Hallvard T. Bjorgum & Co. - Free Field

Posted By MiOd On Friday, February 29, 2008 0 comments
Credits to AmbroseBierce
T. Bjørgum Free Field Sylvartun Folkemusikk SYLVCD9, 2003
TRACK LISTINGS 01. Free Field 02. Nils 03. Rag 04. Morning walk 05. Hjuringen 06. Stev 07. Olav 08. Reisaren 09. Rideboll 10. Tello/nor 11. Free field stev Hallvard T. Bjørgum – hardinger fiddle, violins, viola Garth Hudson – saxophone, synthesizer, accordion Blondie Chaplin – vocals, guitar, drums, percussion Kirsten Bråten Berg - vocals Jonas Fjeld – vocals, guitar Eric Anderson - vocals Paolo Vinaccia - percussion Bjørgulv Straume - jew's harp Daniel Sanden Varg - bowed harp William Olson - flute Elshan Mansurov – kamancha
2003 release from Norwegian traditional folk music artist/ Hardanger fiddle player Bjørgum. Among the many guests on the album are Garth Hudson and Band-related artists like Blondie Chaplin (Beach Boys, Rolling Stones, toured with Rick Danko in the '70s and '80s and joined The Band for a while after Richard Manuel's death in 1986), Eric Andersen and Jonas Fjeld (who worked as a trio with Rick Danko in the '90s, releasing two wonderful CDs) and Kirsten Bråten Berg (singer on Danko/Fjeld/Andersen albums). Hallvard T. Bjørgum himself performed live with the D/F/A trio and played on both their '90s albums. When Garth, Jonas Fjeld and Eric Andersen toured Norway as Hudson/Fjeld/Andersen in May 2001, Bjørgum was part of the touring group. Free Field is an attempt to unite ancient folk music with rock. The opening track has Garth Hudson "meditating" over a traditional Norwegian "stev" theme played by Bjørgum (a "stev" is a special way of singing a story). Then there is an old-style dance number (a "gangar") sung by Blondie Chaplin and an absurd, but fascinating, track with a mixture of "slått" (traditional Hardanger fiddle dance music) and The Band's "Rag Mama Rag." They also throw in a Hank Williams number, a Jonas Fjeld song, an English translation of another "stev", sung by Eric Andersen, and finally some folk music from former Soviet republic Aserbajdsjan.
320 kbps mp3; including full booklet scans Download Part One Download Part Two

Nepal - Musique de fête chez les Newar

Posted By MiOd On Friday, February 29, 2008 0 comments
Credits to AmbroseBierce
Nepal - Musique de fête chez les Newar / Festival Music of the Newar VDE-Gallo VDE CD-553, 1989
TRACK LISTINGS 01. Haritala (Jyapu) 02. Mwe dyahlhaygu (Jyapu) 03. Dyahlhaygu (Kahabuja) 04. Sorath (Jogi) 05. Sinhajya (Gaine) 06. Silu (Jyapu) 07. Marsi-Malasri (Jyapu) 08. Narayana (Jogi) 09. Narayana (Jyapu) 10. Birahini (Jogi) 11. Buddha bhagavan mem (Jyapu) 12. Basanta (Gaine) 13. Basanta (Jyapu) 14. Bahali puja (Jyapu) - Procession - Solo de khim - Makham bahal 15. Mamla jatra (Jogi) 16. Ghatu (Gaine) 17. Ghatu (Jyapu) 320 kbps mp3; including full booklet scans Download Part One Download Part Two

Russie - Chants polyphoniques de mariage

Posted By MiOd On Thursday, February 28, 2008 1 comments
Credits to AmbroseBierce
Ensemble Pesen Zemli Russie / Russia - Chants polyphoniques de mariage / Polyphonic Wedding Songs VDE-Gallo VDE CD-837, 1995
TRACK LISTINGS 01. Zakulaka zjazjuljecka - Le coucou a hululé 02. A borkom borkom - Dans la forêt de pins 03. Sbory-sgovory - Réunion convenue 04. Bojarjen-bojarjen - Le boyard 05. Oi vy bojarje molodyje - Les jeunes boyards 06. Polja poljami - Dans les champs 07. Jolka ty jolka zjeljenjenkaja - Le sapin vert 08. Sizyh moih da dva golyba - Mes deux pigeons 09. Ty rodimaja matuska - Ma très chère mère 10. Kon bjezit, kolokol zvjenit - Le cheval galope, une cloche sonne 11. Na ogrybje-to kupavy - Les fées sur la colline 12. Na morje kalinuska stojala - Un obier au bord de l’eau 13. Vi golybi moi sizyje - Mes pigeons bleus 14. Polje mojo drjemlivoye - Mon champ paisible 15. Po ulice pojezd projezzajet - Des cavaliers sur la route 16. Svasenka nasa rannjaja - Notre jolie marieuse 17. Plavala utka po Donu - Une cane nageait sur le Don 18. Vo polje lipuska - Le tilleul dans le champ 19. Vot Manin batjuska - Le père de Marie 20. U Ivanuski bjeda strjaslas - Un malheur est arrivé à Ivan 320 kbps mp3; including full booklet scans

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Lalezar Ensemble - Music Of The Sultans, Sufis & Seraglio, Vol.IV Ottoman Suite

Posted By MiOd On Thursday, February 28, 2008 0 comments
Thanks to the unknown original uploader!
Lalezar Ensemble Music of the Sultans, Sufis & Seraglio, Vol.4
Ottoman Suite Traditional Crossroads, 2001


[01]. Segāh Pesrev
[02]. Kār-i Ses-Āvāz
[03]. Murabba Beste
[04]. Agir Semāi
[05]. Yürük Semāi
[06]. Segāh Saz Semāi
[07]. Karsilikli Taksimler
[08]. Isfahan Pesrev Bey
[09]. Ey Tīr-i Cefā Bey
[10]. Gönlümü Cānāne Verdim
[11]. Yine Bezm-i Cemene
[12]. Bir Katre Icin Bey
[13]. Ey Gaziler Yol Göründü
With roots dating back to the 16th century, Ottoman music is one of the world's oldest and most sacred art forms, and this ongoing series of recordings is a testament to its rich cultural legacy. All of the classical songs here were composed in the 18th and 19th centuries, and the Istanbul-based Lalezar -- who are spearheading the current Ottoman music revival -- deliver faithful renditions of an elaborate suite characteristic of Ottoman court performances of the period, with lyrical instrumental improvisations on a central modal theme. The package includes a 40-page booklet with extensive liner notes detailing the history of Ottoman music but, while almost overwhelmingly informative, the 13-track CD is unlikely to appeal to casual fans of the Middle Eastern sound. An intriguing recording for historians and ethnomusicologists, but others may find these ancient songs to be a bit too inaccessible for casual listening.
256 kbps mp3; sorry, no scans!

Part One
Part Two

Georgia - Crossroads

Posted By MiOd On Tuesday, February 26, 2008 1 comments
Georgia. Crossroads Air Mail Music, 2005

Georgia, to the south of the Caucasus mountain ranges, lies at the point where Europe and Asia meet. Although it belonged to the USSR for many years, Byzantine and Iranian cultural influences are strong in the country's music. This recording made in Georgia is devoted mainly to the male-voice choirs, for which the country is famed, and to superb flute pieces inspired by music from Turkey and the Balkans.

(01). Kolcheti - Rose In The Garden
(02). Salchino - Orovela
(03). Salchino - Alile
(04). Salchino - Mravalzhamner, Cheers
(05). Salchino - Zamtari
(06). Tbilisi Studio Orchestra - Georgia Folk Dance
(07). Orera - Adandali
(08). M. Macharadze & N. Bregvadze - Girl From Darkveti
(09). T. Kevkhishvili Vocal Group - Song Of The Forests
(10). Kolcheti - Song Of Love
(11). Salchino - Odona
(12). Kolcheti - Lyrical Song Beloved Girl
(13). Kolcheti - Mtkuluri
(14). Salchino - Chakrulo
(15). Kolcheti - Imeretin Jesting Song
(16). Kolcheti - Shephard's Song
(17). Salchino - Uruli
(18). Tbilisi Studio Orchestra - Dance Melody

320 kbps; including full cover scans


Corée - Korea

Posted By MiOd On Tuesday, February 26, 2008 0 comments
Corée - Korea Air Mail Music, 2003

Track Listings
(01). Hwa Cho Sa Go Ri (Flowers Story)
(02). Se Taryong (Birdsong)
(03). Hengbou Ga (The Younger Brother's Opera)
(04). Nolbou (The Older Brother)
(05). Hwa Gan Mu (The King's Dance)
(06). Jango Chum (The Drum's Dance)
(07). Sun Nyo Chum (The Angel's Dance)
(08). O'go Mu (The Five Drums' Dance)
(09). Bu Chae Chum (The Dance of the Fan)
(10). Sanko (Daegum Flute)

320 kbps; including Covers


Unesco Collection [2]. Afghanistan. Female Musicians in Herat

Posted By MiOd On Tuesday, February 26, 2008 0 comments
Unesco Collection [1]. Anthology of World Music: Iran

Afghanistan. Female Musicians of Herat Auvidis/UNESCO, 2002
Alt text

Once a major cultural centre of the Timurid Empire (15th century), the fascinating medieval city of Herat, in western Afghanistan, has for many centuries enjoyed a reputation for excellence in the arts. The albums "Traditional Music of Herat" and "Female Musicians of Herat" offer a variety of vocal and instrumental music from the Herat region with traditional instruments such as dutâr, chahârtâr, sornâr and dohol, dâira, nai chapâni and robâb. These recordings were made just before the start of the civil war, which disrupted the life of this ancient centre of Islamic culture. Recorded in 1973 - 1977 Text by John Baily

(01). Bibi Gol Afruz
(02). Galen dokhtar
(03). Girl’s music: Clapping and drumming * O bachen aughān * Ānār dāneh nadāre
(04). Chahārbeiti sābeqeh * Chahārbeiti Siāh Mu o Jalāli
(05). Lullaby
(06). Adam Khān
(07). Urban band dance music: Logari * Mustafā * Shishkebab
(08). Dāireh dance pieces
(09). Hawābeh jan Hawābeh * Ghu ghu balg-e chenār
(10). Alā zan-e biweh * Sar-e pul-e Mālān
(11). Asp-e khāseh zin konum
(12). Yār-e hamdam chere nemiyāyi?
(13). Tambaku * Arus gham nakhor
(14). Processional drumming
(15). Wedding ritual sequence: Olang olanng and Shelengi * Bādā bādā * Logari
(16). Bibi gol arus
(17). Shāh dokhtar shekar dokhtar
(18). Chahārbeiti
(19). Chahārbeiti barāye khodāhāfez
(20). Najibeh gom shode
(21). Leilā Leilā Leilā
(22). Sefid kheimeh siāh kheimeh khorāmān

320 kbps; including full booklet scans


Ismael Lo - Sénégal

Posted By MiOd On Tuesday, February 26, 2008 3 comments
Ismaėl Lo - Sénégal, 2006
Alt text
For every world music enthusiast who celebrates musical cross-pollination, there’s a naysayer bemoaning the risk that the mix will only produce a watered-down lowest common denominator. Of course the enthusiasts have lots of support for their position: Youssou N’Dour’s Egypt (Nonesuch, 2004) masterfully combined Senegalese mbalax and Arabic classical music, while Thione Seck’s Orientation (Stern’s Africa, 2005) added Indian music to N’Dour’s Senegalo-Egyptian mix with equally dazzling results. Sénégal, the first album of new material by Ismaël Lo in over five years, is at least in part one for the naysayers. Lo incorporates vaguely North African elements on “Incha Allah” and vaguely South African elements on “Tass Yakar”—appealing gestures, with high production values to boot, but more of a murky international pop stew than the aforementioned records by his compatriots N’Dour and Seck. Elsewhere—on “Le Jola,” which mourns the victims of the horrific 2002 Dakar-Casamance ferry accident that claimed more lives than the sinking of the Titanic, and on “Plus je fais ci, plus je fais ça”—Lo introduces a vague reggae shtick, but without conviction. Compare this to the genuine use of reggae elements by the London-based Afro-beat band Soothsayers on their excellent Tangled Roots (Red Earth, 2006) to get a sense of how powerful this mix might be. I allude to the examples of N’Dour, Seck and Soothsayers here precisely to illustrate that cross-pollination can yield excellent results. It’s nevertheless the case that the best numbers on this record are a handful of mid-tempo mbalax tunes (“Manko,” “Jiguen”)—that is, the songs that stick closest to the Senegalese elements that Lo presumably knows best. Lo was tagged as the “African Bob Dylan” early on, because he played the acoustic guitar and the harmonica, and because of the social content of his lyrics. Sénégal marks a further step away from that musical identity, although he does play a little guitar and harmonica on this record. “Ma fille,” a sentimental father’s lament upon his daughter’s marriage, borrows the acoustic guitar riff from Oasis’s 90s hit “Wonderwall,” and it's affecting. When Lo sings “mbindane du jaam”— your servant is not a slave—on “Mbindane,” the folky setting carries a sense of political conviction. Perhaps the surest sign of what this record means for Lo’s musical development is his remake of his long-ago smash hit, “Tajabone,” a reminiscence about a children’s game, apparently. The new version has the same guitar and harmonica arrangement as the original, but Lo’s voice is a little fuller. He’s also now accompanied by an autumnal string section that brings the whole affair rather close to the Rolling Stones’s “As Tears Go By.” Which is to say, a little maudlin. Lo’s insistence on singing in Wolof on all but two tracks—not even providing French or English translations in the liner notes—vigorously counters the sappy universalism of the musical treatments and is to be applauded.

Ismael Lo possess one of the finest voices in Senegal, but he uses it sparingly. His last album of new songs was released five years back, and the one before that appeared 12 years ago. So has this been worth the wait? Well, sort of. The man once dubbed the "Bob Dylan of Africa" because of his acoustic guitar, harmonica and trenchant lyrics now sounds like a cool soul singer, with his distinctive, relaxed vocals matched against lush backing, with brass, strings and keyboards. He never quite breaks into a sweat, but his songs are for the most part a gently upbeat blend of Senegalese mbalax, reggae and ballads. The subject matter apparently covers anything from arranged marriages to democracy, but despite his fame as a lyricist, no English translation is provided.Still, it's a classy set, even if the orchestration can be annoying. His classic song Tajabone sounded better when he first recorded it 15 years ago, without the sweeping strings.

01. Baykat
02. Incha Allah
03. Tass Yakar
04. Jola
05. Taar Dusey
06. Manko
07. Yaye Boye
08. Plus Je Fais Ci, Plus Je Fais Ēa
09. Mbindane
10. Wakhal
11. Ouvriers
12. Jiguen
13. Ma Fille
14. Tajabone

320 kbps; including full booklet scans


Spanish Guitar Magic: The Gold Collection

Posted By MiOd On Monday, February 25, 2008 13 comments
The Gold Collection: 40 Classic Performances - Spanish Guitar Magic
Double CD Set featuring the Best of Spanish Guitar Music. The First Disc Includes Segovia's Performances of Calssical Guitar Compostions. Second One Contains Montoya's Tunes Such as Tango Flamenco, Malaguena, Seguiriya and Others
| MP3 320 kbps | Covers | 320 MB |

1.01 Andrés Segovia Siciliana Music By - Johann Sebastian Bach
1.02 Andrés Segovia Bourrée Music By - Johann Sebastian Bach
1.03 Andrés Segovia Zambra Granadina Music By - Isaac Albéniz
1.04 Andrés Segovia Torre Bermeja Music By - Isaac Albéniz
1.05 Andrés Segovia Sevilla Music By - Isaac Albéniz
1.06 Andrés Segovia Pavane No.1 Music By - Luis Milan*
1.07 Andrés Segovia Pavane No.2 Music By - Luis Milan*
1.08 Andrés Segovia Pavane No.3 Music By - Luis Milan*
1.09 Andrés Segovia Pavane No.4 Music By - Luis Milan*
1.10 Andrés Segovia Rondó Music By - Fernando Sor
1.11 Andrés Segovia Minuetto Music By - Fernando Sor
1.12 Andrés Segovia Aria And Variations - La Frescobalda Music By - G. Frescobaldi*
1.13 Andrés Segovia Romance De Los Pinos Music By - Federico Moreno Torroba 1.14 Andrés Segovia Canzonetta Music By - Felix Mendelssohn-Bartholdy
1.15 Carlos Montoya Sevillanas (Traditional)
1.16 Carlos Montoya Bolero Mallorquín (Traditional)
1.17 Carlos Montoya Seguiriya (Traditional)
1.18 Carlos Montoya Farruca (Traditional)
1.19 Carlos Montoya Tanguillo-Zambrilla (Traditional)
1.20 Carlos Montoya Rondeña (Traditional)

2.01 Carlos Montoya Malagueña (Traditional)
2.02 Carlos Montoya Granadinas (Traditional)
2.03 Carlos Montoya Soleares (Traditional)
2.04 Carlos Montoya Fandango De Huelva Y Verdiales (Traditional)
2.05 Carlos Montoya Peteneras Del Cafe De Chintas (Traditional)
2.06 Carlos Montoya Solea - Bulerias Por Solea (Traditional)
2.07 Carlos Montoya Malagueñas Boleras (Traditional)
2.08 Paco Di Lucia* Danza Music By - Manuel De Falla
2.09 Paco Di Lucia* El Piano Moruno Music By - Manuel De Falla
2.10 Paco Di Lucia* Cancion Del Fuego Fatto Music By - Manuel De Falla
2.11 Paco Di Lucia* Escena Music By - Manuel De Falla
2.12 Paco Di Lucia* Danza Del Terror Music By - Manuel De Falla
2.13 Paco Di Lucia* Danza De Los Vecinos Music By - Manuel De Falla
2.14 Paco Di Lucia* Danza Ritual Del Fuego Music By - Manuel De Falla
2.15 Paco Di Lucia* Danza Del Molinero Music By - Manuel De Falla
2.16 Paco Di Lucia* Danza De La Molinera Music By - Manuel De Falla
2.17 Paco Di Lucia* Introduccion Y Pantomina Music By - Manuel De Falla
2.18 Paco Di Lucia* Zorongo Gitano Music By - Federico Garcia Lorca*
2.19 Paco Di Lucia* El Vito Music By - Federico Garcia Lorca*
2.20 Paco Di Lucia* La Nina De Puerta Oscura Music By - M. Lopez (2) ,
Quiroga (2)


Musique et chants du Laos

Posted By MiOd On Sunday, February 24, 2008 1 comments
Credits to AmbroseBierce
Musique et chants du Laos Arion ARN 64667, 2005
TRACK LISTINGS CD 1 - Luang Prabang The Group Sinxay 01. Khap Thoum 02. Salang Sam Sao 03. Khek Mon Sam San 04. Lao Sieng Thieme 05. Lao Douang Duan 06. Nak Sadong 07. Douang Champa 08. Peh 09. Sao Khem Ngum 10. The Dance of Thotsakan 11. The Dance of Hanuman 12. Khap Thoum (2nd version) 13. Khammone Leua CD 2 - Vientiane Children's Home for Culture and Education 01. Lao Chaleun Sy 02. Saylom Yen 03. Douang Champa 04. Lao Khathom Mai 05. Lao Douang Duan 06. Lao Kham Hom The Group Maly 07. Khamen Xayo 08. Khamen Tung 09. Khamen Lay Khuay 10. Kia Kin Kouey 11. Lao Chaleun Sy 12. Lao Damneun Say 13. Douang Boua Thong 14. Sout Sangouane Nang Khuane 15. Mon Ladab 16. Koulap Pakxane 17. Sao Lao Phou Thai Khon

320 kbps; including full booklet scans


Wellküren - Das Mensch

Posted By MiOd On Sunday, February 24, 2008 0 comments
Credits to AmbroseBierce
Wellküren Das Mensch. Traditionals Mood-Records MOOD 6752, 2003
TRACK LISTINGS 01. Joseph-Jodler 02. Der junge schwarz' Schlossergesell 03. Evi-Landler 04. Bim Bam & Mäh-Jodler 05. Vorm Annamirl seim Fenster 06. Gstanzl 07. Kreszentia crescendo 08. Die Bernauerin 09. Kindsmörderin 10. Maresa-Walzer 11. d' Millibäurin 12. Er Und Sie 13. Fürs Anamirl 14. 'S Bettlmandl 15. Faschingsnacht 16. Schickt Mi Mei Voda Vroni Well - vocals Burgi Well - vocals Moni Well - vocals Guests: Maresa Well - violin Karl Well - clarinet Maximilian Well - drums, accordion Michael Well - tuba compositions, production, recording: Christoph Well
Das Mensch - altbayerische Bezeichnung für Jungfrau, Magd oder Luder - ist der Titel der neuen Wellküren-CD, die Vroni, Burgi und Moni gemeinsam mit Bruder Christoph Well von den Biermösl Blosn aufgenommen haben. Entstanden ist dabei ein musikalischen Raritäten-Kabinett, da hier ausschließlich traditionelle, bayerische Volkslieder zu hören sind, die von Frauen gesungen und für Frauen komponiert worden sind. Im Original, authentisch und zuweilen auch derb. Lustige und traurige Lieder von Liebe, Lust und Leid geben ein lebendiges und unterhaltsames Zeugnis von Status und Selbstverständnis der Frau in Bayern - in den letzten drei Jahrhunderten bis heute. Das Mensch ist quasi der unbehandelte Rohstoff, aus dem die Wellküren seit 17 Jahren ihre Musikkabaret-Programme gestalten. Auf der CD finden sich daher viele Titel, wie "Die Kindsmörderin", Die Millibäurin", "die Bemauerin" oder "Der Schlossergeselle", die in satirischer Bearbeitung bereits im ein oder anderen Wellküren-Programm zu hören waren und sind. Die langjährige Bühnenerfahrung ist es auch, die den Aufnahmen den besonderen Reiz verleiht. Mit geschliffen scharfem Dreigesang interpretieren die Well-Schwestern die Lieder so gar nicht im "braven und sittsamen" Schmelz sonst üblicher Volksmusikaufnahmen. Hier ist jedes (bayerische) Wort zu verstehen, klar, direkt und völlig ungeschminkt. Arrangiert, instrumentiert und aufgenommen wurden alle Stücke von Bruder Christoph Well, der mit viel Einfühlungsvermögen und musikalischem Witz die Kontrapunkte zu den traditionellen Texten setzt. Das Mensch bietet Inspiration für jeden, der die wahre Erotik im byerischen Dialektt entdecken möchte (vgl. Playboy 7/03) - aber auch für alle, die einfach nur unverfälschte Volksmusik mit bemerkenswertem Dreigesang genießen wollen.
Mit “Vorm Annamirl seim Fenster” und dem frechen “Bim Bam & Mäh-Jodler” sind die drei Wellküren 1986 auf den deutschsprachigen Kleinkunstbühnen sofort aufgefallen: bayerische Volksmusik-Traditionals, in welchen Sexualität in Landwirtschaftsmetaphorik so anzüglich verpackt wird, dass sie haarscharf an der Zote vorbei schrammen. Zum Rhythmus letzteren Liedes, im berühmten Liederbuch “Klampfn Toni” schriftlich überliefert, wurde das Gras gemäht, sinnlich, gefühlvoll, im gleichen Takt: “Wo is denn da Moohda, der mei Wieserl maht? Er maht hin, er maht her, und schee langsam schee stad”. Auf ihrer neuen CD “Das Mensch” mischen die Wellküren das Thema Frauensexualität mit Liedgut aus den vergangenen 300 Jahren neu auf, da darf eben jene Anleitung zum “Dangl wetzn” nicht ausgespart werden. Moni, Vroni und Burgi Well folgen mit ihren Aufnahmen dem volkskundlichen Ansatz der CD “Räuber & Gendarm” der Biermösl Blosn - den Brüdern der drei Well-Schwestem. Doch war es von vornherein schwieriger, Quellenmaterial zu finden, da musikalische erotische Ergüsse überwiegend den Männern vorbehalten waren. Es passte nicht zur traditionellen Frauenrolle, obszöne Gstanzl herauszuschreien, ebenso wenig wie das dazu gehörende Milieu der bierdampfigen Wirtshäuser. So blieben den Frauen wohlklingende Kinder-, Kirchen- und Küchenlieder vorbehalten - “nur die Männer durften die Sau rauslassen”, sagt Christoph Well von der Biermösl Blosn, der bei der Auswahl behilflich war, Melodien bearbeitet, instrumentiert, neu komponiert und überhaupt die ganze CD produziert hat. Ganz nah wirkt das Ergebnis, als ob die halbe Well-Familie, die hier mitgemischt hat, neben dem Hörer unplugged singen und musizieren würde; “Stofferl” hat mit seinem antiquierten Acht-Spur-Gerät wieder den richtigen Ton getroffen. Alle Aufnahmen kommen so simpel und trocken daher, und doch spürt man den liebevollen, bis in Bruchteile von Sekunden ausgetüftelten Spannungsbogen, der von der Achtung gegenüber dem Fundus zeugt. Die Töne zwischen den Liedern und Pausen treten in eine vielsagende Beziehung. Landler und Walzer sind schwungvolle Einladungen zum Tanz. Eingeführt in das Reich der Schamlosigkeit werden die Hörer mit dem “Joseph-Jodler”, dem aus der Frauenperspektive interpretierten “Susei-Jodler”, und rüde hinausgeworfen aus dem Hörgenuss mit dem Götz-Zitat. Das gilt “drei sakrischen Jagersbuam”, weil ihnen Pulver, Blei und Standfestigkeit des “Hahndls” fehlen. Das Thema Nötigung und Gewalt gegen Männer, klingt in “D’ Millibäurin” an: “Des müass ma am Pfarrer sagn, eienjuche, dass uns ham d’Weiber gschlagn, dumdidldeide. Da Pfarrer sagt: Is scho recht, eienjuche, mei Köchin schlagt a net schlecht’, dumdidldeide.” Auffällig ist, dass die” Gstanzl “ von Frauen gesungen viel obszöner, direkter, “gscherter” wirken, auch wenn die Texte gar nicht oder nur unwesentlich verändert sind. Sie reiben und kratzen an der Aura des Mannes als Person. Dementsprechend aufmüpfig kontrastieren die Frauenstimmen mit den Blechbläsern. Musik und Text ergänzen sich auch in “Er und sie” wunderbar komisch. Der strenge Dreivierteltakt spiegelt rhythmisch den Rahmen wider, in dem das Ehepaar neben- und gegeneinander lebt, und doch bricht keiner aus. Was bei Grenzüberschreitungen in einem geschlossenem Weltbild passieren kann, wird bereits in “Die Bernauerin” und “Kindsmörderin” plastisch. Der Dialog “Grüaß Gott? - Sagt er./ Bist scho da?! - Sagt sie./ Geh her? - Sagt er./ Was wuist? - Sagt sie./ An Schmatz! - Sagt er./ Oida Depp! - Sagt sie. Aha! - Sagt er./ Mhm! - Sagt sie.” ist ein Lehrbuch-Beispiel für bairische Lakonik. Der Rektor, Musikant und Liedsammler Vater Herrmann Well hat es beim Haberbauern in Hanshofen aufgeschrieben. Seine Frau Traudl bewahrte ähnlich wie er alte Bauernmöbel und Trachten. Beide haben den Lebensstil und Geschmack ihrer 15 Kinder, die Freude am überlieferten authentischen Volksgut nachhaltig geprägt. So unterstreichen Bilder von prächtigen Dirndlstoffen die Texte im Booklet. Die Originale stammen aus Claudia Wells Kleiderschrank, wie ihr Mann Christoph verrät, der Schwager Hans-Peter Hösl hat sie fotografiert und für die grafische Gestaltung passend in Szene gesetzt. Aber auch die moralische, traditionelle Erziehung wirkte lange nach. Während bei den Söhnen Künstlerkarrieren stärker gefördert wurden und Ausbruchsversuche weniger sanktioniert, ist es eine bedeutsame Leistung von Moni, Vroni und Burgi, dass sie selbst aus der überkommenen Frauenrolle herausgetreten sind, nachdem die meisten ihrer Kinder erwachsen waren. Sie wissen, von was sie singen. Das merkt man den Liedern an, die schauspielerisch auf Text, nicht volkstümlich-fade auf Laute und Klang gesungen sind. Selbstbewusst und ungeniert lassen sie deshalb den Bruder ein wenig Regie führen. EVA MARIA FISCHER
320 kbps; including full booklet scans

Part One
Part Two

China - From Pekin to Shanghai

Posted By MiOd On Sunday, February 24, 2008 1 comments

China. From Pekin to Shanghai, 2006

Track Listings
(01). Ta Pa Pan
(02). Ti-Tse
(03). Ti-Tse/Pipa
(04). Pipa, Pt. 1
(05). Pipa, Pt. 2
(06). Pipa, Pt. 3
(07). Corbeaux De L'hiver Glissant Sur L'eau Gelee
(08). Plainte de la blanchisseuse
(09). En soulageant mon c ur
(10). Clair De Lune Sur Une Riviere Au Printemps
(11). Wu Hu You Lu Pei-Yuen - pipa Lai Siu-Hong - ti-tse Liang Tsai-Ping - cheng

320 kbps including full booklet scans


Nouvelle-Caledonie - Danses et musiques Kanak

Posted By MiOd On Sunday, February 24, 2008 0 comments
Credits to AmbroseBierce
Nouvelle Calédonie / New Caledonia. Danses et musiques Kanak / Kanak Dance and Music VDE-Gallo VDE CD-923, 1997
TRACK LISTINGS Grande Terre 01. Ae-ae: Nämä Cäbu - Athanase Neu Kaledonien - Medeu & Devido Pouroudeu 02. Popai Görö Upwârâ - Theophile Neu Kaledonien - Pouroudeu 03. Ayoii: Kobalu Ma Sofua - Benoît Neu Kaledonien - Boulet & Mayat Salomon 04. Ayoii: Lé Kaé Whé Taxi - Benoît Neu Kaledonien - Boulet & Kalombat Tida 05. Ae-ae: Nengopae - Denis Neu Kaledonien - Koaytaba & Maurice Wenahin 06. Ae-ae: Tchamba - Neu Kaledonien - Group Of Musicians And Singers From Tiéti 07. Ae-ae: Mikael Néa - Neu Kaledonien - Group Of Singers From The Koné Region & Séraphin Mereâtu 08. Didi / Ololoi, Ololoa - Marie Angèle Neu Kaledonien - Méoudhia 09. Pe Rue Cakui - Neu Kaledonien - Choir At La Roche 10. Be Be Nod - Neu Kaledonien - People From Kurin & Hippolyte Washetine 11. Kabanulo / Thapajanebot - Neu Kaledonien - Group Of Young Men 12. Watapatine / Wahmenewe I Luba - Gero Neu Kaledonien - Waheo & Group Of Women 13. Waene - Neu Kaledonien - Madame Rose 14. Hnimi Modeti / Kölö Itre Mama - Neu Kaledonien - Group Of Dancers From Kedeigne 15. Bua - Neu Kaledonien - Group Of Dancers From Kedeigne 16. Nomeredi / Pikok - Neu Kaledonien - Members Of The Wejieme Family 17. Koma Saja - Neu Kaledonien - Dance Group From Wetr 18. Joxu Cil - Neu Kaledonien - Dance Group From Wetr 19. Tehi Ogos Bong Seventrin (Solo) - Neu Kaledonien - Siko Of Hwadrilla 20. Tehi Ogos Bong Seventrin - Neu Kaledonien - Group Of Singers From Ohnyot & Eloa 21. Faitu Chapelle - Neu Kaledonien - Women'S Group From Muli

320 kbps; including full booklet scans

Part One
Part Two


Posted By MiOd On Sunday, February 24, 2008 4 comments
Luis Delgado's Tánger is a live concert recording by his Arab-Andalusian consort in the ancient synagogue Ets Haim. New compositions as well as extracts of Delgado's former works, using acoustic instruments, create an intense and beautiful work. The participating musicians are: Luis Delgado (santur, Andalusian oud), El Arabi Serghini Mohammed (voice, viola), Jaime Muñoz (kaval, bamboo-flutes, clarinet), Akrin Larbi (oriental oud), Jamal Ben Allal (violin), David Mayoral (darbucas and other percussions), and Cuco Pérez (accordion).
The nostalgia in the hearts of Spanish musicians, writers and intellectuals for that gilded age of tolerance that was Moorish Spain seems inexhaustible. It's little wonder then that the whitewashed dreamscapes of old Tangiers, situated just across the straits in full view of the Andalusian coast, exert such a magnetic influence on Spain's creative imagination. Last in a long line of virtuosi who have taken the ferry out of Algeciras in search of the magic that nurtures ‘the peace and comprehension between the people' comes oud (Arabic lute) player Luis Delgado. His live collaboration with one of Tangier's foremost exponents of the classical Andalusian style, El Arabi Serghini Mohamed, manages to bring a musical tradition that is so often neutered by the chastity belt of academia back to hot-blooded and pulsating life. In the hallowed halls of the Lorin Foundation, which once housed the ancient synagogue of Ets Haim, deep in the Zocco Chico near Calle de Los Christianos, Delgado and his cohorts turned nostalgia into surging, yearning music, recreating all the colours and moods that make Tangiers such a mesmerising place. The concert was deftly recorded by Hugo Westerdahl under the expert direction of Manuel Domínguez, head honcho of the tirelessly innovative Spanish imprint Nubenegra, to create one of the most satisfying Arabo-Hispanic releases in years. In this blood wedding of emotion and virtuosity, ancient poems by the likes of Ibn Sara Santarini and Ibn Al-Zaqqaq are resuscitated to prove that time changes everything and nothing. And with 200 dead in Madrid, and bodies still regularly washing up on the beaches of southern Spain, these wonderful recordings reaffirm with utmost eloquence that tolerance is as urgently desirable now as it was in 1492. - Andy Morgan in Songlines, May, 2005
Madrid, España - El sello Nubenegra ha editado Tanger, un CD doble del multi-instrumentista Luis Delgado, grabado en directo con músicos marroquíes y músicos españoles. Desarrolla la música que a Luis Delgado le inspira la poesía arábigo-andaluza del medioevo español, en la línea de sus trabajos anteriores, El sueño de Al-Zaqqaq y El hechizo de Babilonia. Delgado también prepara una gira con su grupo, integrado por Luis Delado al santur, laud califal, guimbri y bendhir; El Arabí a la voz y viola; Jaime Muñoz al kaval, clarinetes y axabeba; Jamal Ben Allal al violín; Larbi Akrim al laud; Cuco Pérez al acordeón y David Mayoral a las percusiones. El próximo concierto del grupo tendrá lugar en Santander el día 25 de enero en Las noches del Bonifaz.
| MP3 VBR kbps | Front Cover & Video | 210 MB |


01. El Diwan De Las Poetisas
02. Un Cuello De Gagela Sierra Nev
03. El Saludo
04. La Torre De El Salvador
05. El Cinturon Y El Brazalete
06. La Aurora Nocturna

01. Tirwal
02. Amanecer En La Mar
03. Melihul
04. Es Bueno Todo Lo Que Surge De
05. Tzid Wa Sqini

| MPEG Video | Length: 07:53 | 352 x 288 Pixels | 80 MB |


Mohamed Bajeddoub & Abderrahim Souiri - L'Art du Mawwal

Posted By MiOd On Saturday, February 23, 2008 4 comments
Mohamed Bajeddoub & Abderrahim Souiri L'Art du Mawwal / The Art of Mawwal Institut du Monde Arabe 321 072, 2007

01. Ataytu Li-Qâdî L-Hubb [I Went to See the Judge for Love] - Abderrahim Souiri
02. Amurru Alâ D-Diyâri [I'm Passing Through the Area] - Mohamed Bajeddoub/Abderrahim Souiri
03. Dumu U L-Ayni Tajri [Tears Stream from My Eyes] - Mohamed Bajeddoub/Abderrahim Souiri
04. Idû Ilayya L-Wisâl [Renew Your Union] - Abderrahim Souiri
05. Aynî Li-Ghayri Jamâlikum Lâ Tandhuru [My Eyes Gaze Only on Your Beauty] - Mohamed Bajeddoub/Abderrahim Souiri
06. Arâdû L-Biâda [They Wanted to Go Away]
07. Amurru Alâ Diyâri Laylâ [I'm Going Through the Region]
08. Qultu Li-Laylâ [I Asked Laylâ]
09. Medley: Badat /Yâ Ghazâlan [Oh Gazelle]
10. Zâranî Tayfu [I Had a Vision]
11. Zor Man Tuhibb [Go and See the One You Love]
12. Jarhu Qalbî [The Wound in My Heart]
13. Lil-Jamâli Mulkun [The Reign of Beauty]
14. Medley: Alhaju Bi-L-Ahbâb /Lâ Tahsibû [D
15. Mâ L-Farq [What a Difference There Is!]
16. Lî Habîbun [I Have a Beloved]
17. Medley: Sana Yâ Shams Lashiya /Qudûmu L-Habib [the Arri [Oh Evening Sun

320 kbps; including full booklet scans


Pepe Marchena - Grands Cantaores du Flamenco

Posted By MiOd On Saturday, February 23, 2008 3 comments
Credits to AmbroseBierce
Pepe Marchena Grands Cantaores du Flamenco, Vol. 10
Le Chant du Monde LDX 274 912
TRACK LISTINGS 01. Cascabeles azules (Nana) 02. Aires de los campos marcheneros (Fandangos) 03. Cuatro padres franciscanos (Bulerķas) 04. En un potrerito (Guajira) 05. El quince te lo dirį (Fandangos) 06. Ladrón de Toledo (Tientos) 07. Malagueńa del Mellizo 08. Įbreme, soy el moreno (Murciana) 09. Los cuatro muleros 10. Conforme me ves a mķ (Fandangos) 11. Romance a Córdoba 12. De Bornos a Villamarķn (Malagueńas) 13. Yo soy Séneca en el saber (Cańa) 14. De puerta a Tierra a Cai (Soleį de Cadi) 15. Lago de Almovar (Fandangos) 16. Churripando y Soleį (Peteneras) 17. Tu refajo es de azulina (Taranta) 18. Sas campanillero (Siguiriyas) Pedro del Lunar - guitar (17) Ramón Montoya - guitar (11,14) Paquito Simón - guitar (1-10,12,13,15,16,18)
José Tejada Marín (Marchena, Seville, Spain, 1903-Seville, December 4, 1976) known as Pepe Marchena, and also as Niño de Marchena in the first years of his career, was a flamenco singer who achieved great success in the ópera flamenca period (1922-1956). Influenced by singers like Antonio Chacón, he carried to the extreme the tendency to a more mellow and ornamented style of flamenco singing. Owing to his particular vocal conditions and singing style, he excelled mainly in palos (styles) like fandangos, cantes de ida y vuelta and cantes libres, contributing to making them the most popular flamenco styles in the era of the ópera flamenca, and created a new cante de ida y vuelta, the colombiana[1], later recorded by many other artists like El Lebrijano or Enrique Morente. He was also the first flamenco singer to use orchestra to accompany flamenco singing, though later he returned to the guitar. Marchena also revolutionized the public image of the flamenco singer: he was the first to sing standing on the stage (instead of sitting on a chair as it has always been usual in flamenco), and often wore unusual outfit, such as riding clothes.[2] Both his singing style and public attitudes were widely imitated at the time, to the extent that the period has often been identified as the era of marchenismo. He was the first real popular star of flamenco singing. Until he appeared in the flamenco scene, flamenco was restricted to small venues and theatres, whereas he could attract the masses to fill large theatres and even bullrings.
Pepe Marchena started working in menial jobs as boy, alternating them with live performances in taverns for a few coins, until he won a contest for amateurs in Fuentes de Andalucía. After that, he started to work as a professional in cafés and theatres in Andalusia. In 1922, one year after his successful début in Madrid, he started singing in Teatro La Latina, with a 200 pesetas daily salary, a large sum at the time. Also in 1922, he made his first recording, and took part in the show Málaga, ciudad bravía at Teatro Martín, with guitarist Ramón Montoya. In June, he sang for the King and Queen of Italy during their visit to Spain, together with Antonio Chacón, Pastora Imperio, La Niña de los Peines and Manuel Escacena. During the twenties and thirties, he toured Spain intensively, forming part of the cast of several flamenco theatre plays like La copla andaluza (1929) and later in films (Paloma de mis amores, 1935), thus becoming the first flamenco actor-singer. After the Spanish Civil War, he made two films: La Dolores and Martingala, and came back to the theatre in 1943 with La encontré en la serranía. In 1945 he visited Buenos Aires with the show Feria de Sevilla, together with Carmen Amaya, which stayed in the Teatro Avenida for three months, and finished his Latin American tour in Montevideo and Rio de Janeiro. In 1950 he accomplished a rare achievement for flamenco singers at the time: he started a tour in Morocco and Algeria, which was followed by concerts in Paris. During the 1950s he kept touring Spain with several concerts and theatre shows. In 1961, he travelled to Karachi, Pakistan, to illustrate a lecture by Aziz Balouch, a Pakistani musicologist and Sufi philosophy student who had come to Spain to study flamenco and enjoyed temporary success as a flamenco singer. In 1965 and 1966 he toured with show Así Canta Andalucía, taking it again to Morocco and France. Towards the end of the decade of the sixties he reduced the number of his performances. In 1974, he received an homage in his hometown of Marchena, where singers like Juan Valderrama and Perlita de Huelva took part. In 1976, already ill with cancer, he received the Gold Medal of Marchena and Juan Valderrama organized a festival in his benefit, with the participation of several artists. He died in December of that same year. In 1986, a monument in his honour was erected in Marchena.
Pepe Marchena has probably been the most controversial flamenco singer in the 20th century. Although he has usually been considered as one of the prototypical non-Gypsy flamenco singers, Manuel de Falla, a lover of Gypsy singing, said of him: "In the Niño de Marchena, with the crystal clear pureness of a mountain spring, we find the inexhaustible charm of the authentic Andalusian singing, without the obstacles that diminish it when it is locked up in futile songs." And Leopold Stokowsky affirmed: "Niño de Marchena has the emotion of the plain chant expressed by a genius interpreter. If his prodigious fioritura could be taken to the score, he would astonish the world." After becoming a very popular in the times of ópera flamenca, his singing was later disparaged by many artists and flamencologists of the Época de revalorización (the period of revival of flamenco orthodoxy from the 1950s to the 1970s), which considered that the primitiveness of Gypsy singing was more orthodox and pure than the virtuosity and mellowness characteristic of Marchena and other singers of the ópera flamenca: With so much softening and sweetening the singing, Pepe Marchena made it superficial, mere artifice. His style had to be more convincing in minor genres: the fandango and the fandanguillo, the airs coming form America, the less heavy songs from Málaga and Eastern Andalusia... He imposed the "pretty" style of singing based on trills and warbles, falsetto and ornaments; he took "personal creation" to the extreme, to the point of feeding eighty per cent of the ópera flamenca; he introduced reciting, another innovation with abominable sequels; he invented mixtures of styles that have never been tried before... Marchena's heterodoxy is obvious. His singing was almost totally frivolous, personal possession, closed shop. Untransferable, in some way, even if an army of imitators followed him and succeeded in the times of "marchenismo", and took his school to pure plagiarism with no creativity, to a real cul-de-sac. During the 1990s, together with a certain revival of the cantes de ida y vuelta and a reappreciation of the ópera flamenca period, his figure has come back into favour for a significant part of the critics, artists and flamenco public. His influence was claimed by several outstanding singers, including Enrique Morente, Mayte Martín or Arcángel. A clear example is Álvarez Caballero himself who, only two years after writing the words quoted above, directed a partial compilation of his recordings (Un monumento al cante, Quejío collection, EMI, 1997), with an introductory leaflet in which he stated: A singer of delicate ornaments, in the styles from Málaga and Eastern Andalusia he excelled especially with a convincing expressive quality. He was also an extraordinary interpreter of fandangos.[...] Pepe Marchena cannot be ranked together with his imitators. Marchena had a great personality, an extraordinary musical talent.[...] After his death, Marchena's popularity suffered diverse changes. His unconditional admirers kept affirming their adoration for him but, in general, the critical tendency gathered momentum. Later, however, marchenismo gradually gained prestige, and nowadays we have the impression that flamencologist and serious flamenco lovers increasingly value his work. Manuel Barrios perfectly summarized in one sentence the controversial character of Marchena's work: "For some, Pepe de Marchena is the first lie in flamenco singing; for others, its ultimate truth."
320 kbps; including full booklet scans


Bach : Die Kunst Der Fuge / The Art of the Fugue

Posted By MiOd On Saturday, February 23, 2008 0 comments
Amsterdam Loeki Stardust Quartet Johann Sebastian Bach - The Art of Fugue Channel Classics, 1998
The Art of Fugue is a complex work -- not the first piece by Bach one falls in love with. We don't really know what instrument this was written for, as Bach wrote out each part on a separate line. There have been arrangements for nearly every conceivable combination. Some excellent versions are Vladimir Feltsman on piano, Grigory Sokolov on piano, Berliner Saxophon Quartett, Pittsburgh Symphony Brass, Bernard Lagace on organ, Jordi Savall on small ensemble period instruments. Purists will sneer, but I even like the excerpts recorded over a span of years by Glenn Gould on Sony. Unfortunately, though I like the Goldberg Variations on harpsichord, I have yet to find a version of AOF on harpsichord that I like. Back to the Amsterdam Loeki Stardust Quartet. Their version is distinguished by the fact that the sound of their recorders somewhat resembles that of an organ (naturally, both being wind through a column instruments) but much gentler. The different recorders have different timbre as well, making it easier to follow the line of each voice. Besides the sonic qualities, the interpretation is at the same time profound and yet dance like. These men are outstanding musicians. Generally I don't recommend an exotic instrumentation of a work as the first version to buy. But in this case anyone would do well to make this recording their first, or second, or tenth version of The Art of Fugue.

The Art of Fugue, for keyboard (or other instruments), BWV 1080

(01). Contrapunctus 1
(02). Contrapunctus 3
(03). Contrapunctus 2
(04). Contrapunctus 4
(05). Canon Alla Duodecima in Contrapunto Alla Quinta
(06). Contrapunctus 5
(07). Contrapunctus 6 A 4 in Stylo Francese
(08). Contrapunctus 7 a 4 Per Augment Et Diminut
(09). Contrapunctus 8 A 3
(10). Contrapunctus 9 A 4 Alla Duodecima
(11). Contrapunctus A 3 c
(12). Contrapunctus Inversus A 3 c
(13). Contrapunctus 10 a 4 Alla Decima
(14). Contrapunctus Inversus 12 A 4
(15). Contrapunctus Inversus 12 a 4
(16). Contrapunctus 11 a 4
(17). Canon Alla Ottava
(18). Fuga A 3 Soggetti

320 kbps; including full booklet scans


Paul O'Dette - Portrait

Posted By MiOd On Saturday, February 23, 2008 0 comments
Credits to AmbroseBierce
Paul O'Dette Portrait harmonia mundi HMX 2907255, 1999
TRACK LISTINGS 01. John Dowland - Sir John Smith, his Almain, for lute, P 47 02. John Dowland - Forlorn Hope, fantasie for lute, P 2 03. John Dowland - (Pavan) 04. Santiago de Murcia - La Jota 05. Santiago de Murcia - Cumbées, for guitar 06. Joan Ambrosio Dalza - Piva (from Il Libro del Cortegiano) 07. Anonymous - Emperor of the moon 08. Marco dall'Aquila - La Battaglia 09. Claudio Monteverdi - Voglio di vita uscir, madrigal for soprano (in manuscript) 10. John Dowland - Jig, for lute in C minor, P 78 (possibly spurious) 11. John Dowland - Can she excuse (The Right Honourable Robert, Earl of Essex, his Galliard), galliard for lute, P 42 12. John Dowland - The Right Honourable Lord Viscount Lisle (Sir Robert Sidney, his galliard), for lute, P 38 (A Musical Banquet) 13. Georg Friedrich Händel - Acis and Galatea, oratorio, HWV 49 (Aria: Come la rondinella) 14. English Traditional - Greensleeves, English folk song 15. John Playford - The Glory of the West 16. John Playford - The Queen's Jigg 17. Cuthbert Hely - Fantasias (3) for lute 18. Cuthbert Hely - Sarabande for lute 19. Richard Alison - Go from my Windoe 20. Johannes Hieronymus Kapsberger - Toccata for chitarrone No. 2 21. Jacopo Peri - Hor che gli augelli 22. Adrian Le Roy - Je ne seray jamais bergere
"...O'Dette is always musical, stylish and technically accomplished....as a single-disc compilation, this anthology is worth investigating for anyone interested in the lute and related instruments."
320 kbps, including full booklet scans


Astor Piazzolla - Double Best Collection

Posted By MiOd On Saturday, February 23, 2008 1 comments
It's not hyperbole to say that Astor Piazzolla is the single most important figure in the history of tango, a towering giant whose shadow looms large over everything that preceded and followed him. Piazzolla's place in Argentina's greatest cultural export is roughly equivalent to that of Duke Ellington in jazz -- the genius composer who took an earthy, sensual, even disreputable folk music and elevated it into a sophisticated form of high art. But even more than Ellington, Piazzolla was also a virtuosic performer with a near-unparalleled mastery of his chosen instrument, the bandoneon, a large button accordion noted for its unwieldy size and difficult fingering system. In Piazzolla's hands, tango was no longer strictly a dance music; his compositions borrowed from jazz and classical forms, creating a whole new harmonic and rhythmic vocabulary made for the concert hall more than the ballroom (which was dubbed "nuevo tango"). Some of his devices could be downright experimental -- he wasn't afraid of dissonance or abrupt shifts in tempo and meter, and he often composed segmented pieces with hugely contrasting moods that interrupted the normal flow and demanded the audience's concentration. The complexity and ambition of Piazzolla's oeuvre brought him enormous international acclaim, particularly in Europe and Latin America, but it also earned him the lasting enmity of many tango purists, who attacked him mercilessly for his supposed abandonment of tradition (and even helped drive him out of the country for several years). But Piazzolla always stuck to his guns, and remained tango's foremost emissary to the world at large up until his death in 1992. Piazzolla was born in Mar del Plata, Argentina, on March 11, 1921. His parents were poor Italian immigrants who moved to New York City in 1924, affording the young Piazzolla extensive exposure to jazz artists like Duke Ellington and Cab Calloway. His father also played tango records by the early masters, especially the legendary vocalist/composer Carlos Gardel, and gave Astor a bandoneon for his ninth birthday. In addition to lessons on that instrument (which encompassed American music, like Gershwin, as well as tango), Piazzolla also studied with classical pianist Bela Wilda in 1933, becoming an ardent fan of Bach and Rachmaninoff. Around the same time, the budding prodigy met and played with Carlos Gardel, appearing as a newspaper boy in Gardel's watershed tango film El Dia que Me Quieras. The teenaged Piazzolla turned down an offer to tour South America with Gardel in 1935, a fortuitous decision that kept him out of the tragic plane crash that claimed Gardel's life. In 1936, Piazzolla's family returned to Mar del Plata, and his passion for tango music was fired anew by violinist Elvino Vardaro's sextet. The still-teenaged Piazzolla moved to Buenos Aires in 1938, seeking work as a musician. After about a year of dues-paying, he caught on with the widely renowned Anibal Troilo orchestra, where he spent several high-profile years. In the meantime, he continued his study of piano and music theory, counting future classical composer Alberto Ginastera (1941) and pianist Raul Spivak (1943) as his teachers. He began composing for Troilo during this period, although his more ambitious, classically influenced pieces were often edited for accessibility's sake. In 1944, Piazzolla left Troilo's group to become the orchestra leader behind singer Francisco Fiorentino; two years later, he formed his own group, playing mostly traditional tangos, yet already with hints of modernism. This group broke up in 1949, and Piazzolla, unsure of his musical direction, sought a way to leave tango behind for more refined pursuits. He studied Ravel, Bartók, and Stravinsky, also immersing himself in American jazz, and worked mostly on his compositional skills for a few years. His 1953 piece "Buenos Aires" caused a stir for its use of bandoneon in a classical orchestral setting. In 1954, Piazzolla won a scholarship to study in Paris with the hugely influential Nadia Boulanger, who also taught Aaron Copland, Philip Glass, and Quincy Jones, among many others. Boulanger encouraged Piazzolla not to ignore tango, but to reinvigorate the form with his jazz and classical training. Piazzolla returned home in 1955 and immediately set the tango world on its ear, forming an octet that played tango as self-contained chamber music, rather than accompaniment for vocalists or dancers. The howls of protest from traditionalists continued unabated until 1958, when Piazzolla disbanded the group and went to New York City; there he worked as an arranger and experimented with a fusion of jazz and tango, also composing the famed "Adios Nonino," a lovely ode to his recently departed father. Returning to Buenos Aires in 1960, Piazzolla formed his first quintet, the Quinteto Tango Nuevo, which would become the primary vehicle for his forward-looking vision. Over the course of the '60s, Piazzolla would refine and experiment heavily, pushing the formal structure of tango to its breaking point. In 1965, he made a record of his concert at New York's Philharmonic Hall, and also cut an album of poems by Jorge Luis Borges set to music. In 1967, Piazzolla struck a deal with poet Horacio Ferrer to collaborate exclusively with each other, resulting in the groundbreaking so-called "operita" Maria de Buenos Aires, which was premiered by singer Amelita Baltar in 1968 (she would later become Piazzolla's second wife). Piazzolla and Ferrer next collaborated on a series of "tango-canciones" (tango songs) which produced his first genuine commercial hit, "Balada Para un Loco" ("Ballad of a Madman"). In addition to composing songs and more elaborate pieces for orchestra (such as 1970's El Pueblo Joven), Piazzolla also flexed his muscles scoring numerous films of the period. The '70s started out well for Piazzolla, as an acclaimed European tour brought the opportunity to form a nine-piece group to play his music in especially lush fashion. However, all was not well. Argentina's government was taken over by a conservative military faction, and everything that Piazzolla symbolized -- modern refinement, an ostensible lack of respect for tradition -- suddenly became politically unwelcome. In 1973, Piazzolla suffered a heart attack, and after recovering, he decided that, with sentiments running high against him, it would be wiser for him to live in Italy. There he formed a group called the Conjunto Electronico, which placed bandoneon at the forefront of what was essentially, instrumentation-wise, an electric jazz ensemble; this period also produced one of his most celebrated compositions, "Libertango." In 1974, Piazzolla cut an album with jazz baritone saxophonist Gerry Mulligan called Summit, with backing by Italian musicians; the following year, he found a new favorite vocal interpreter in Jose Angel Trelles. 1976 brought a major concert back in Buenos Aires, with the Conjunto Electronico premiering the piece "500 Motivaciones." Tiring of electric music, Piazzolla formed a new quintet in 1978 and toured extensively all over the world, also composing new chamber and symphonic works in the meantime. His reputation grew steadily, making him a prime candidate for exposure in the U.S. during the world-music craze of the latter half of the '80s. In 1986, Piazzolla entered the studio with his quintet and American producer Kip Hanrahan and recorded what he considered the finest album of his career, Tango: Zero Hour. The same year, he played the Montreux Jazz Festival with vibraphonist Gary Burton, resulting in the live set Suite for Vibraphone and New Tango Quintet. The official follow-up to Tango: Zero Hour, The Rough Dancer and the Cyclical Night, won equally glowing reviews, and Piazzolla staged a major homecoming concert in New York's Central Park in 1987. Unfortunately, at the height of his international fame (and belated celebration at home), Piazzolla's health began to fail him. He underwent quadruple bypass surgery in 1988, but recovered well enough to mount an international tour in 1989, including what would be his final concert in Argentina. La Camorra, another excellent recording, was released in 1989, the same year Piazzolla formed a new sextet with an unheard-of two bandoneons. In 1990, he recorded a short album with modern-classical iconoclasts the Kronos Quartet, titled Five Tango Sensations. Sadly, not long afterward, Piazzolla suffered a stroke that left him unable to perform or compose. Almost two years later, on July 4, 1992, he died in his beloved Buenos Aires due to the lingering after-effects, leaving behind a monumental legacy as one of South America's greatest musical figures ever, and a major composer of the 20th century.
| MP3 VBR Kbps - 150 MB | Covers | 2008 |


01. Libertango
02. Amelitango
03. L'evasion
04. Buenos Aires Hora Cero
05. Anos De Soledad
06. Los Pajaros Perdidos
07. Bandoneon
08. Zita
09. Adios Nonino
10. Balada Para Mi Muerte
11. Balada Para Un Loco

CD2 01. Suite Punta Del Este (Intro-choral-fugue)
02. Adios Nonino
03. Mumuki
04. Verano Porteno
05. Chin Chin 06. Libertango


Enrique Granados - 12 Danzas Espanolas

Posted By MiOd On Saturday, February 23, 2008 1 comments
Angel and Celedonio Romero, Granados. 12 Danzas Espanolas

Enrique Granados : One of the most colorful turn-of-the-century Spanish musicians, composer and pianist Enrique Granados is best remembered for his evocative solo piano works; his output also includes a great deal of orchestral music and six operas (only the last of which has gained any fame). Born in 1867 to an officer in the Spanish army, Granados received his first musical instruction from an army bandmaster. Further studies in Barcelona with Jurnet (piano) and Pedrell (composition) prepared the young musician for a brief but highly influential stay in Paris (1887-1889), during which Granados worked under well-known Parisian pianist and teacher Charles de Bériot (son of the famous violinist of the same name). Granados' earliest mature work, the Valses poéticos of 1887, was completed around this time. After returning to Barcelona in 1890 Granados spent the next decade building a dual career as pianist and composer, forming a successful piano trio with Belgian violinist Crickboom and the young Pablo Casals. His first opera, Maria del Carmen, was well received at its premiere in 1898, after which the Order of Carlos III (a Spanish knighthood) was bestowed upon Granados by a supportive government. Granados was quick to follow up on this success, and two more operas were produced in the next five years. For the 1900 season Granados founded the Society of Classical Concerts (Sociedad de Conciertos Clásicos) in Barcelona, which, although short-lived, gave him the confidence to create his own piano school the following year (known as the Granados School, or Academia Granados). The school was a success, and Granados maintained his involvement with it until his death. Granados was one of the great pianists of the late nineteenth and early twentieth centuries. Virtually all his music relies heavily on the Catalan and Spanish folk idiom (e.g. Twelve Spanish Pieces, or Six Pieces on Spanish Popular Songs), which, along with fellow Spaniard Isaac Albéniz, Granados was instrumental in bringing to the attention of the contemporary European musical establishment. Goyescas, begun in 1902 but not finished until 1911, is perhaps his mightiest achievement. (Granados also produced an opera by the same name -- both the pianistic and operatic incarnations of the work take the striking visuals of Goya as their inspiration.) In 1916, while returning from the U.S.A. (where the opera Goyescas had received a New York premiere on January 26, 1916, and where Granados had performed in the White House for President Wilson), the liner Sussex was torpedoed by a German U-boat. Among the casualties were Granados and his wife of 24 years. ~ Blair Johnston, All Music Guide

| APE & CUE - 190 MB | Covers | MP3 320 Kbps - 140 MB |


(01) [Granados (with Angel & Celedonio Romero)] Minueto
(02) [Granados (with Angel & Celedonio Romero)] Oriental
(03) [Granados (with Angel & Celedonio Romero)] Zarabanda
(04) [Granados (with Angel & Celedonio Romero)] Villanesca
(05) [Granados (with Angel & Celedonio Romero)] Andaluza
(06) [Granados (with Angel & Celedonio Romero)] Jota (Rondalla Aragonesa)
(07) [Granados (with Angel & Celedonio Romero)] Valenciana
(08) [Granados (with Angel & Celedonio Romero)] Asturiana
(09) [Granados (with Angel & Celedonio Romero)] Mazurca
(10) [Granados (with Angel & Celedonio Romero)] Danza Triste
(11) [Granados (with Angel & Celedonio Romero)] Zambra
(12) [Granados (with Angel & Celedonio Romero)] Arabesca

EAC-APE [190 MB]

OR MP3 320 Kbps [140 MB]

Anouar Brahem - Live at Salvator Kirsche, Duisburg

Posted By deniz dehri On Friday, February 22, 2008 5 comments
Alt text

I am not sure about the line - up, if somebody knows it'll be great to hear. The concert was held on 19.03.2000 in Germany, Duisburg. CD 1
  • 01 - al hizam al dhahbi.mp3
  • 02 - kashf.mp3
  • 03 - mazad.mp3
  • 04 - houdouth.mp3
  • 05 - claquent les voiles telwin.mp3


CD 2

  • 01 - al hizam al dhahbi.mp3
  • 02 - waqt.mp3
  • 03 - kernow.mp3
  • 04 - badhra.mp3

All mp3, 256 kbps

Rabih Abou-Khalil Quintet - Live in Munster

Posted By deniz dehri On Friday, February 22, 2008 1 comments

Munster Jazz Festival '03 recordings.
All mp3, VBR.
Download and be happy

Rabih Abou-Khalil Group Live Dedoelen Amsterdamix24 (2004)

Posted By deniz dehri On Friday, February 22, 2008 1 comments
Another live record...

01. O papaia balerina
02. Hopping jack
03. Il sospiro
04. Ma muse m'abuse
05. Il ritorno del languore
06. Morton's foot
07. Dr giller's wiener schnitzel

Download (320 kbps)

Rabih Abou-Khalil - Centralstation Darmstadt Concert

Posted By deniz dehri On Friday, February 22, 2008 1 comments
Alt text

The records are from the concert reviewed above.

CD 1
01. o papaia balerina
02. applause
03. introduction of musicians
04. lobotomie mi baba lu
05. applause
06. il sospiro
07. hopping jack

CD 1

CD 2
01. l'histoire d'un parapluie
02. ma muse m'abuse
03. applause
04. il ritorno del languore
05. applause - announcement
06. morton's foot
07. applause
08. announcement
09. dr. gielers wiener schnitzel
10. applause

All mp3, 320 kbps

CD 2

Patrizio Buanne-Forever Begins Tonight

Posted By Mazen On Friday, February 22, 2008 4 comments
Patrizio Buanne’s: “Forever Begins Tonight CD “ is a collection of 12 romantic timeless classics. It's a mix of original tracks along with Patrizio's take on some of the world's most famous romantic and classic Italian songs. One of the many standout tracks is Angels– Un Angelo, an Italian version of the Robbie Williams classic. This is the first time Robbie has ever allowed a foreign language version of the song. Forever Begins Tonight– (The Title Track), is a modern romantic love story co-written by Patrizio. Other standout tracks include : You Don't Have To Say You Love Me, which was a huge success for Dusty Springfield, and Elvis Presley's Always On My Mind performed in Spanish and added as a Bonus Track in English as the last song of this album. My favorite song amongst many others in this album is track no. 5-Bella Bella Signorina, it has such a nice beat to it

This album's tracks Audio is a mélange of English, Italian and Spanish.... Ripped at 160 kbps with MP-3 Layer format and compressed with WinRar. My Favorite Song as a Sample: 05-Bella Bella Signorina ***Here is the tracks list:
01. Forever Begins Tonight
02. Angels
03. You’re My World
04. Always On My Mind (Vives En Mi Corazon)
05. Bella Bella Signorina
06. Only You (Solo Tu)
07. You Don’t Have To Say You Love Me
08. Let’s Make Love
09. Smile
10. Maledetta Primavera
11. MalaFemena
12. Vicin O Mare

Bonus Tracks:
13. Stand Up (Champion’s Theme)
14. Always On My Mind (English Version)

Download Here: Patrizio-Forever Begins Tonight.Rar
Patrizio-Front CD Cover Patrizio-Back CD Cover I wish you all a great enjoyment listenning to Patrizio--he is a really awsome Italian Singer/Artist... ***Merci et à bientôt........

Hommage a Abdelkrim Rais

Posted By MiOd On Wednesday, February 20, 2008 1 comments
Co-production between BLUE SILVER and Institut du Monde Arabe

A master of the rebab (spiked fiddle), Abdelkrim Rais had a major influence on the evolution of contemporary Moroccan Andalusian music. His publications, including -Collige I Al-Haik Poems in 1982, provide a rich source of material that continues to be performed. The director of the Academy of Music in the imperial city of Fez, Rais led the city's Orchestra of Andalusian Music until his death at the age of 84. The orchestra has continued under the direction of Mohamed Briouel. ~

Hommage a Abdelkrim Rais - Orchestre Al-Brihi de Fès sous la direction de Abdelkrim Rais Vol. 1

| MP3 192 Kbps - 105 MB | All Covers & Booklet |




Hommage a Abdelkrim Rais - Orchestre Al-Brihi de Fès sous la direction de Abdelkrim Rais Vol. 2

| MP3 192 Kbps - 105 MB | All Covers & Booklet |




The Ultimate Nusrat Fateh Ali Khan

Posted By MiOd On Wednesday, February 20, 2008 3 comments
Hommage à Nusrat Fateh Ali Khan
Nusrat Fateh Ali Khan - Sufi Qawwalis
Nusrat Fateh Ali Khan - Mustt Mustt
Nusrat Fateh Ali Khan En Concert A Paris
Nusrat Fateh Ali Khan - The Last Prophet

The Ultimate Nusrat Fateh Ali Khan, Vol. 1
Nusrat Fateh Ali Khan's stature in the West was largely a result of his cross-cultural collaborations and slickly produced recordings on the Real World label, but he was already a huge star in Pakistan with many recordings to his credit. The Ultimate Nusrat Fateh Ali Khan, Vol. 1 is a collection of some of his Pakistani recordings dating from 1978-1982, before his international stardom. This is pure, undiluted qawwali: vocals, harmonium, tabla, and handclaps with the addition of a qanoun (similar to a hammered dulcimer) on a couple tracks. Of course, given his prodigious output, the ultimate-ness of this collection may be debatable, but there's no doubt that this is top-notch qawwali music performed by one of its greatest ensembles. Khan's catalog is unwieldy, to say the least, but if you're looking for pure qawwali music with no concessions to the West, this would serve as an excellent addition or introduction to one of the great singers of the 20th century. ~ Sean Westergaard, All Music Guide
| MP3 320 Kbps - 200 MB | All Covers | 2005 |


Disc 1
1. Yeh Jo Halka Halka
2. Haq Ali Ali (2003 Digital Remaster)
3. Nee Main Jaana (2004 Digital Remaster)

Disc 2
1. Ek Din Mahi De Ghar
2. Chalo Dayar-E-Nabi
3. Kamli Wala Muhammad
4. Saanson Kee Mala

The Ultimate Nusrat Fateh Ali Khan, Vol. 2
Just like Volume 1, Ultimate Nusrat Fateh Ali Khan, Vol. 2 is a fantastic collection of Pakistani recordings, this time recorded in 1983 and 1984. At the time, Nusrat was a giant in Pakistan, but his star had yet to rise in the West. The main difference between this and Volume 1 is additional instrumentation on a few tracks. Of course there's harmonium, tabla, handclapping and vocals to which qanoun is added on one track, but there is also what sounds like clarinet and sarod on a couple others. But that's just the supporting cast, the main attraction here is the soaring, ecstatic voice of Nusrat Fateh Ali Khan. As with Volume 1, the choices here are somewhat arbitrary, but it's all well-recorded and exquisitely performed qawwali music. A bit more annotation as to recording specifics and sources would have been nice, but this is another excellent set of Nusrat's pure qawwali. ~ Sean Westergaard, All Music Guide
| MP3 320 Kbps - 200 MB | All Covers | 2005 |


Disc 1
1. Tere Main Ishq Nachaeeyan
2. Menoon Yaar Manawan Dee

Disc 2
1. Yaad-E-Nabi
2. Saiyyon Mahi Vicharr
3. Mera Piya Ghar Aaya
4. Mast Nazaron Se


James Last - MTV Music History

Posted By MiOd On Wednesday, February 20, 2008 6 comments
| APE & CUE - 900 MB | Incl. Covers | MP3 320 Kbps - 375 MB |

Disc 1
(01) [James Last] The Lonely Shepherd
(02) [James Last] Ballade Pour Adeline
(03) [James Last] Praludium II
(04) [James Last] Paradiso
(05) [James Last] Moonlight Sonata
(06) [James Last] Eine Kleine Nachtmusik
(07) [James Last] Theme(From ''Love Story'')
(08) [James Last] Barcarole(From ''The Tales Of Hoffman'')
(09) [James Last] Concierto De Aranjuez
(10) [James Last] I Just Called To Say I Love You
(11) [James Last] From A Distance(With Richard Clayderman)
(12) [James Last] The Londonderry Air
(13) [James Last] Spanish Eyes
(14) [James Last] Morning
(15) [James Last] Moon River
(16) [James Last] La Vie En Rose
(17) [James Last] Amazing Grace
(18) [James Last] Don't Cry For Me Argentina
(19) [James Last] (Everything I Do) I Do It For You(With Richard Clayderman)
(20) [James Last] Sacrifice(With Richard Clayderman)

Disc 2
(01) [James Last] For Elise
(02) [James Last] Biscaya
(03) [James Last] Yesterday
(04) [James Last] Bamboleo
(05) [James Last] Fantasie ¹1(D-Moll KV 397)
(06) [James Last] Molto Allegro(Aus Simfonia G-Moll KV 550)
(07) [James Last] Granada
(08) [James Last] Andante(Aus Simfonia Coneertante KV 364)
(09) [James Last] Sail Along Silv'ry Moon
(10) [James Last] The Prisoners Chorus(From 'Nabucco')
(11) [James Last] Lazy Afternoon
(12) [James Last] Killing Me Softly
(13) [James Last] Adagio(G-Moll)
(14) [James Last] Guantanamera
(15) [James Last] I Don't Know How To Love Him
(16) [James Last] You Make Me Feel Brand New
(17) [James Last] Sunshine Reggae
(18) [James Last] Hey
(19) [James Last] Preludium VIII
(20) [James Last] The Blue Danube Waltz

EAC-APE [900 MB]



OR MP3 320 Kbps [375 MB]


Senem Diyici Quartet - Live!

Posted By deniz dehri On Tuesday, February 19, 2008 0 comments

Senem Diyici: vocal, zils, davul
Alain Blesing: guitars,
cura Philippe
Botta: sax, flute, sipsi
François Verly: drums, tabla, bendirs
Frederic Roudet: trumpet, buggle

A few good style descriptions of Senem Diyici Quartet :
"The bop of the Bosporus of the cat-like woman Senem Diyici, who sails smoothly from sweet meanders to sparkling dances, a chamber world music, acoustic and playful" Telerama
"Their music is a combination of traditional and classic Turkish music and European Jazz. The lyrics are based upon the poems of Turkish, Kurdish and Armenian poets from the 16th and 17th century. The result that comes from this musical message combined with the Indian rhythms of Ravy Magnifique, the jazzy harmony from Alain Blessing and Philippe Botta and the voice of Senem Diyici is marvelous. " El diaro de Mallorca
BIOGRAPHY (taken from press journal) :
She came to this world in the year of 1953, in the Oriental metropole of Istanbul. Senem was raised by a Kurdish mother and a father of Armenian-Azeri origin. They lived in Sisli, the European quarter of Istanbul,populated by many cultures, like the Greek, Armenian,Hungarian, French, Turkish, Jewish and Italian. These cultures became her roots, influencing her, feeding her, making her understand and live life as a citizen of the world to let her voice be heard.
Already at an early age, her father discovered the quality of his daughter's voice. He began to teach her the classical Turkish songs and stimulated her to listen to records and to the popular and classical songs on the radio. At the age of six he enrolled her in the children's choir of Radio Istanbul, where she soon became soloist in the choir. In the mean time the bond between Senem and her father grew tight. To Senem he was her role-model, her example; a man with dreams, pains and joys, which he tried to express in his poems and paintings.
When Senem was ten years old, she was sent to the National Conservatory of Istanbul, where she studied the theory and particular characters of the traditional Ottoman music for more than six years. But, of course as any youth at any time, Senem discovered the popular and traditional Turkish music,and began to refuse the classical teachings. Also in this period young Turks came to learn about American and English music. To Senem this was a real shock, so much so, that it changed her musical conceptions altogether. Against the advise of her teacher at the Conservatory, she recorded her first record in 1969 ('Nar Hanim' Melodi Musik Prod.). After this, Senem began to work as a professional singer and quit the National Conservatory. In 1971 she started to explore different areas of Turkey. At that time she merely wished to collect the spirit of her peopie, through traditional songs and music. Travelling with her tape-recorder, she met many people, sailors, city folk, countrymen and women, who gladly shared their heritage. She ended up with more than 600 traditional songs and ancient poems that became the basis of her actual work. The gipsy in her awakened, the travelier being open to cultures surrounding her, came free. She expanded her mind in an amazing musical and spiritual meeting with people she met on her way. Back in Istanbul Senem recorded her second album (1973 'Ham Meyva' - Yanki Productions), but felt the strong need to explore the music of the world and decided to leave her country.
That's how she got to Europe. Having travelled a difficult road and full of both beautiful and painful memories, she knew she now had the chance to expand her musical meeting with musicians from all over the world. Jazz entered her life. Her music took her to Germany where Senem continued working with Jazz musicians. After some time she went to Paris where she would meet guitar virtuoso and future husband Alain Blesing. Their collaboration translated her spirit and inspiration. Senem finally found what she had been looking for all these years: a strong, spontaneous, emotional and sparkling encounter between her traditional Oriental music and her love for the music of the West. An encounter, that led to the Senem Diyici Sextet in 1989, producing Senem's third album ('Takalar' - featuring Okay Temiz - Label La Lichère).
The Senem Diyici Quartet was founded in 1991, and consists of Senem Diyici (Turkey), Aiäin Biesing (France/The Netherlands), Philippe Botta (France) and Ravy Magnifique (India/France). The Senem Diyici Quartet recorded 3 albums up to 1998 ('Geste/lest' Wad Productions/Artalent 1993 - 'Divan' Artalent 1995 - 'Tell me Trabizon' Buda Musique 1998). With their music they travel the worid, enchanting 'their audiences wherever they go.
To Senemn her music is like a bridge between cultures and peopie, fusing the old and new, always searching for the spirit and the story that is within every human being. ,It has become her own heritage, through which she transmits and shares universal love and nostalgia with her audiences all over the world.
Short English biography :
Short biography in French :
& http://www.ataturquie.asso.fr/info_pf_041207_2.htm

Full Cover
Download Album

Unesco Collection [3]. Kudsi Erguner - Meditation (1978)

Posted By deniz dehri On Tuesday, February 19, 2008 6 comments
Unesco Collection [1]. Anthology of World Music: Iran
Unesco Collection [2]. Afghanistan. Female Musicians in Herat

This LP is one of the first international recordings of Turkish musician Kudsi Erguner, and a rare one. Again, it is a UNESCO project and includes five different maqam improvisations (Hüseyni, Hicaz, Beyati, Rast, Hüzzam respectively).

It is ripped as two tracks, Side A and Side B. Files are 128 kbps including Covers.


Bratsch - The Early Years

Posted By jhammer00 On Sunday, February 17, 2008 3 comments
These are the three LPs that Bratsch recorded in 1976 to 1981. They have never been published on cd but now these LPs are converted into digital. Somebody who listens Bratsch a lot could recognise the difference in the sound of their early years. They were playing some times more experimental, often by changing their instruments and trying to make their first arrangements on gypsy songs. Anyway they were playing with the passion and freedom of a band of street musicians that they kept also in their later years. The band that time didn't have the clarinet of Nano Peylet and the accordion was not that of Francois Castiello.
The main band on these LPs is:

Dan Grosjacques (Gharibian) - Guitar
Bruno Girard - Violin
Norbert Aboudarham - Accordeon
Pierre Jacquet - Contrebass

All mp3 in 320Kbps-256Kbps|Incl. full covers Enjoy!

BRATSCH "Musique de partout" [1976]

01 Ciganska Balalaika
02 Hotos tou Sakena
03 Le Violon Gaucher
04 Anta o Mri
05 Takirari
06 Grouchitsa
07 Zabach
08 Joulik
09 Sva nok le Nado
10 Radics Kesergo
11 Hora lui Sile
12 Y'en marre les gars! 13 Niska Banja 14 Agapo mia Pantremeni 15 One Step


BRATSCH "J'aime un voyou, maman" [1978]

01 Joulik
02 Tino Mori et Sva le Nado
03 Grouchitsa[1978] J'aime un voyou, maman
04 Cintec de Pahar
05 Thalassa
06 Ci Lune da
07 Gari Gari
08 Sus din fer Cade o Spea et Sirba de la Izvoare
09 Guitara Semistrounnaia 10 Kokaz! 11 Klof!


BRATSCH "Live a la Potiniere" [1981]

01 Invirtita de la Sebes
02 Hora lente Roumaine
03 Stomping at Decca
04 Invirtita de la Feleud
05 Bric a Bratsch
06 Starovatski Preplet
07 Kolo
08 Minor Swing
09 Nami Naz Ouni
10 Sude Sude
11 Stiepi Moldavanskie
12 Lomir zich Iberbetn
13 Hategana de la Unirea
14 Cintec de Leagan
15 Beltz
16 Whola lotta Shakin Going on, Maybeline
17 Bida