish troops kept women there to entertain the troops, and the city has kept a reputation for hedonism ever since. In the early 20th century, Oran was divided into Jewish, French, Spanish, and Arab quarters. By independence in 1962, the Jewish quarter (known as the Derb), was home to popular musicians like Reinette L'Oranaise, Saoud L'Oranais and Larbi Bensari. Sidi el Houari was home to Spanish fishermen, many refugees from Spain who arrived after 1939. These two quarters were the centers for musical innovation, and the French inhabitants of the city went to the Jewish and Spanish areas for music. The Arabs of Oran were known for al-andalous, a classical style of music imported from Southern Spain after 1492. Hawzi was popular between the wars, and the biggest stars were female singers like Cheikha Tetma, Fadila D'zirya and Myriam Fekkai. Melhun poetry with accompaniment was also popular, sung by male singers in long, white jellabas and turbans (known as cheikhs) who played guellal drums and gaspa flutes. This genre was known as bedoui (from its origin among Bedouin chants) or gharbi. Lyrics came from the poetry of masters like Mestfa ben Brahim and Zenagui Bouhafs, and performers included Cheikh Hamada, Cheikh Mohammed Senoussi, Cheikh Madani, Cheikh Hachemi Bensmir and Cheikh Khaldi. Senoussi was the first to record, in 1906. French colonization of Algeria changed the organization of society, producing an urban poor of uneducated men and women. Popular bedoui singers mostly collaborated with the French colonizers, though some, like Cheikh Hamada were exceptions. The problems of survival in a life of poverty were the domain of street musicians who sang bar-songs called zendanis. Many of these songs included exclamations of raï! and variations on it, which implies an opinion is being expressed. In the 1920s, the women of Oran were held to strict code of conduct. Many of those that failed became social outcasts and singers and dancers. They sang medh songs in praïse of the prophet Mohammed and performed for female audiences at weddings, circumcision feasts and other ceremonies. These performers included Les Trois Filles de Baghdad, Soubira bent Menad and Kheira Essebsadija. Another group of female social outcasts were called cheikhas, who were known for their alluring dress, hedonistic lyrics, and a form of music that combined that of the cheikhs, meddhahates and zendani singers. These cheikhas sang for both men and women, and included Cheikha Remitti el Reliziana, perhaps the most famous cheikha. Other performers included Cheikha Grélo, Cheikha Djenia el Mostganmia, Cheikha Bachitta de Mascara and Cheikha a; Ouachma el Tmouchentia. The 1930s saw the rise of revolutionary organizations, many with a Marxist goal, which mostly despised these early roots raï singers. At the same time, the great voices of Arab classical music were gaining popularity across North Africa, especially Umm Kulthum. Raï, al-andalous and the Egyptian classical superstars’ style was combined in the 1930s to form wahrani, a style popularized by Blaoui Houari. Wahrani was very popular, as were American jazz and French cabaret singers like Édith Piaf, especially into the 1940s. Musicians like Mohammed Belarbi and Djelloul Bendaoud added these influences to other Oranian styles, as well as Western piano and accordion, resulting in a new style called bedoui citadinisé. Full-scale revolution began in the mid-1950s, and many of these stars, including Houari and Ahmed Saber, supported the Front de Libération National. After independence in 1962, however, the new Marxist government of the Houari Boumédienne regime, and President Ahmed Ben Bella, did not tolerate criticism from Saber and other musicians, and many were arrested. Raï and Oranian culture was suppressed.

Post-independence In the 1960s, American rock and roll and soul music was popular, and Algerian bands like The Vulures and The Students arose. The French Yé Yé craze was also popular, and two of the most influential musicians of the later 20th century began their career. Bellamou Messaoud and Belkacem Bouteldja modernized the raï sound and began gaining mainstream acceptance by 1964. Chaba Fadela and Cheb Khaled also began their careers during this period, as raï's popularity was growing across Algeria. Recording technology began growing more advanced, and more imported genres gained popularity as well, into the 1970s, especially Jamaican reggae performers like Bob Marley. Fadela's 1979 "Ana ma h'lali ennoum" is considered the beginning of modern pop raï; the song was a hit across Algeria, and set the stage for raï's domination of national listeners. International success had begun as early as 1976 with the success of Rachid Baba Ahmed, raï music’s most important producer. In the 1980s, raï began its period of greatest popularity. In 1986, the first state-sanctioned raï festival was held in Algeria, and a festival was also held in Bobigny, France. Cheb Khaled was the first international superstar, though his popularity did not extend to the United States, Latin America and certain other areas. His 1988 Kutché album did the most to popularize him and the whole genre of raï. Other prominent performers of the 80s included Houari Benchenet, Raïna Raï, Mohamed Sahraoui, Cheb Mami and Cheb Hamid. International success grew in the 1990s, when Cheb Khaled's 1992 Khaled was a major French hit and also saw success in India and elsewhere. With Khaled no longer in Algeria, new stars began singing lover's raï, a sentimental, pop-ballad form best-known for stars like Cheb Tahar, Cheb Nasro and, especially, Cheb Hasni. Later in the decade, funk, hip hop and other influences were added to raï, especially by performers like the French star Faudel and raï-rock fusionist Rachid Taha.


Disc: 1
(01) [DJ Kim feat MC Adrian] Intro
(02) [Cheb Mami feat K-Maro] Nos Couleurs
(03) [Jerome Prister feat Cheb Hocine] Cheba Ainia
(04) [K-Reen et Amal] Bienvenue
(05) [Rayan feat Rima] Dana Dana
(06) [Rappeurs D'instinct feat Reda Taliani] Chole Chole
(07) [Jalal El Hamdaoui feat Driver] N'zour Nebra
(08) [Rayan feat Jalal El Hamdaoui] Goulou L'Mama
(09) [Rachid Taha] Ya Rayah
(10) [Salim] Kif Rayi
(11) [Hocine] Zinha Arbia
(12) [Kayline feat Hocine] Eya Eya
(13) [Ryes feat Cheb Hocine] SOS
(14) [Cheb Amar] Lala Torkia
(15) [Cheb Hassen] A Savoir Ola Tfahamna
(16) [Akil] Dar Mekria (Remix)
(17) [Mafia De La Rue feat Houary Manar] Hiya
(18) [Reda Taliani] Sendouk
(19) [Reda Taliani] Taaya Tebghini
(20) [Reda Taliani] Josephine
(21) [Magic System feat Akil, Cheb Bilal, Big Ali] C Cho, Ca Brule

Disc: 2
(01) [Hocine] Ana Wiyek
(02) [Reda Taliani] Khobze Dar
(03) [Reda Taliani] Les Algeriens Des Kamikazes
(04) [Reda Taliani] Nebrick Sans Pitie
(05) [Salim et Jamila] Zawali Ou Fhel
(06) [Cheb Zino] Andi Wahda Semouha
(07) [Hocine] Ndira Tiliphone
(08) [Hajla] Seknet Marseille
(09) [Marsaoui] Jdil Rozlene
(10) [Akil by DJ Kim] Avis De Recherche (Remix)
(11) [Cheb nono] Ana Dellali Ahla Zargua
(12) [Mamino] Sbart O Tal Ahdabi
(13) [Cheb Nono] Way Way Kayany
(14) [Cheb Nono] Ya Lala Lali
(15) [Akil] Douga Douga
(16) [Akil] Chedi El Mandat
(17) [Cheb Mami feat Zaho] Halili
(18) [Cheb Khaled feat Diana Haddad] Mas Wi Loli
(19) [Hajla] Wirili Win Rak Tergoud
(20) [Aziz] Yalahbina Yallah

| MP3 VBR kbps | Covers | 220 MB |

Part 1 | Part 2

Rim Banna

Posted By White Rose On Wednesday, December 26, 2007 8 comments
Traditional songs and Palestinian poetry
Rim Banna (born December 8, 1966) is a Palestinian singer, composer and arranger, well-known for her modern interpretations of traditional folk songs. Banna was born in Nazareth, where she graduated from Nazareth Baptist School in 1984. She currently lives in Nazareth with her husband, the artist Leonid Alexeienko, and their three children. Artistic philosophy Banna first achieved popularity among Palestinians in the Palestinian territory which was occupied in 1948 in the early 1990s, after recording a number of Palestinian children's songs on the verge of being forgotten. [2] Many such songs and rhymes sung by Palestinian families again today, are said to be thanks to Rim Banna's work in preserving them via her recordings. For Banna - whose music is composed and arranged collaboratively with her husband - music is an important tool for cultural self-assertion: "A part of our work consists of collecting traditional Palestinian texts without melodies. So that the texts do not get lost, we try to compose melodies for them that are modern, yet inspired by traditional Palestinian music." As such, Banna does not merely mimic the traditional techniques for representation of the pieces she interprets. In her view, "Oriental singing techniques are mostly ornamental … But my voice is more two-dimensional, thicker. I try to write songs that fit my voice. I want to create something new in every respect. And that includes bringing people elsewhere closer to the music and soul of the Palestinians." European audience Lullabies from the Axis of Evil Banna's popularity in Europe began after Norwegian singer Kari Bremnes, invited her to Oslo after meeting her during a visit to Nazareth. Banna accepted the invitation, and the two artists were subsequently enlisted with others by Norwegian music producer Erik Hillestad to record the 2003 CD Lullabies from the Axis of Evil. Dubbed "a musical antiwar message to U.S. President Bush from female singers in Palestine, Iraq, Iran, and Norway," [2], the album brings these women together with others from North Korea, Syria, Cuba, and Afghanistan - to sing traditional lullabies from their lands in duet form with English-language performers whose translation allows the songs to reach a Western audience. Mirror of My Soul Banna's latest album, The Mirrors of My Soul, is a stylistic departure from her previous body of work. Produced in cooperation with a European quintet, it features "Western pop stylings" fused with Middle Eastern modal and vocal structures, and Arabic lyrics. [5] Though the style of this album differs from previous recordings, the subject matter has basically remained constant. The album includes "songs of despair and hope" about the lives of "a struggling people, and even a song about late president Arafat in a way that is both thoughtful and subtle".

[01]. I Will Tell The World
[02]. Once
[03]. The Dream
[04]. The Singer
[05]. Death
[06]. The Night Froze
[07]. Your Eyes.
[08]. Ya Sitti.
[09]. Ya Tala'een
[10].Ya Leil Ma Atwalak


[02]. Rim Banna - Al-Quds Everlasting

[01]. Beit-Allah
[02]. You Make Me Gloom
[03]. Fly and Slow Down, Goose
[04]. Our Beloved Ones
[05]. Rain
[06]. The Child Had Died
[07]. Kul Kbeibeh
[08]. Soft Rain in a Faraway Autumn
[09]. Hala Lala Layyah
[10]. Al-Quds Everlasting
[11]. A Part of "Rain" Song

Download HERE

[03]. Rim Banna - The mirrors of my soul

Palestinian vocalist Rim Banna and her predominantly European-based quintet have created a well-produced album that, while owing much to Western pop musical stylings, aptly showcases her compelling voice and lyrics. Most of the songs feature definitively Western instrumentation and character, even if the modal structure and vocals are derived from Middle Eastern sounds. While ostensibly making the album more accessible to a broad, presumably North American, audience, it can be argued that this overt leaning toward cotemporary rock/pop elements detracts from its potential power. Banna is a terrific vocalist, there’s no doubt of that; still, despite the collective talents of her ensemble, Banna’s creative abilities as a singer/songwriter might be better served if her music dipped deeper into the waters of the Suez versus the Danube or the Mississippi. While there is the presence of Arabic percussion instruments such as the darbukka, the rhythms and hence overall flavor is decidedly Occidental. If creating such an album was Banna’s goal, she succeeded. Nevertheless, authenticity-minded listeners may find themselves wishing for something more indigenous and thereby ingenious.

[01]. The mirrors of my soul
[02]. The Carmel of my soul
[03]. Malek
[04]. Ya Jammal
[05]. Masha'al
[06]. Sarah
[07]. The moon glowed
[08]. The top of the mountain
[09]. Fares Odeh
[10]. The grandma with a limp
[11]. The voice, the fragrance and the figure


Al-Andalus Collection [12]. Al Turath Ensemble - Jardines de Jazmín

Posted By MiOd On Monday, December 24, 2007 1 comments
Jardines de Jazmín - Jasmine Gardens
Moaxaja Andalusí de Alepo - Wasla Sikah "Hozzam" Al Turath Ensemble - Mohammed Hamadye, dir.

  1. Samai Hozam
  2. Moaxaja Badat Lana (Se nos apareció)
  3. Moaxaja Ya Nahif Al Kawam (Tu, aquella fina silueta)
  4. Taqsim Kaman
  5. Layali y Qasida (Te prometo que te quiero)
  6. Taqsim Qanun
  7. Moaxaja Kad Hala (Es dulce la bebida)
  8. Dulab Hozam
  9. Taqsim Nay
  10. Mawwal (Oh Señor; cuando los ojos de una gacela)
  11. Qadd Yallah Sawa (Accompañame mi amor) Qadd Yelbaklek Shak Al Almass (Te sienta bien un broche de diamantes) Qadd Marmar Zamani (Has convertido mi vida en amargura)
  12. Qasida (Rehusó unirse a mi)
  13. Qadd Mouz Warad (Aquella de fino talle y de vivas mejillas) Qadd Billahi Ya Habibi (Oh Señor; Señor, mi querido amado) Qadd Salabat Layla (Leila me enloqueció)
Playing time: 60' 11
Performers: Al Turath Ensemble [Ali Anjirini (voice), Diy'a Kabbani (voice), Ahmad Shokri (voice), Malek Zayat (voice), Abdul Rahim Ajim (ud'), Tofik al Ramadan (nay), Imad Molki (qanun), Ossama Sakka (Kaman - violin), Zohair Skef (Kaman - violin), Mohamed Dosh (Kaman - violin), Abdul Rahman Miri (darbuga), Salah Eddin Dabagh (riqq)] - Mohammed Hamadye, dir.

Ape (EAC Rip): 360 MB | MP3 - 320 kbs: 140 MB | Covers

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Al-Andalus Collection [11]. Al Turath Ensemble - Hermana de la Luna

Posted By MiOd On Monday, December 24, 2007 3 comments
Hermana de la Luna - Sister of the Moon
Moaxaja Andalusí de Alepo - Wasla Rast Al Turath Ensemble - Mohammed Hamadye, dir.


  1. Samai Rast
  2. Moaxaja Al Azar (Las doncellas)
  3. Moaxaja Mala Al Kassat (Llenó las copas)
  4. Taqsim ud'
  5. Moaxaja Hobbi Malak (Su amor posee mi corazón)
  6. Moaxaja Yaman Laibat (A quien le vino embriago)
  7. Dulab Rast
  8. Taqsim Qanun
  9. Mawwal (Tu bella y amorosa)
  10. Qadd Yaman Tounadini (Tu eres quien me llama)
  11. Qadd Malek Ya Helwa (Que te pasa hermosa)
  12. Qasida (Mis ojos no ven)
  13. Qadd Zatoul Jaman (Esta belleza es hermana de la luna)
  14. Qadd Yom Al Wissal (El día del encuentro)

Playing time: 60' 11

Performers: Al Turath Ensemble [Ali Anjirini (voice), Diy'a Kabbani (voice), Ahmad Shokri (voice), Malek Zayat (voice), Abdul Rahim Ajim (ud'), Tofik al Ramadan (nay), Imad Molki (qanun), Ossama Sakka (Kaman - violin), Zohair Skef (Kaman - violin), Mohamed Dosh (Kaman - violin), Abdul Rahman Miri (darbuga), Salah Eddin Dabagh (riqq)] - Mohammed Hamadye, dir.

320 kbps including Covers


Al-Andalus Collection [10]. Ibn ‘Arabi - El intérprete de los deseos

Posted By MiOd On Saturday, December 22, 2007 6 comments
Ibn 'Arabí (Murcia 1165 - Damasco 1240) - Taryumán al-Ashwáq
El intérprete de los deseos - Interpreter of desires - L'interprète des désirs Ensemble Ibn Báya & Cofradía Shushtari, Omar Metioui & Eduardo Paniagua.
This is a most usual recording, fruit of the collaboration of a Spanish specialist in the musical traditions of Medieval Spain, a Moroccan Arabo-Andalucian musician and a Moroccan Sufi brotherhood with roots stretching back to the medieval Islamic Kingdom of Granada. Though each contributor brings something different to the project, the common ground between them is the musical heritage of Islamic Spain. The result of this collaboration is a marvelous work that recreates the mystical poetry of the great Sufi master Ibn Arabi as a Sufi sama, a sacred concert of music and mystical poetry. Ibn Arabi was born in 1165 on the Iberian peninsula in the region that is today Murcia in southeastern Spain, then part of Islamic Spain. Leaving Al-Andalus as a young man, Ibn Arabi traveled extensively in the Mediterranean basin. He continues to be one of the most highly revered of Sufi thinkers and poets, and in recent years he has become better known to the West through biographies and translations of his prose and poetry into numerous European languages. Everything about this production is sumptuous. The CD cover and extensive, well-written and highly informative accompanying booklet are illustrated with illuminations from a medieval Arabic manuscript. A concise introduction to Sufism and Ibn Arabi and his poetic work, The Interpreter of Desires, leads into a discussion of the recording and the text selection. Whether one is well versed in Ibn Arabi and Sufism or is an open-minded newcomer, the liner notes are well chosen and extremely useful in orienting the listener. Unlike most recordings of a Sufi musical concert (sama) which are simply casual documents of a meeting of dervishes and the rites and ceremonies of their particular order, this work is carefully structured specifically for the individual listener separate in time and space from the ceremony. Special music, recitations, prayers and poems help draw the listener into the sacred space of Ibn Arabi’s poems as interpreted in traditional manner by dervishes of the Shushtari Order, supported by professional Arabo-Andalucian musicians. Modes, that in this musical system evoke different emotional states, are married to the texts to heighten their emotional impact. Sufi zikr--special rhythmic chants and breathing practices that create a heightened state of spiritual remembrance in the participants--are often deployed beneath the poetry, which may be sung in chorus by the brotherhood or by soloists unfurling highly ornamented and beautifully sung passages on top of the insistent zikr. Each of the two main sections of the work slowly but surely builds to a musical and mystical climax. All the power of over a millennium of Sufi sacred ritual and Andalusí classical music tradition is combined to produce a work of tremendous spiritual power and intense beauty. The selection of the poetry, the structure of the recording, the pacing of the ceremony, the quality of the musicians and soloists, and the extraordinary beauty of Ibn Arabi’s poetry combine to produce a work of the highest order. Listen to Ibn Arabi’s Interpreter of Desires with open heart and mind, and prepare to be ravished.

Ibn ‘Arabi - El intérprete de los deseos [Taryumán al-Ashwáq]


    I. La Caaba del corazón

  1. Talbiya, Oración del peregrino - Al Adán, Llamada a la oración
  2. 1 Canto de bienvenida en honor del Profeta. Tala'a l-badru 'alayná. "Tú que has sido enviado" 2 Recitado de la casida XI "La religión del amor", Tatúfu bi-qalbí "Una y otra vez dan vueltas a mi corazón"
  3. 1 Muwwál sáhlí. Laqad sára qalbí. "Mi corazón adopta todas las formas" 2 Mutaqárib. Il-taybata dhabyun. "Hay en Tayba una gacela"
  4. II. El rayo oriental. Modo Raml L-Máya

  5. Dawr tawíl. Salámun 'alá Salmá "Saludo a Salma"
  6. 1 Dawr tawíl. Rá 'al-barqa sharkqiyyan. "El rayo oriental" 2 Dawr basít. Qálat 'ajibtu li-sabbin. "No te asombres" 3 Dawr hazaj. Ahbábu qalbf. "¿Donde están las que amamos?" 4 Dawr ramal. Yá 'ulí l-albáb. "¡Oh, vosotros, hombres de conocimiento!" 5 Dawr jafíf. Hiya bintu l-'iráqi. "Hija es de Iraq, de me imam"
  7. Muwwál tawíl. Alá yá nasíma. "El secreto encuentro"
  8. 1 Dawr mujalla l-basít. Man lí bi-majdúbati. "Quien me mostrará a la de tintados dedos" 2 Dawr kámil. Tarnú idhá lahadat. "Al mirar lo hace con ojos de cervatillo" 3 Dawr jafíf. Tala 'at bayna adri'átin. "Como la luna llena"
  9. El anbelo de la Amada. Modo Síka

  10. Dawr tawíl. Ayá rawdata l-wádí. "Oh, jardín del valle"
  11. 1 Dawr l-kámil. 'Uj bir-raká'ibi. "Desvía tus monturas hacia los pedregales" 2 Dawr jafíf. Tala'at fí l-'iyáni. "Como un sol surge ante los ojos" 3 Dawr ramal. Yá jalílayya qifá. "¡Oh, compañeros! Deteneos"
  12. Muwwál kámil. Raqqat hawáshíhá. "Sus laderas son suaves como su brisa"
  13. 1 Dawr basít. Bána l-'azá'u. "Sin resignación ni paciencia" 2 Dawr jafíf. Fa 'idhá balagtumá d-dára. "Desmontad cuando lleguéis hasta ella"
Playing time: 68' 37"
Performers: Ensemble Ibn Báya - Cofradia Shushtari [Omar Metioui ('ud, voice, choir), Hassan Ajyar (soloist, choir), Said Belcadi (soloist, choir, atabal, darbuka), Abdesselam El Amrani Boukhobza (voice, choir, tar), Noureddine Acha (nay), Ahmed El Gazi (rabab), David Mayoral (agnafil, pandero, bendir, zarb, daff), Abdellatif Ben Yahya (Recitation of poems), Said El Ouerdighi (Fuqar&aacute-Derviches), El Kabir Touihar (Fuqar&aacute-Derviches), Mountasser Touihar (Fuqar&aacute-Derviches), Mohammed Dahdouh (Fuqar&aacute-Derviches), Abdelaziz Dahdouh (Fuqar&aacute-Derviches)] - Omar Metioui & Eduardo Panigua, dir.

Ape tracks (EAC Rip): 420 MB | MP3 - 320 kbs: 160 MB | Front Cover

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Abdel Halim Hafez

Posted By MiOd On Friday, December 21, 2007 8 comments
Abdel Halim Hafez - Arabian Greats
Despite a fairly short career, singer/movie-actor Hafez was one of the most influential Egyptian stars of the 1950s and '60s. His mellow, resonant voice, subtle vocal style and notably clean intonation marked him out, along with a liking for long, seemingly endless musical phrases. When Mohamed Abdel Wahhaab switched from singing to composition, he pretty much stepped into his shoes. Born in 1929, Abdel Halim studied at Cairo's Institute of Arabic Music and the Higher Institute for Theatre Music, and began his career teaching and playing oboe before taking aim at vocal stardom. His first hit came in 1951, and he soon signed a contract with Abdel Wahhaab to sing his songs and appear in his films. During the 1960s, he started to sing colloquial poetry more colorful and meaningful and nearer to popular folk song than ordinary pop songs, and his work on these lines had a significant influence on popular song in general. He cofounded a film company and the Saut el-Fann record label in the early '60s, and remained a major star until he died in 1977 of Bilharzia, which he had caught as a child and which had begun to affect him intermittently from 1955 onward. ~ John Storm Roberts, All Music Guide
| MP3 256 Kbps | Incl. covers, info & Lyrics |

[01].Resala Men Taht El Maa (A Note From Under the Water)


[02].Abdel Halim Hafez - Hawel Teftekerni - Try To Remember Me


[03].Abdel Halim Hafez - Zay el Hawa - Oulli Haga



[04].Abdel Halim Hafez - MAWOOD (I'VE BEEN PROMISED)




Part One
Part Two

[06].Abdel Halim Hafez - Fatet Ganbena (She came between us)


[07].Abdel Halim Hafez - Arabian Greats


[01]. Bahlam Beek
[02]. Okbalak Yom Miladak
[03]. Safini
[04]. Masghoul
[05]. Takhonouh
[06]. Eh Zanbi Eh
[07]. Halefni
[08]. Beeh Albak


[08].Abdel Halim Hafez - Aai Damait Hozen.. La (Live)


[09].Abdel Halim Hafez - Fi Yom Fi Chahr


[01]. Fi Yom Fi Chahr Fi Sana
[02]. Fi Yom Menel Ayam
[03]. Zalamouh


[10].Abdel Halim Hafez - Gana al Hawaa


[01]. Gana Alhawa
[02]. Ya Khalya Alqalb
[03]. Sawah
[04]. Al Toba
[05]. Elhawa Howaya

Part One
Part Two

[11].Abdel Halim Hafez - Arabian Nights: Kariat El Fingan
This live document of the singer, composer, and bandleader Abdel Halim Hafez is of unknown origin in terms of its recording date. It was captured live in front of the Kariat Al Fengan Belly Dancing festival, and the performance is notated by one single track. Initially, one has to wonder if this is the right recording, since the band is featured for the first 12 minutes without the amazing voice of the master to accompany them. At about that mark, the great one enters the room, the applause is thunderous, and he proceeds to work his truly singular magic for the rest of the hour-long concert. He runs through a series of his hits, as well as movie songs and even some traditional folk songs before it's all over. Sound quality is better than marginal and can even be called good stereo, and the digipack is quite beautiful, though the linter notes -- a strictly biographical essay -- are all in French. This is not the best place to start with Halim Hafez, but it is a beautiful place to go once one has encountered his spooky, heartbreaking magic. ~ Thom Jurek, All Music Guide
This live recording, "Kariat al-Fengan" ("The Fortune Teller"), was the last song done by Egyptian legend Abdel Halim Hafez and is probably one of his best works as well. In this performance, over an hour long, we are treated to drama, passion and raw emotion that classical Arabic music is so rightly famous for. Hafez is rightly known as one of the greatest classical performers in the Arabic-speaking world, and of his numerous recordings, this CD is as good a place to start as any. The song is one of his most well-known, and well-loved, works. Its a good thing that EMI Arabia has decided to re-release this CD to a wider market. This, and other recordings in their "Arabian Masters" series, are wonderful guides to some of the best Arabic classical music you can find. If you are a lover of classical Arabic music, or Middle Eastern music in general, then I strongly recommend you check out this CD.

Part One
Part Two

[12].Abdel Halim Hafez - Yom Min Oumri


[01]. Ba'd Eih
[02]. Khayef Mara Aheb
[03]. Dehk Wa Laab
[04]. Be Amr El Hob


[13].Abdel Halim Hafez - Maaboudat El Jamahir - L'idole Des Peuples


[01]. Haga Ghariba
[02]. Balash Itab
[03]. Lasta Qalbi
[04]. Gabbar
[05]. Ahebbak

Part One
Part Two

PW : WeLove-music

Mamadou Diabate - Heritage

Posted By wayfaring stranger On Thursday, December 20, 2007 2 comments
Diabate was born in 1975 in Kita, a Malian city long known as a center for the arts and culture of the Manding people of West Africa. As the name Diabate indicates, Mamadou comes from a family of griots, or jelis as they are known among the Manding. Jelis are more than just traditional musicians. They use music and sometimes oratory to preserve and sustain people's consciousness of the past, a past that stretches back to the 13th century when the Manding king Sunjata Keita consolidated the vast Empire of Mali, covering much of West Africa. The stories of these glory days and the times since remain important touchstones for people today, not only for the Manding, but for many citizens of Mali, Guinea, Gambia, and Senegal. So to be born to a distinguished jeli family in Kita is already an auspicious beginning. Mamadou's father Djelimory played the kora, the jeli's venerable 21-string harp. He was widely known as N'fa Diabate, performing in the Instrumental Ensemble of Mali and recording on the National Radio of Mali. At the age of four, Mamadou went to live with his father in Bamako, where the Ensemble was based. When it came time for him to return to Kita and go to school, Mamadou knew that the kora was his destiny. His father had taught him how to play the instrument, and from there he listened and watched and devoted himself to practicing the kora, to the point that his mother worried that he was not concentrating enough on school. When she took it away, it only reduced his interest in studying, and he quickly resorted to making his own kora so he could continue. Before long, Mamadou left school and began playing kora for local jeli singers, and traveling throughout the region to play at the ceremonies where modern jelis ply their trade, mostly weddings and baptisms. When he was fifteen, Mamadou won first prize for his kora playing in a regional competition and instantly became something of a local celebrity. The next year, he went to Bamako, and under the tutelage of his famous kora playing cousin, Toumani Diabate, he worked the jeli circuit, backing singers at neighborhood weddings and baptisms and entertaining the powerful at the city's posh Amitié Hotel. Toumani gave his cousin the nickname "Djelika Djan" meaning "Tall Griot," a reference to Mamadou's impressive physical stature. The name has stuck. In 1996, a touring group from the Instrumental Ensemble of Mali offered Mamadou the chance to travel to the United States with a group of Manding musicians and cultural authorities. Following a successful tour, Mamadou decided to continue his work in the United States and, since then, he's made his home in and around New York. Mamadou gets frequent invitations to perform with visiting Malian stars including Ami Koita, Tata Bambo Kouyate, Kandia Kouyate, and Babani Koné. He has performed at the United Nations, Lincoln Center, the Metropolitan Museum, and at the Smithsonian Institute in Washington. In addition, he's delved into uncharted waters, jamming with all manner of expert musicians, including jazz luminaries Donald Byrd and Randy Weston, Zimbabwean legend Thomas Mapfumo, and blues masters Eric Bibb and Guy Davis. Mamadou's recording credits have expanded as he has laid tracks with artists ranging from Irish soloist Susan McKeown, jazz bassist Ben Allison, and Benin's celebrated Angélique Kidjo. Mamadou teaching kora to his son, Djelimory Mamadou says that his father advised him to listen to all the best kora players and to learn from each one. The kora itself came to Mali from Gabu, the region centered between Gambia, Senegal, and Guinea Bissau, and the Malian kora tradition has always put a premium on holding onto the old ways while constantly innovating and developing the art. ................................................ The winners for the Second Annual Folk Alliance Music and Business Awards are: SONG OF THE YEAR - "Seems So Real", Chris Smither TRADITIONAL RELEASE OF THE YEAR - Bruce Springsteen, “We Shall Overcome-The Seeger Sessions” CONTEMPORARY RELEASE OF THE YEAR - Wailin' Jennys, “Firecracker” TRADITIONAL ARTIST OF THE YEAR - Odetta CONTEMPORARY ARTIST OF THE YEAR - Chris Smither EMERGING ARTIST OF THE YEAR - Crooked Still WORLD MUSIC ARTIST OF THE YEAR - Mamadou Diabate Mamadou Diabate - Heritage 2006 | 192 kbps mp3 | 89,40 MB | Kora music | Mali Tracklist: 1. Sara 5:10 2. Joukouya 5:24 3. Foulaya 6:14 4. African Orphans 5:26 5. Salimou 4:55 6. Fali 3:54 7. Djiribah 5:25 8. Behni Diayemoko 4:23 9. Gansana 4:23 10. Sandra 4:22 11. Segou Blues 4:21 12. Yaribassa Download

Al Tall & Muluk el-Hwa - Xarq Al-Andalus

Posted By MiOd On Thursday, December 20, 2007 3 comments
Muluk el-Hwa(The Demon of Love) was formed in the 1980s by brothers Elaadili and Ben Bich Abderrahim. A Marrakesh-based outfit, they are essentially Berber in composition and derive their rhythmic patterns from the Gnawa order of the Sufis. Unlike many Chaabi bands, Muluk el-Hwa play only traditional acoustic instruments. The group has collaborated with the Spanish band Al Tall and together they have released Xaeq Al-Andalos, a collection of music from Valencia and Arabic poetry. ~ Leon Jackson, All Music Guide

In this little-heard but arguably classic recording in the field of cross-genre fusion, Al Tall, the Catalan flamenco outfit, combines with Muluk el-Hwa, a Moroccan Gnawa ensemble. Despite the many similarities in rhythm and aesthetics, as well as geographical and historical distance, the two genres perhaps wouldn't be expected to work so well together. Nonetheless, the two forms fuse almost seamlessly here. Flamenco's palmas (handclapping) meet Gnawa's qaraqeb (metal castanets) for a versatile, organic rhythmic structure. Similarly, the guitarra flamenco and the ginbri fuse together well, with the ginbri generally providing a bassline for the guitar. Vocals are dominated by cante flamenco here, which is perhaps something of a letdown given the power of Gnawa ritual chant. Still, a fine album all around, and worth hearing for fans of either genre represented or for those seeking something completely different.

[01]. Absencia -La jove negra
[02]. Viage de les mans
[03]. Les pigues
[04]. Nostalgia
[05]. Epistola a un amic
[06]. La tirania-el carrec capgira les virtuts
[07]. El jardi
[08]. El vailet nadador
[09]. La riuada-inundacio d'Alzira
[10]. Elegia

WAV 1411 kbps(EAC Rip): 410 MB | MP3 - 320 kbs: 100 MB | Covers

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3

OR MP3 320 kbps

Chen Yue - Chinese Euphony

Posted By MiOd On Thursday, December 20, 2007 2 comments

Chen Yue was born April the 9th 1978, in Hangzhou, Zhejiang Province. She began her playing the traditional Chinese bamboo flute (dizi) as a child, receiving her earliest instruction from her father. By the age of 12 she was already a well-known local performer and was sent to study privately with the master teacher, Zhao Songting. In 1993 she entered the Middle School of the China Conservatory of Music, where she was admitted as an undergraduate in 1996. The next year she was invited by China Central Television to participate in the national celebration of Hong Kong’s retrocession to China. In 2000 Chen graduated from the China Conservatory of Music and was the first woman to receive a Master’s degree in traditional Chinese flute performance. While at the China Conservatory, she studied with such modern flute masters as Zhang Weiliang and Jiang Guoji. Following graduation Chen began teaching flute at the China Conservatory.

In addition to her teaching, Chen Yue is much in-demand as a musician, performing several times on the Annual Spring Festival broadcast - arguably, the most watched television broadcast in the world. She was guest artist at the Special Olympics theme show of the Beijing Culture Festival in Moscow in 2001, a featured performer at the 2003 “Year of China” in France and was selected as one of the official musical representatives of China for the Beijing Week of the Chinese Culture Festival in Washington D.C. in 2005. That same year, Chen began her long-standing collaboration with pianist Richard Clayderman, touring with him all over the world. In May 2006, she joined the China National Symphony Orchestra on their US tour and in 2007 was one of the featured performers at one of the music industry’s largest international trade shows, the MIDEM exposition in Cannes, France. Later in 2007 she was invited to Denmark where she had the opportunity to meet the Danish Royal Family and performed a series of successful concerts with guitarist Lars Hannibal and Michala Petri as part of the “East Meets West” project.

Chen is currently a member of the Traditional Wind Instruments Institute of the China Musicians Association, China Traditional Wind and String Music Institute and is vice-secretary of Chinese Flute Majors’ Institute and has published several scholarly articles on the history of the Dizi. She has concertized throughout Asia, the Pacific Rim, Europe and America and has been a soloist with the China National Symphony Orchestra, the Sydney Symphony Orchestra, the China Central Folk Orchestra, the Guangzhou Symphony Orchestra, the Tokyo City Symphony Orchestra, the Macau Orchestra and the Greek National Symphony Orchestra. She has released many albums, popular both within China and internationally, including “Bamboo Love”, “Song without Lyrics”, “Color of Flute”, “Red •Piano Impromptu”, “Spirits – East Meets West” and “China Joy”.

1. Loulan Archaian Way
2. Come Back Ordos In Dream
3. Yao Dance
4. Myth Of Yarlung Tsangpo
5. Watch Moon
6. Fishing At Evening
7. Spin Grass
8. Leave

| MP3 VBR kbps | Front Cover | 60 MB | December, 2007 |



Posted By White Rose On Tuesday, December 18, 2007 6 comments

CD1: Cafe Arabia 1. Anthology Of Chillout Classics

[01]. Habbeytak Fairuz
[02]. El Hawa Hawaya Abdel Halim Hafez
[03]. Walla Zaman Warda
[04]. Hallet Ya Rabee Mohammed Abdel Wahab
[05]. Khodni Ma'ak Shadia
[06]. El Ward Gameil Sayed Makawi
[07]. Rah El Hawa Layla Murad
[08]. Asmar Aabar Mohammed Abdo
[09]. Mahla Eishat El Fallah Najat

CD2: Cafe Arabia 2. Anthology Of Chillout Classics

[01]. Alachan Malich Gheirak Farid El Atrache
[02]. Dak El Hawa Fairuz
[03]. Al Toba Abdel Halim Hafez
[04]. Tab Wana Maly Warda
[05]. Intizari Taal Talal El Maddah
[06]. Etmakhtary Ya Kheil Layla Mourad
[07]. Weili Laou Yedroun Wadih El Safi
[08]. Balash Tebosny Mohamed Abdel Wahab
[09]. Ya Msafer Wahdak Najat
[10]. Habibi Yess'ed Aw'atoh Sayed Makkawi

CD3: Cafe Arabia 3. Anthology Of Chillout Classics

[01]. Magadir Warda
[02]. Echtaktellak Farid El Atrache
[03]. Ya Dala Dallaa Sabah
[04]. Allah Yijazi Talal El Maddah
[05]. Chahreyn Ou Chouayya Fayza Ahmed
[06]. Mafeesh Foulous Nasri Shams Eldine
[07]. Ghannili Chouaya Issam Raggi
[08]. Ya Hala Bildayf Samira Tawfic
[09]. Hamdilla Al Salanna Nagat
[10]. Idi Ala Khadi Wadih El Safi 11. Kan Ya Makan Fairuz

APE (EAC Rip): 1050 MB | MP3 - 320 kbs: 480 MB | Covers

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6

OR MP3 320 kbps
Part 1 | Part 2 | Part 3

Juilliard String Quartet - J.S. Bach, Die Kunst der Fuge

Posted By MiOd On Tuesday, December 18, 2007 0 comments
Credits to AmbroseBierce (Ripper & Uploader) Juilliard String Quartet J.S. Bach - Die Kunst der Fuge Sony S2K 45937, 1992
The opening of the cycle in the famous Juilliard Quartet's interpretation is perhaps one of the most beautiful Cp.1 ever recorded. Each single note - and even the fermata before the coda - is filled with so much solemn warmth and respectful tenderness that it can make your heart melt away. There are more examples of astounding beauty, and these are also astoundingly slow: for example Canon alla Decima (6:18!) and Canon per Augmentationem (7:17!). Also, Cp.10 has rarely been heard as slow as here. Slowness, of course, would be no sufficient conception for performing the whole work (an exception has been developed by the pianist Anton Batagov), and musical tenderness might be unbearable for the length of ninety minutes. The quartet, prized and honoured for their Beethoven and many 20th century music recordings, shows an amazing variety of expressions, and in their confrontation with Bach's "non-emotional" score some of their courageous approaches work well, some less. Cp.2, for example, gains a lot from the quartet's skill of subtle dynamic and tempo changes. But why should Cp.6, originally "in stylo francese", sound like a movement from Bartók's middle string quartets? Sure: why not? But in this context here it appears simply unfriendly and rough. Once again we get to the question if DKdF has to be played completely in one breath. And once more we are glad about the answer that is given as the CD medium: we can combine our own program and change, repeat, stop or continue it whenever we want. For this purpose, the Juilliard's version offers material on finest artistic level. One of the recording's most appealing qualities is its deep wooden tone, darker than other string quartets. Especially for the use in this project they had built a new instrument, a viola with an enlarged deeper scale, and maybe this is the reason for the impression of a fireside soirée in a private library with old books, brown leather and a carved ceiling. Good booklet in English/German/French. Recommendation: Not as a whole, but certainly worth for most of the movements. No flash appealing to be expected - take your time to listen to it later, and even years later... - Thomas Radleff
TRACK LISTINGS CD 1 01. Contrapunctus I 02. Contrapunctus 2 03. Contrapunctus 3 04. Contrapunctus 4 05. Contrapunctus 5 06. Contrapunctus 6. a 4, im Stile francese 07. Contrapunctus 7, a 4, per Augmentationem et Diminutionem 08. Contrapunctus 8, a 3 09. Contrapunctus 9, a 4, alla Duodecima 10. Contrapunctus 10, a 4, alla Decima 11. Contrapunctus 11, a 4 CD 2 01. Canon alla Ottava 02. Canon alla Decima in Contrapuncto alla Terza 03. Canon--Duodecima in Contrapuncto alla Quinta 04. Canon per Augmentationem in contrario motu 05. Contrapunctus 13, a 3 06. Inversus a 3 07. Contrapunctus 12, a 4 08. Inversus a 4 09. Contrapunctus 14 10. Choral: 'Vor deinen Thron tret' ich hiermit' 320 kbps mp3, including full booklet scans Download Part 1 Download Part 2 Download Part 3

NBCM Leipzig - Johann Sebastian Bach, Die Kunst der Fuge

Posted By MiOd On Tuesday, December 18, 2007 0 comments
Credits to AmbroseBierce (Ripper & Uploader) Neues Bachisches Collegium Musicum (cond. Max Pommer) Johann Sebastian Bach - Die Kunst der Fuge Capriccio 10026/1-2, 1984 TRACK LISTINGS CD 1 01. Contrapunctus 1 - Thema in gerader Bewegung 02. Contrapunctus 2 - Thema in gerader Bewegung 03. Contrapunctus 3 - Thema in Gegenbewegung 04. Contrapunctus 4 - Thema in Gegenbewegung 05. Canon alla Ottava - Kanon im Oktavabstand 06. Contrapunctus 5 - Thema in umgekehrter und gerader Bewegung 07. Contrapunctus 6 in Stile francese - Thema in umgekehrter und gerader Bewegung 08. Contrapuncuts 7 per Augmentationem et Dimintionem - Thema in Vergrößerung und Verkleinerung 09. Canon per augmentationem in Contrario Motu - Kanon in vergrößerter Gegenbewegung CD 2 01. Contrapunctus 8 - dreithemige Fuge 02. Contrapunctus 9 alla Duodecima - zweithemige Fuge, Austausch der Stimmen in der Duodezime 03. Contrapunctus 10 alla Decima - zweithemige Fuge mit Vertausch der Stimmen in der Dezime 04. Contrapunctus 11 - dreithemige Fuge zu 4 Stimmen 05. Canon alla Decima, Contrapunto alla Terza - Kanon im Abstand einer Dezime und Austausch der Stimmen 06. Contrapunctus 12 - vierstimmige Fuge, in allen Stimmen umgekehrt 07. Contrapunctus 13 - dreistimmige Fuge, in allen Stimmen umgkehrt 08. Contrapunctus 13 "Alio modo" - in Bachs Bearbeitung für 2 Cembali 09. Canon alla Duodecima in Contrapunto alla Quinta - Kanon im Abstand einer Duodezime und Austausch der 10. Fuga a tre soggetti - dreithemige Fuge, unvollendet 320 kbps mp3, including full booklet scans Download Part 1 Download Part 2 Download Part 3

James Last - The Best Of Christmas

Posted By MiOd On Monday, December 17, 2007 3 comments
| MP3 160 kbps | All Covers | 80 MB | TRACK LISTINGS 01. Nissernes Vagtparade 02. Glade Jul, Dejlige Jul 03. Santa Lucia 04. Ave Maria 05. Schlittenfahrt Zum Weihnachtsmarkt 06. Largo 07. Kling, Glöckchen Klingelingeling 08. Vinter 09. White Christmas 10. Ave Verum Corpus 11. Fröhliche weihnacht Überall 12. Happy Christmas 13. Am Weihnachtsbaume Die Lichte Brennen 14. Heidschi Bumbeidschi 15. Ave Maria No Morro 16. Schlittenfahrt Im Winterwald 17. Skuld Gammel Venskab Rejn Forga Download HERE

Best of Khaled

Posted By MiOd On Monday, December 17, 2007 2 comments
Khaled is the poster boy for the modern form of Algerian desert blues known as Raï. Certainly he's been its most successful modern exponent, the first to find success on the international stage. Born Khalidu Hajji Brahim in Oran, the traditional center of Raï, he was attracted to music from an early age, especially to Raï, which was seen at the time of the music of outcasts, drunks, and prostitutes, although he also loved James Brown and the Beatles. He taught himself to play guitar, bass, harmonica, and accordion, releasing his debut disc, "Trigh Lycee," when he was just 14. Leaving home, he began on the peripatetic life of the musician, performing frequently at clubs, parties, and weddings (the only places where Raï was seen as an "acceptable" form of entertainment). It was in the early '80s that Cheb (meaning "young") Khaled's fortunes changed, when he met up with producer Rachid Baba Ahmed, who was revolutionizing the Raï form by introducing Western electric instruments and studio techniques. Together, they changed the face of the music. Khaled was the right voice at the right time and the addition of drum machines, synthesizers, and guitars took the music to a new generation, even though much of it continued to be censored by the Algerian government, which considered the style subversive. A number of those early tracks can be found on Le Meilleur de Cheb Khaled on Blue Silver. By 1986, Khaled (who'd now dropped the Cheb) had been forced to move to Paris, as violence in Algeria claimed lives and he'd been threatened several times (producer Ahmed would, in fact, be murdered, as would several Raï performers). Arriving with a reputation, he attempted to take his music to a global level, although his real debut, Kutche, did him no favors with its jazz-rock arrangements. He fared much better with 1992's Khaled, with some tracks produced by Michael Brook and others by Don Was. It yielded his first big hit, "Didi," and helped consolidate his reputation as Raï's first superstar. That was firmly cemented the following year with the Was-produced N'ssi N'ssi, which mixed funk, rock, and an Egyptian orchestra behind Khaled's persuasive voice and winning smile for a major commercial breakthrough in France, winning a European, as well as North African, audience. In 1996, he hit again with Sahra, whose first single, "Aïcha," written for his daughter, gave Khaled a French number one hit. A mix of producers gave varying sounds, with French hip-hoppers Akhenton & Imhotep proving the hardest on the track "Oran Marseille" with its rapid-fire rap. There was even some reggae on "Mektoubi," which merged relatively seamlessly with the North African sound. While well-received critically, it sold little in the U.S. however, unlike France, where the album became Khaled's biggest success. Perhaps the moment that justified his title of King of Raï, however, came in 1999, when he headlined the 1-2-3 Soleils concert in Paris (which led to the album of the same name), over Rachid Taha and Faudel. It was the biggest Algerian show ever staged in France and left no doubt that Khaled remained Raï's hottest attraction. 2000 brought Kenza and a change of producer, as former prog rocker Steve Hillage helped bring a more organic feel to the proceedings. A smash in Europe, once again it did little business in the U.S. ~

01. Didi
02. Wahrane
03. Aicha (Version Mixte)
04. Abdel Kader feat Rachid Taya & Faudel
05. Ouelli El Darek
06. Oran Marseille feat Akhenaton & Shurik'n
07. Les Ailes
08. Sahra
09. Ne M'en Voulez Pas
10. N'Ssi N'Ssi
11. Ya-Rayi (Version Album)
12. H'Mama
13. Benthi feat Melissa
14. La Terre A Tremblé
15. Mon Premier Amour feat Lady Laistee


Brésil - Enaunené-Naué et Nhambiquara du Mato Grosso

Posted By MiOd On Monday, December 17, 2007 0 comments
Credits to AmbroseBierce (Ripper & Uploader) Brésil / Brazil - Enauené-Naué et Nhambiquara du Mato Grosso / Enauené-Naué and Nhambiquara from Mato Grosso VDE-Gallo VDE-875, 1995 TRACK LISTINGS Le rituel Younkwá des Enauené-Naué 01. Yaunkwá-ahé (L’appel du Yaunkwá) 02. Ambiance du Yaunkwá 03. Ronde 04. Ronde instrumentale 05. Ronde chantée 06. Doubles clarinettes d’eau hauladairi 07. Ronde instrumentale 08. Ronde chantée 09. Doubles clarinettes d’eau hauladairi 10. Dialogue d’altérateurs de voix 11. Le chemin du Yaunkwá 12. Ronde nocturne Musiques des Nhambiquara et des Myky 13. Flûtes rituelles kitaunhlú 14. Flûtes rituelles kitaunhlú, suite 15. Chant de guérison kitaunhlú 16. Flûtes nasales kitaunhlú 17. Fête de la fille pubère 18. Ronde chantée, fête de la fille pubère 19. Flûtes rituelles negaroté 20. Flûtes rituelles negaroté, suite 21. Chant de guérison mamaindé 22. Chant de guérison mamaindé 23. Chant collectif mamaindé 24. Flûtes rituelles katitaurú 25. Flûtes rituelles katitaurú 26. Flûtes rituelles myky Records: Luis Fernandez. The Enauené-Naué the north of the state of Mato Grosso (more or less 250 people) always have a ceremonial activity that lasts the entire year and is Linked to crops, fishing activities. It's an opportunity to play different flutes, Altérateurs voice and clarinets. The Nhambiquara, the central plateau of Pareci and the Valley Guaporé (less than one thousand people), have also kept rituals which Associated flutes that are sacred to the voices of spirits, instruments taboo that women Can not see or touch. 320 kbps mp3, including full booklet scans Download Part One Download Part Two

Kazakhstan - Musique d'Almati

Posted By MiOd On Monday, December 17, 2007 0 comments
Credits to AmbroseBierce (Ripper & Uploader) Kazakhstan - Musique d'Almati / Music from Almati VDE-Gallo VDE-910, 1996
Kazakh popular and folk music; instrumental works for the qilqobiz, dombra, or the qobiz; vocal works for voice with dombra accompaniment. Almati (meaning "Apple-Father") is the former capital city of Kazakhstan. Today the capital of Kazakhstan is Astana, farther to the north.
TRACK LISTINGS 01. Batir Bayan, scène épique 02. Aqindarga 03. Siniraw, küy 04. Ayrawiqtin assi, küyi 05. Cycle de küy en trois parties 06. Qonir qaz (L'oie sauvage) 07. Erden 08. Tolgaw 09. Än tuwrali (À propos du chant) 10. Tälim (Conseil) 11. Terme (Aqtan Kereyuli) 12. Oy, Ardaq, än 13. Amirkhan, än 14. Zäwres (Mukhiyt) 15. Balzan qiz, küy (Qazangap) 16. Aqquw (Le cygne), küy (Iqilas) 17. Türe Murat, küy (Qurmangazi) 18. Qosbasar, küy 19. Munliq-Zarliq 20. Kökil, zoqtaw (Qazangap) 21. Zaylaw (Pâturage d'été), küy (Khamziyn) 320 kbps mp3, including full booklet scans Download Part One Download Part Two

Viet-Nam - Musique et chants des Hmong

Posted By MiOd On Monday, December 17, 2007 2 comments
Credits to AmbroseBierce (Ripper & Uploader) Viêt-Nam - Musique et chants des Hmong / Music and Singing of the Hmong VDE-Gallo Peoples PEO CD-915, 1997 TRACK LISTINGS 01. Khèn, évocation de la vie champêtre 02. Khèn, évocation joyeuse 03. Chant de funérailles 04. Khèn, musique de funérailles 05. Chant d’amour 06. Chant de confidences 07. Luth, musique de cour d’amour 08. Flûte, musique de cour d’amour 09. Chant d’amour 10. Guimbarde, musique de cour d’amour 11. Chant "à la feuille" 12. Berceuse 13. Chant de confidences 14. Chant, drame conjugal 320 kbps mp3, including full booklet scans Download Part One Download Part Two

Elena Ledda & Suonofficina - Sonos

Posted By MiOd On Sunday, December 16, 2007 2 comments
Credits to AmbroseBierce (Ripper & Uploader) Elena Ledda & Suonofficina Sonos Biber Records 66391, 1989
Elena Ledda (Selargius, 1959) is a Sardinian singer. Born near Cagliari, she pursued conservatory studies in oboe and voice. Ledda has a dramatic soprano voice suitable for opera, which she originally performed as an artist, but was attracted by the folk singing of her native Sardinia and has chosen a career primarily in that genre of music. She worked with the Cooperativa Teatro di Sardegna in the late 1970s. She has toured and recorded widely at the international level. She was chosen by Sardinia's top movie director, Gianfranco Cabiddu, to be the leading voice for his renowned live music/cinematic mix project, Sonos de Memoria, featuring old film footage of Sardinia from the 1930s and today's leading musicians from the island playing over the film. Sonos has toured the world, with other well known Sardinian musicians, such as Paolo Fresu. A more recent development in 2006 was a new project called "Visioni di Sardegna", written and produced by Elena Ledda's long time collaborator Mauro Palmas, who had old films of Sardinia from the Luce Institute restored and assembled 18 musicians under the direction of RAI TV director, Rodolfo Roberti. Special guest, renowned Greek singer Savina Yannatou, was invited to feature in the project to give it its unique pan-Mediterranean flavour. The project is ongoing in 2007. The collaboration with Savina Yannatou, resulted in a series of ten concerts being given at the Half Note club in Athens at the end of March 2006. It met with fabulous critical acclaim and TV interest in Greece. This resulted in a CD being recorded ("Tutti Baci", Lyra 1095) by both of them and featuring Mauro Palmas and Primavera en Salonico. Among her collaborations, feature the likes of Lester Bowie, Israeli singer Noa, Maria Del Mar Bonet (mallorca), Paolo Fresu, her long time personal friend as well as Andreas Vollenweider, Don Cherry, and Nana Vasconcelos. In 2005 Elena collaborated with Neapolitan violinist, Lino Cannavacciuolo (Peppe Barra's violinist and original founder of the Solis String Quartet who are now Noa's band of choice) to produce her latest CD "Amargura". A perfect marriage of Sardinian and Neapolitan sounds and rhythms. The BBC's Andy Kershaw said of Elena "I planned a trip south to make a programme about Sardinian music, almost solely on the evidence of a CD I was given of Elena's voice. We went to Sardinia and I was blown away. Elena and her band make traditional music from Sardinia using all the mainstream instruments, with hardly any 'traditional sardinian' instruments in sight, yet it sounds so traditional and so not-mainstream. They have achieved a truly unique and refreshing sound. Clearly rooted to sardinian tradition, yet so modern." The programme, featuring many sardinian artists can be heard on (fast foward to the 20th minute of part 2 to hear Elena's interview). Her latest recordings due out in 2007 were done with other sardinian legend, Andrea Parodi who died from cancer in October 2006, before completing the recordings. Elena was asked to sing at Parodi's funeral as they were friends, and both regularly featured in each other's recordings. Effectively, Elena Ledda's 2007 release will be a collaboration which was almost completed in the studio, though sadly Parodi never made it to the end.
TRACK LISTINGS 01. Cantende S'Amore 02. Beranu 03. Mi e la 04. Su dillu 05. S'abba de su nie 06. Sett' ispadas 07. Anninnia 08. Versus 09. Di la me''ita 10. Iandimironnai Elena Ledda - vocals Mauro Palmas - mandola, guitar Marcello Ledda -guitar Alberto Balia - guitar Elvio Melas - bass Alberto Pisu - drums Sandro Satta - sax Sandro Marras - percussion Riccardo Lay - bass Pietro Sala - percussion Eugenio Lugliè - flute, bottles Sandro Marras - percussion Special Guest: Riccardo Tesi - melodeon 320 kbps mp3, including full booklet scans Download Part One Download Part Two

Los Malaguenos - Flamenco

Posted By MiOd On Sunday, December 16, 2007 1 comments
Credits to AmbroseBierce (Ripper & Uploader) Los Malaguenos Flamenco harmonia mundi HMA 195965, 1971 (2000) TRACK LISTINGS 01. Bulerias à deux guitares 02. Desafio fandango 03. Taranta 04. Garrotin à deux guitares 05. Serrana 06. Tienots à deux guitares 07. Soleare Encana à deux guitares 08. Carcellero à deux guitares 09. Granaina 10. Farruca à deux guitares 11. Rumba flamenca "Ni se pega, ni se rine" 12. Siguiriya "Ole, las dos guitarras!" 13. Allegrias El Malagueno - guitar Marino Cano - second guitar Nena Cano - vocals Conchita Cano - vocals 320 kbps mp3, including cover scans - no booklet, sorry! Download Part One Download Part Two

Anne Svanaug Haugan - Scordatura. Slatter fra Tinn

Posted By MiOd On Sunday, December 16, 2007 3 comments
Credits to AmbroseBierce (Ripper & Uploader) Anne Svånaug Haugan Scordatura. Slåtter fra Tinn Etnisk Musikklubb EM26, 2006 TRACK LISTINGS 01. Kivlemøyspringar 02. Trulovingsvals 03. Knut Dales Siste Slått, Springar 04. Trollhalling, Gangar 05. Signe Lita 06. Førnesbrunen, Lydarslått 07. Sonnev, Springar 08. Triløytingen 1, Gangar 09. Sundagsslåtten Til Halvor Flatland, Gangar 10. Springar Etter Knut Dale 11. Springar Etter Håvard Gibøen 12. Springar Etter Fykerud 13. Springar Etter Håvard Gibøen 14. Gunnars Vals På Nedstilt Bass 15. Klarinettvals Etter Thomas Lurås 16. Slåttestev Til Innmed Omnen 17. Innmed Omnen, Springar 18. Tore, Halling 19. Fiskheimen, Springar 20. Influensaen, Reinlender 21. Pilkefiskaren, Reinlender 22. Kivlemøyane, Springar 23. Kivlemøyane, Gangar 24. Triløytingen 2, Gangar 25. Springar e.P. Veum/Veumen, Springar m/Dans 26. Takkestev Anne Svånaug Haugan - Hardingfele Svein Westad - Langeleik, Munnharpe 320 kbps mp3, including full booklet scans Download Part One Download Part Two

Omar Souleyman - Highway to Hassake: Folk and Pop Sounds of Syria

Posted By MiOd On Sunday, December 16, 2007 2 comments
| MP3 VBR kbps | Incl. Covers | 100 MB | 2007 | Track Listings 01. Leh Jani [When I Found Out] 02. Jani [She Came to Me] 03. Dabke 2001 04. Atabat 05. Arabic Dabke 06. Alkhatiba Zaffouha [They're Celebrating My Fiancée's Wedding...] 07. Jalsat Atabat [Atabat Session] 08. Alshikhani 09. Toul al Zeenah [The Length of the Bride's Ornament] 10. Bashar Ya Habib al Shaab [Bashar, the People's Beloved] 11. Don't Wear Black, Green Suits You Better 12. Atabat, Pt. 2 13. Jani, Pt. 2 Download Part One Download Part Two

Pjotr Leschenko - 1934-1937. Everything That Was

Posted By MiOd On Saturday, December 15, 2007 1 comments
Credits to AmbroseBierce (Ripper & Uploader) Pjotr Leschenko 1934-1937. Everything That Was Oriente Musik RIEN CD 18, 1998 TRACK LISTINGS 01. Kapitan 02. Stakantschiki granjonye 03. Spoj nam weter 04. Studjentotschka 05. Dwa serdtsa 06. Tschastuchki pjereberuschki 07. Skashitje potschemu 08. Nje pokidaj 09. Starinyj wals 10. Wanja 11. Tumano na duschje 12. Petruschka 13. Schiroka strana moja rodnaja 14. Wanka milyj 15. Barselona 16. Kak choroscho 17. Katja Katja 18. Ej drug gitara 19. Wsje tschto bylo 20. Trintse brintse 21. Tpru ty dutyi 22. Kapitan spoj nam weter/Schiroka 320 kbps mp3, including full booklet scans Download Part One Download Part Two

Shivkumar Sharma & Rahul Sharma - Two Generations. Santoor Duet Live

Posted By MiOd On Saturday, December 15, 2007 3 comments
Credits to AmbroseBierce (Ripper & Uploader) Shivkumar Sharma & Rahul Sharma Two Generations - Santoor Duet Live Chhanda Dhara SNCD 71201, 2001 TRACK LISTINGS 1. Announcement 2. Raag Chandrakauns - Alaap, Jor & Jhala 3. Raag Chandrakauns - Gat (Rupaktal) & Gat (Teental) Shivkumar Sharma - Santoor Rahul Sharma - Santoor Shafaat Ahmed Khan - Tabla 320 kbps mp3, including full booklet scans Download Part One Download Part Two

Luigi Cinque & Tarantula Hypertext O'rchestra - Tangerine Café

Posted By MiOd On Saturday, December 15, 2007 1 comments
Credits to AmbroseBierce (Ripper & Uploader) Luigi Cinque & Tarantula Hypertext O'rchestra Tangerine Café Mediterraneo FHME 19, 2002
This music is a lot of things. It's difficult to say whether it's world music or jazz or Mediterranean groove. Whatever it is, there's not a bad track or misstep on this CD. At times the music sounds like mid-70s Miles, at others like Gabriele Mirabassi's beautiful "Latkia Blend" CD, and at yet other times like some of the most evocative Mediterranean cafe music. It expresses Middle Eastern and North African landscapes, then shifts into almost straight ahead jazz. With more than ten musicians of diverse talants, "Tangerine Cafe" continually unfolds new surprises and stands up to many repeated spins on the player.
TRACK LISTINGS 1. Garritm/Core amante 2. Tangerine Cafe 3. Niente Senza 'e te 4. Radiobaladid 5. Coro meccanico 6. Garritm/Songlines 7. Tangerine Cafe - instrumental 8. Garritm/Danza 9. Ararat Luigi Cinque - vocals, soprano sax, keyboards, electronics, sax clarinet, clarinet, tammorra, harmonium Raiz - vocals Paolo Fresu - trumpet Danilo Rea - piano Gianluca Ruggeri - marimba, percussion Enzo Pietropaoli - double bass, electric bass Bnet Houaryat - background vocals Jivan Gasparyan - duduk Badara Seck - vocals Luca Sanzò - viola Sonia Romano - cello Carlo Mariani - launeddas Orazio Corsaro - bagpipes Adembi El Gadari - guimbri, vocals Abdellatif Oughassal - karakeb, vocals Ali Shaigan - santur, kamachek Abdou Abdemarran - vocals Gnawa Sidi Mimoum - rhythmic chorus Giaomo De Caterini - electronics, guitar Fulvio Maras - percussion Emil Zrihan - vocals Mangla Tiwari - vocals Michele Cinque - didgeridoo Francesco Peverini - violin Prosca Amori - violin Evelina Meghnagi - vocals MRF String Quartet MRF Chorus 320 kbps mp3, including full booklet scans Download Part One Download Part Two

Philip Glass: Theater Music Vol. 1

Posted By MiOd On Friday, December 14, 2007 3 comments
Except for his string quartets, Philip Glass' chamber music for non-electronic instruments is rarely performed, so it's a pleasure to have two substantial examples of his music for chamber ensembles on this Orange Mountain release. The first volume of Glass' Theater Music includes incidental music he wrote for David Henry Hwang's The Sound of a Voice, produced by the American Repertory Theatre, Cambridge, in 2003, and for Paul Bowles' 1953 play In the Summer House, produced by the Lincoln Center Theater in 1993, directed by JoAnne Akalatis. The earlier work has the hallmarks of a traditional Glass score -- a tonal language, repeated patterns, and rhythmic regularity. The music for the Hwang play is not immediately recognizable as a piece by Glass, but some sections use characteristic patterns. Written for the very attractive ensemble of pipa, flute, violin, cello, and percussion, its more complex harmonic language and structural and contrapuntal variety mark a departure from the sound for which the composer is best known, and make it a more conventionally expressive score. The novelty of the small instrumental ensembles makes it easy to hear Glass' music in a fresh way. The instrumental ensembles play with warm tone and sensitivity to the scores' subtleties. The sound is clear and intimate. ~ Stephen Eddins, All Music Guide
From the Philip Glass Recording Archive Vol. 1 represents the first release by Orange Mountain Music from the extensive archive of recordings made in the last 40 years of Philip Glass' recording career. Theater Music Vol. 1 features two ravishingly beautiful works from the world of theater: the instrumental suite from Glass' 2003 chamber opera is highlighted by eastern and western instrumentation in one of Glass' most original scores. In the Summer House is music composed for the revival of the 1953 Bowles play. Both these scres bring a rare chance to hear one of the most important theater composers of our time in unknown scores.
| MP3 VBR kbps | Incl. Covers | 70 MB | 2007 | TRACK LISTINGS 01.The Sound of a Voice - Suite 02.In The Summer House 03."My one and only hope..." 04.Gertrude's Paradise 05.Mr. Solares' Picnic Lunch 06."Molly is a dreamer." 07.Enter Vivian 08.The Beach/Lionel and Molly 09.Vivian's Death/Two Marriages 10."Life is tragic, Mrs. Constable." 11.Gertrude leaves the Summer House 12.Left alone... 13.The Lobster Bowl 14.Back to Sad Things 15.Gertrude Returns 16."I knew you'd come back." 17.A Choice 18.Lionel Departs 19."When I was a little girl..." Download HERE

Esma Redzepova - Mon histoire. My Story

Posted By MiOd On Friday, December 14, 2007 4 comments
Credits to AmbroseBierce (Ripper & Uploader) Esma Redzepova & Ansambl Teodosievski Mon histoire / My Story Accords Croises AC 119, 2007
Esma, a Gipsy from the city of Skopje, as she calls herself, raised by the late Stevo Teodosievski, revolving the world and broadening the acquaintance of Macedonia and Skopje, last year celebrated 40 years undeniably prolific work. According her achieved acknowledges and successes, she is, indeed the most successful performer of all times. Further more, going deeper into her intimate, private life we become aware that she is our second Mother Teresa. Namely, Esma not having the luck of being a natural mother, she brought up 5 children in her own house, and other 47 are proud the say that Esma is their mother and father. Nowadays, each year, giving concerts around the world, which have never been noticeable in our media; in complete anonymity she raises money for her armaments, educating them, above all providing them blissful and normal life. Never have knocked on state institutional doors, years from now, Esma, lives and works like a benevolent institution being for much replacement for the society. Even her monograph and her web page are sponsored by her own means and again it is not for sale but only given away as a present. Esma lives in democracy, accepting the trade market even in the culture and being a great worker and quality, nothing ever is unconquerable. It is beyond doubts, that she is completely civil and intellectually orientated person, suffering a great soreness in her soul not only because of her husband’s earlier departure from this world but also because living in a society that has a huge trouble understanding magnanimities like her and finding a way to reimburse at least with a crumb of love. Perhaps it is understandable why Esma held her hands upon Vasil Tupurkovski when he stated, “We are all Macedonia”!, finding a bit of hope that after all something is going to be changed. Author: Darko Markovic
TRACK LISTINGS 01. Zaidi, Zaidi [Set, Bright Sun] 02. Sao Roma [All the Roma] [Instrumental] 03. Soske devla [My God, What a Lif] 04. Mon histoire [My Story] 05. Hajiri ma te dike [Damn You, Mother!] [Archive] 06. Leno [A Dark Skin Girl] 07. Esma chochek [Esma Sings, The Roms Dance] 08. Strechko Chochek [Dance of the Tinsmiths] [Instrumental] 09. Dzelem, Dzelem [Gypsy Anthem] 10. Hommage à Esma [Tribute to Esma] [Instrumental] 11. Odzacar [the Chimney Sweeper] 12. Zoshto si me majko rodila [Why Did You Give Birth to Me?] 13. Hajri ma te dike [Damn You Mother] 14. Aman Aman 15. Duri Pe [Abroad] 16. Delchevsko Oro [Macedonian dance][Instrumental] 17. Lioubovna (Love) 18. Meda sijum ternori [I'm Very Young] 19. Bashal [The Wedding] 20. Romano Khoro [Gypsy Traditional Dance] [Let's Dance] Esma Redzepova - vocals Simeon Atanasov - accordion Zahir Ramadanov - clarinet Macev Bilhan - trumpet Antonijo Zekirovski - percussion Gildas Boclé - double bass Titi Robin - guitar, bouzouq 320 kbps mp3, including full booklet scans Download Part One Download Part Two

Liu Fang - Le Son de Soie

Posted By MiOd On Friday, December 14, 2007 4 comments
Liu Fang Le Son de Soie, 2006
"Silk Sound" is a collaboration between master pipa artist, Liu Fang, and three other cultural artists, who are first class musicians of their own traditional instruments. There's Alla from Algeria, Henri Tournier from the west, and Ballake Sissoko from Africa. The oud and kora, like the pipa, are stringed instruments, and are played by Alla and Sissoko respectively; while the unique bansuri flute is played by Tournier. The fifth instrument in this set is the guzheng, played wonderfully by Liu Fang (yes, she is also highly gifted with the guzheng, although her darling is definitely the pipa). The tone set by this collaboration reminds me of what Yo-Yo Ma does with The Silk Road Ensemble, but I truly do appreciate the music of this album more, it is definitely to my liking, less congested, more focused and intimate. This is without a doubt due to the simple arrangements -- by simple, I don't mean rudimentary, but that the performances are either solos (with Liu Fang on the pipa or guzheng) or duets. The playing is impeccable! The solo performances are of reference quality; and there is great chemistry in the duets, as the artists really do respect each other -- you could really hear it in the playing, as no single individual shouts out, and the harmonies blend like sunlight on water ripples. I have one big curiosity that puzzles me: track 7 is listed as the "Kanding love-song", but it is track 4 "Primary meeting", which carries this love-song's exquisite melody. The CD literature mentions that track 7 is an improvisation of the love-song. I know that improvisations are supposed to be spontaneous and natural, but there is very little resemblance to the love-song. Especially when in fact, track 4 is the "Kanding love-song", not "Primary meeting". There is enough additional playing in track 4 to also pass for an improvisation. Plus, the track 2 duet "Jasmine flower", is written as pipa with bansuri flute -- unless my ears have failed me, it sounds like guzheng and bansuri flute. I couldn't help but think that someone may have botched up the track listings and descriptions. The "Kanding love-song" is one of my favourite Chinese traditional melodies, and also happens to be a song that I learned how to sing in heritage class when I was 10. This piece is one of the reasons I bought this CD. Well, my gripe is over. The recording is first rate: crystal clear and detailed, with fine separation between instruments. However, it is the cohesiveness of the song selections and arrangements, in addition to the top-notch performances, that really makes this album so delightful. If you want to create a mood and atmosphere that takes you to a place, even for a moment in time, away from life's daily routines, then this music will transcend you to such a place.

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

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

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

320 kbps including full scans