Jalal Zolfonoun - Kord Bayat. Traditional Music from Iran

Posted By MiOd On Thursday, May 29, 2008 2 comments
Credits to AmbroseBierce
Jalal Zolfonoun Kord Bayat. Traditional Music from Iran Music of the World CDT-134, 1995
Alt text
TRACK LISTINGS 01. Saba (prelude) 02. Saba (main section) 03. Dobayti (excerpt) 04. Kord Bayat 05. Dobayti (prelude) 06. Dobayti (main section) 07. Shur 08. Layli (first section) 09. Layli (second section) 10. Shahrashub 11. Hud Hud 12. Oshshaq Jalal Zolfonoun - setar, vocal Soheil Zolfonoun - setar, vocal Bijan Zangeneh - def, dombek

flac - including booklet scans

Part 1
Part 2
Part 3

Wajahat Khan - Quintet For Sarod And String Quartet

Posted By MiOd On Thursday, May 29, 2008 2 comments
Credits to AmbroseBierce
Wajahat Khan Quintet For Sarod And String Quartet Koch Schwann 3-6996-2, 2000
Alt text
TRACK LISTINGS Quintet for Sarod and String Quartet - Raga Desh Medici String Quartet 1. I. Prayers of Love 2. II. Monsoon Memories 3. III. Romantic Journey 4. IV. Celebrations Raga Shivranjani - Sarod Solo 5. I. Alap 6. II. Jor & Jhala
Ustad Wajahat Khan is an accomplished composer and has led numerous successful world music collaborations in Indian classical, jazz, flamenco, rock, and Western classical. He has written orchestral and chamber scores for Western as well as Indian instruments working with renowned soloists and ensembles including two sarod concertos and an award winning quintet for sarod and string quartet. This extraordinary collaboration of Indian and Western Classical music is written and performed by Wajahat Khan. The highly acclaimed work was premiered at a sold out Wigmore Hall in London to a standing ovation with the one of the UK's leading international ensembles, the Medici String Quartet. It has also been performed with other renowned international quartets such as the Ciurlionis Quartet. Wajahat Khan has performed this work at prestigious venues and festivals including the Megaron (Athens), the Sage Gateshead (UK) and the festivals of Bath (UK), Vilnius (Lithuania), Geneva (Switzerland) and Istanbul (Turkey). The recording release has also received rave reviews globally.
320 kbps mp3; including full booklet scans

Part One
Part Two

Taiwan - The Confucius Temple Ceremony

Posted By MiOd On Wednesday, May 28, 2008 0 comments
Credits to AmbroseBierce
Taiwan - The Confucius Temple Ceremony. Music of Man Archive Jecklin JD 652-2, 1991
Alt text
TRACK LISTINGS Introduction 1. Ching-Ku: Gate Drum 2. Entry of Celebrants, Musicians and Dancers Ying Shên: Welcoming the Spirit The Offering 3. Ch'u Hsien: First Offering 4. Ya Hsien: Second Offering 5. Chung Hsien: Third Offering Final Portion 6. Ch'e Chuan: Removal of the Viands 7. Sung Chên: Escorting the Spirit Back 8. Guiding March End of the Ceremony: Exit of Celebrants, Musicians and Dancers
The well-known Chinese philosopher and educator Confucius lived from 551-479 B.C. It was not until the second century B.C. that the imperial court and the state administration started to implement Confucius' teachings throughout China. Confucian temples, rites, and music were created and ceremonies were performed in every Chinese town and village. Although these rites, music, and ceremonies went through numerous changes (imposed by diverse emperors), worship of Confucius remained quite constant all the way to 1949 -- that is, until the communist revolution, which considered it incompatible with Maoist ideology. Confucianism was banned, but survived among the non-communist Chinese, such as in Taiwan. The ceremonies heard on this CD come from the Confucius Temple of Taipei. It almost disappeared in the first half of the century but was revived in 1964. The music heard is said to be from around the 16th century, though it went through some form of restoration in 1968 (and has been celebrated since then). There are some other places in Taiwan where Confucius is still celebrated in such a way. A taste of a 2,000-year-old historical ceremony. ~ Bruno Deschênes
320 kbps mp3; including full booklet scans

Part One
Part Two

Aziz Herawi - Cry of the Mountains

Posted By MiOd On Monday, May 26, 2008 2 comments
Aziz Herawi "Master of Afghan Lute"
Cry of the Mountains
Aziz Herawi, or Aghasab as he is reverentially addressed, carries the melodies of his native Herat to Afghani refugee communities around the world. Being born into a family of noted clerics was not an ideal circumstance for a budding creative musician; he was forced to practice clandestinely to avoid the wrath of his elders. Since Herawi's father did not approve of playing music, as a boy Herawi taught himself to play his main instrument, the dutar (a long-necked 14-stringed lute), in secret. Perched like an eagle's nest amidst gigantic mountains, Afghanistan, known to be the heart of Asia, is one of the oldest countries of the ancient world, possessing a written history of five thousand years. Afghanistan's geographic position acted as a liaison between east and West, providing a commercial link as well as a channel of ideas, art, culture, and music. Herat, the birthplace of Aziz Herawi, in Khorasan the birthplace of Rumi, a prominent stop of the fabled "Silk Road" where traders from Mediterranean countries, Central Asia, China, Persia, and India came together. While it is difficult to trace a continuous line of development for Herati classical music from the fifteenth century to the present day, it is clear that the cross-fertilizing relationships between Persian, Afghani, Central Asian Turkic, and Indian musical cultures reflect a history of constantly changing political and economic affiliations. Well known in Herat as an enthusiastic performer and a generous patron of other musicians, as well as for his broadcasts on Radio Afghanistan, Herawi finally left Afghanistan in 1983, whisking his family to safety across the border to Peshawar, Pakistan, and then on to California in 1985, home to some 10,000 plus Afghani refugee families. Herat's music is a blend of Persian and Hindustani instruments and styles. His playing of the dutar and rabab (a short-necked, double-chambered plucked lute and Herawi's second instrument) is very typical of the Herat style although Herawi plays the folk melodies of several distinct cultures from many regions of Afghanistan. The pieces have the varied rhythms of the Hindustani raga forms, but are much shorter and more intense than most Hindustani music. Herawi often builds up to very fast tempos, and employs a wide range of dynamics, ometimes playing very quietly for dramatic effect. As an international troubadour of Afghani music, Herawi has himself become part of an emerging class of xpatriate Afghani artists devoted to the survival and promotion of a new Afghani national musical culture in a world of changing social and economic values. Afghan musician Aziz Herawi was 7 the first time he heard the strings of the dutar being plucked. He talked one of the family servants, who hid it in a blanket, into buying the instrument for him from a shepherd. The boy would wait until his father was asleep, then sneak into the woods surrounding their home. Alone, in the dark, he practiced, teaching himself to play the long-necked 12-stringed dutar. Herawi, is now 57 and a resident of Sacramento, California. His music is a blend of Persian and Hindustani instruments and styles and considered to be typical of Herat, Herawi´s hometown, near the northeastern border with Iran. The pieces have the varied rhythms of the Hindustani raga forms, but are short and more intense than most Hindustani music. They often build to very fast tempos, with a wide range of dynamics, sometimes becoming very quiet for dynamic effect. His lute playing also draws from Persian music, Hindustani talas, and the folk forms and rhythms of the Afghan mountains. In addition to the dutar, he will also play the 24-stringed rubab. Herawi told the Los Angeles Times last year through an interpreter that his music comes from the "heart and soul". New York Times critic Peter Watrous wrote in the early 1990´s that Herawi´s music "was about abandon and ecstasy, with intense sections of improvising, always grounded in a galloping rhythm, giving way to delicate, airy moments." Born to a well-to-do family of mullahs, or religious clerics, the musician´s father was extremely conservative and allowed his children to listen to news on the radio but turned it off before music was broadcast. Like some conservative Christians, he believed that music caused "people to dance and loose control of themselves," Herawi told the Los Angeles Times. The self-taught musician was still a young man when his father died, and he was able to pursue his passion openly. "I invited well-known Ustads (master musicians) from India and other regions to learn from and to play with," he said. "Because what drove me to music was my god-given love for it. When I am holding one of my instruments-especially the rubab-it is like I am holding on to the universe." While still in his 20´s, Herawi became a well-known performer in Afghanistan. He played before the king, Zaher Shah, with pop artist Ahmad Zahir, and went on the road to Iran, Tajikistan, Uzbekistan, Turkey, and other Central Asian nations. His career came to an abrupt halt in 1979 when the Soviets bombed Herat and troops arrived to round up local leaders. Herawi was away at the time, practicing with musician friends, but most of his family was killed. "I went to the mountains, sometimes on horseback, sometimes on foot," he said. "Risk was everywhere, from the Soviets, as well as from the Soviet-sponsored local tribal forces. The risk was death and death was common." Traditionally, music accompanied nearly every private and public ceremony, with the exception of funerals. During those grim and desperate times of the late 1970s and early 1980s, Herawi lived in the mountains with the moujahadeen. He did not play or even hear much music for more than five years. "I was not happy, and that is why I did not play," he said, "it did not feel right, since the country was at war, and my family members were killed. I was given the opportunity to lead 1,500 men. And, as a commander, my mind was in the war, not music, at the time." As things worsened in his homeland, Herawi fled to Pakistan in1983 and settled into the Afghani expatriate community in Northern California two years later. Despite his many years in the United States, Herawi still does not speak English well enough to be interviewed without a translator. Herawi has released three CD´s. Herawi believes his primary mission is to help young Afghanis connect with a heritage they barely remember. Herawi´s music "represents the deep roots of Afghanistan, transcending ethnic, linguistic, and tribal boundaries.

01. Roe Roe 2:58
02. Yak Shabi Tan Ha Biya 2:53
03. Naghma 3:04
04. Amanai 5:39
05. Een Dilah Diwana Rah 4:03
06. Biyaki Shawim 2:37
07. Raks 3:32
08. Raftem Azi Bagh 2:40
09. Tangy Farhad 3:47
10. Hey Saghi Rahistra 3:40
11. Pashto 3:48
12. Parand Si Chakara 2:11
13. Khandana Khaloo 2:29
14. Landai 2:23
15. Logori 1:51
16. Golda Puzolfoe 3:42
17. Biya Biya Banana 4:16
18. Maan Dokhtari Heratam 3:53
19. Az Zehari Chadarat 4:07
20. Gashtem Gashtem 3:39

WV (EAC Rip): 410 MB | MP3 - 320 kbs: 160 MB | Covers

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3

OR MP3 320 kbps

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

Posted By MiOd On Sunday, May 25, 2008 7 comments
Homayun Sakhi The Art of the Afghan Rubab.
Music of Central Asia Vol.3 Smithsonian Folkways, 2006
Alt text
From Kabul to California, Homayun Sakhi is admired as the outstanding Afghan rubâb player of his generation, a charismatic virtuoso who has pushed the limits of his instrument. With tabla player Taryalai Hashimi, Sakhi plays music that is uniquely Afghan, yet resonates strongly with the spirit of Indian raga.

1. Raga Madhuvanti
2. Raga Yaman
3. Kataghani

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

Flac tracks (EAC Rip): 580 MB | MP3 - 320 kbs: 170 MB | Booklet Scans

Archives have 5% of the information for restoration

Part 1 | Part 2

OR MP3 320 kbps

L. Shankar - Raga Aberi

Posted By MiOd On Sunday, May 25, 2008 1 comments
Credits to AmbroseBierce
L. Shankar Raga Aberi Music Of The World, 1995
Alt text
TRACK LISTINGS 1.-8. Ragam Aberi L. Shankar - violin Zakir Hussain - tabla T.H. "Vikku" Vinayakaram – ghatam
The South Indian violin virtuoso, L. Shankar, presents a dazzling rendition of a traditional rag in untraditional terms. He plays in a rhythm cycle of 4-3/4, beats, difficult enough to maintain, let alone be as musically creative as these three. The energy is consistently high, and there are a lot of solos by each musician, as well as deftly coordinated unison passages.
Lakshminarayanan Shankar (born April 26, 1950), also known as L. Shankar, Shankar or Shenkar, is a Tamil Indian violinist, vocalist and composer. L. Shankar was born in Madras, Tamil Nadu. Growing up in Jaffna, in Sri Lanka (then called Ceylon), where his father V. Lakshminarayan was a professor at the Jaffna College of Music, Shankar was exposed to Carnatic music from an early age. His father was an esteemed violinist, his mother L. Seethalakshmi played the veena and all his five older siblings were also proficient in music. The most well known of his brothers is another acclaimed and renowned violinist - L. Subramaniam, who has recorded a number of records himself. Shankar began singing at the age of two, playing violin at the age of five, and learning to play drums at seven. [1] At the age of seven L. Shankar gave his first public concert, at the Nallur Kandaswamy temple. He gained considerable reputation in his early youth as an accompanist to some of the most eminent names in Carnatic music such as Semmangudi Srinivasa Iyer, Chembai Vaithyanatha Baghavatar, Palghat Mani Iyer and Alathur Srinivasa lyer. Following the ethnic riots of 1953 his family moved back to India. After obtaining a Bachelor's degree in Physics in India, Shankar moved to America in 1969 and earned a doctorate in ethnomusicology at Wesleyan University. Here he met jazz musicians Ornette Coleman, Jimmy Garrison, and John McLaughlin while working as a teaching assistant and concert master of the University Chamber Orchestra. In 1975 Shankar and McLaughlin founded Shakti, a pioneering, groundbreaking and highly influential east-meets-west collaborative, fluid sound that managed to successfully combine seemingly incompatible traditions. His first solo album, Touch Me There, was produced by Frank Zappa in 1979.[2] Shankar founded his own band - The Epidemics, in 1982, with the composer Caroline. He released three albums with the band. During the 1980s, Shankar recorded periodically as a leader, doing both jazz-based material and Indian classical music. His 1980 release of the album Who's To Know on ECM introduced the unique sound of his own invention, the ten-string, stereophonic double violin. This instrument, designed by Shankar and built by noted guitar maker Ken Parker, covers the entire orchestral range, including double bass, cello, viola and violin. He has recently developed a newer version of his instrument which is much lighter than the original.[2] 1990 saw Shankar co-producing a one hour film directed by H. O. Nazareth, which went on to be nominated for Best Documentary film at the Cannes film festival. Shankar worked on the score of the film The Last Temptation of Christ (1988), with his music ending up on both albums of the score - Passion: Music for The Last Temptation of Christ and Passion - Sources. He won a Grammy for his work on the latter in 1994. Shankar has performed on several of Peter Gabriel's records such as So and Us. Since 1996, Shankar has toured internationally with fellow-violinist (and his niece[3]) Gingger as "Shankar & Gingger", garnering critical acclaim and popularity. The two performed at events including the Concert for Global Harmony and Nelson Mandela's 80th birthday celebrations. Shankar & Gingger released their first DVD One in a Million in 2001. After a critically successful tour of North America, the DVD went to number 1 on the Neilsen Soundscan DVD charts and stayed there for four weeks.[2] In 2004, Shankar composed and performed on the score for the film The Passion of the Christ (2004). Shankar has played with some of the greatest musical contemporaries of his time, including Lou Reed, Echo and the Bunnymen, Talking Heads, Frank Zappa, Peter Gabriel, Elton John, Eric Clapton, Phil Collins, Jonathan Davis, Bruce Springsteen, Van Morrison, Stewart Copeland, Yoko Ono, A. R. Rahman, John Waite, Steve Vai, Ginger Baker, Toto, Nils Lofgren, Mark O'Connor, and Sting.[2] Shankar has been praised for his ability to mix Eastern and Western influences, assimilating Carnatic music with pop, rock, jazz and contemporary world music. He admits "Ultimately, I would like to bring the East and West together. That, I think, is my role," he says. More recently, Shankar has used a new stage name – Shenkar - and has created recordings under this name. In 2006 - 2007, Shenkar provided the vocals for the opening credit music and other themes for the hit TV series Heroes. for L. Shankar also see http://www.hinduismtoday.com/ ande http://worldmusiccentral.org/

Flac, no scans
Part 1
Part 2
Part 3

Imrat Khan - Rag Madhur Ranjani

Posted By MiOd On Friday, May 23, 2008 0 comments
Credits to AmbroseBierce
Imrat Khan Rag Madhur Ranjani Topic, 1992
Alt text
TRACK LISTINGS 1. Section A: Solo Sitar 2. Section B: Sitar & Tabla Imrat Khan - sitar Shafaatullah Khan - tabla
Just a change of pace. Imrat Khan is part of the illustrious Khan family from India in which just about everyone totally rips everything they do on record. Dude plays sitar on this recording and is insane on it. This album is comprised of 2 30-minute pieces and both are extremely beautiful. One is "Solo Sitar" which is just that. The second is "Sitar & Tabla" which features Imrat's son on the tabla, and he is great too. I'll type up the liner notes: Imrat Khan is one of the most well known Indian musicians of our time. He traces his lineage back through a family of musicians to the court of the great Moghul Emperor Akbar of the sixteenth century. He trained on the surbahar with his uncle Usta Waheed Khan, and studied sitar with his older brother, the celebrated Ustad Vilayat Khan. Gayecki Ang [a vocal style of playing stringed instruments] has become a trademark of the gharana (musical "house") of Imrat and Vilayat Khan. Gayecki Ang involves an extensive use of a technique called meend wherein a player pulls sideways across the frets and allows for an entire musical phrase to be produced with a single stroke of the plectrum. Imrat Khan is renowned throughout the world, and maintains a busy travel and touring schedule. He performs regularly in the major cultural centers of Europe and the Americas, as well as in India, where he makes his home. Shafaatullah Khan accompanies his father on tabla with a sensitivity that is characteristic of the entire Khan family. Shafaatullah first began his training in sitar and surbahar, and later studied tabla in order to provide accompaniment for his father and his brothers, all of whom are string players. He performs regularly with them in international circuits, as well as with other well known musicians. He currently resides in the United States. Indian Classical music is one of the most developed forms of music to have emanated from our world. In many ways, especially as regards scale and rhythmic structures, it is far more complex than Western Classical music. Its improvisational aspects require and encourage performers to inject their own personalities into the music, without ever straying very far from the set melody and rhythm. In this way, a classical raga written hundreds of years ago may be rendered somewhat differently by any number of musicians over the years. These characteristics afford Indian Classical music a certain timelessness, and allow for a wide range of interpretations of a given composition. It has always been a sensitive issue as to when a musician should feel comfortable enough to compose his own rag. A musician might attempt this only after a long period of his life, after a thorough knowledge of perhaps hundreds of rags has been attained. A musician of such stature might then present his own composition. It does not suffice however, to merely compose a rag because in order to be thoroughly absorbed into the musical system, a piece must be played regularly and passed on through the generations until it achieves recognized status. Rag Madhur Ranjani is a rag of Imrat Khan's own design, but is based on two well known traditional rags, Madhuvanti and Shivranjani. Set in a minor key, Rag Madhur Ranjani echoes the pathos of Shivranjani, but also expresses fulfillment, as of finding one's beloved after a long period of absence. Rag Madhur Ranjani is performed on this recording in alap, villambit, madhyalaya and drut. The scale, in ascending and descending forms is as follows: Sa Re Gab Ma# Pa Dha Sa Although Imrat Khan is very well known for his surbahar playing, it was specifically requested that he render a performance on sitar for this recording. This request was graciously obliged, but it was not known until the day of the recording exactly which rag he would play. In Western music, it would be very difficult (if not impossible) for a producer to embark on a recording session without knowing which songs were to be performed. However, in the Indian tradition, many factors such as time of day, season, climactic conditions, personal feelings of the performer etc. regularly help to determine which piece will be most appropriate for a given performance. Madhur Ranjani was the perfect choice for this recording and it is rendered here with great passion and dexterity. The relatively diminished role of the tamboura, played sensitively by Irshad Khan, is used only as filler at crucial points in the rag, rather than throughout the entire performance. In this way, the silence that exists in between individual notes can be utilized to its greatest extent in order to create a tension and balance which are integral to the final effect of the piece.
A member of one of Indian classical music's most prominent, well-respected families, Ustad Imrat Khan plays the sitar in a style known as "gayeki ang," which is a vocal style of playing stringed instruments. Relying less on the droning tamboura than is common for most North Indian solo instrumentalists, Khan allows his evocative, expressive style to stand out, using dynamic melodies and ample space between notes to create a wonderful sense of dramatic tension. The 30-minute opening segment allows the virtuoso to display his mesmerizing sitar skills, while the second half of the raga finds him joined by his son, Shafaatullah Khan, on tabla. Rendered with surprising depth and skill, this is a wonderful example of meditative minimalism at its finest.
Flac, no scans

Part 1
Part 2
Part 3

Gopal Shankar Misra - Out Of Stillness

Posted By MiOd On Friday, May 23, 2008 3 comments
Gopal Shankar Misra Out Of Stillness, 2000

The late Gopal Shankar Misra, who died in 1999, was one of the masters of the voicelike vichitra veena, one of India's oldest and most expressive instruments. He was also one of the few to take its sound outside classical music, performing with Ananda Shankar and State of Bengal, exploring the possibilities of fusion. This disc, however, shows him in a more contemplative mood, performing four parts of "Darzabi Kanbra" with thundering tabla as accompaniment on part 4 and "Mishra Pilu." His command of the veena is nothing short of staggering, executing precise phrases at the fastest tempo, but also letting it sing in a way few could. Misra (who was also an adept sitar player) never let technique win out over feel, however, and to hear his playing is to encounter virtuosity on a rare level. This is a quiet, gorgeous gem of a record to be enjoyed many times.

The expressive, liquid sound of the vichitra veena - an instrument older than the sitar, associated with Saraswati, the Hindu goddess of learning - is perfectly suited to Indian classical music's instrumental ideal: to emulate the subtle nuance and fluidity of the human voice. Traditionally used to support the Drophal style of singing, various types of veena are found throughout India - but few players there or elsewhere can play the ancient vichitra veena with any degree of proficiency, and the instrument has rarely travelled beyond the Indian Subcontinent.

1. Darbari Kanbra - Alap
2. Darbari Kanbra - Jod
3. Darbari Kanbra - Vilambit Gat
4. Darbari Kanbra - Drutgat

Flac tracks (EAC Rip): 430 MB | MP3 - 320 kbs: 170 MB | Covers

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3

OR MP3 320 kbps

Haydee Alba - Tango Argentin

Posted By MiOd On Wednesday, May 21, 2008 0 comments
Credits to AmbroseBierce
Haydée Alba Tango Argentin Ocora C 559091, 1990
Alt text
TRACK LISTINGS 01. El Chocio 02. Malena 03. Mi Buenos Aires querido 04. En esta tarde gris 05. Volver 06. Cambalache 07. Después 08. Canci?n desesperada 09. La cumparsita 10. Nada 11. Corrientes y Esmeralda 12. Uno 13. La calesita 14. Milonga de marfil negro 15. Balada para mi muerte 16. Nostalgias 17. El ?ltimo café 18. Sue?o de barrilete 19. Balada para un loco recorded at Maison de Radio France, December 1989 and February 1990. Haydée Alba - vocals José Libertella - accordion Osvaldo Berlinghieri - piano Kicho D?az - double-bass
Haydée Alba, in this her first album, has given first consideration in her choice of tangos to the quality of their poetry with a desire to illustrate through the 19 tangos how the form has envolved. Three great musicians, direct contributors to this evolution in their own field, have assisted her in this endeavor. Two of them, the double-bass player Kicho Díaz and the pianist Osvaldo Berlinhieri belonged to that prestigious ensemble of Anibal Troilo, the world-famous bandoneonist often referred to by Piazzolla. José Libertella, one of the founders of the Sexteto Mayor and an extremely talented arranger, has managed to conserve and yet heighten the beauty of these texts with all their deep-rooted popukar vitality.
320 kbps mp3; no booklet

Part One
Part Two

Rudi & Nini Flores - Chamamé. Musique de Corrientes

Posted By MiOd On Wednesday, May 21, 2008 2 comments
Credits to AmbroseBierce
Rudi & Nini Flores Chamamé.
Musique de Corrientes Ocora C 560186, 2005
Alt text
TRACK LISTINGS 01. Kilómetro Once 02. Canto a Mi Terruño 03. Lejana Flor 04. Lucero de Abril 05. Vals en París 06. Caú 07. Viejo Caá Catí 08. Bodas de Plata 09. Línea 7 10. Paisanito 11. Romance del Río y La Paloma 12. Tu Regreso 13. Lunita Entrerriana 14. Mi Bien Amada 15. Luna Ilena 16. Topada 17. ¡A! Mi Corrients Porá
Alt text
Chamame is the main musical genre played, danced and sung in Argentina's North-Eastern provinces. Long derided, this mixture of Spanish, Guarani and African influenced music is now enjoying an unprecedented revival. Recorded in Buenos Aires, Argentina in 1993. Brothers Rudi Flores on guitar and Nini Flores on accordion were both born in the Corrientes province of Argentina, but since 2000 they have lived in France.
Chamamé is a folk music genre from the Argentine...Yapeyú in Corrientes was a centre of musical culture that many point as the birth place of the original Chamamé. Further mixing with locally used instruments such as the Spanish guitar, then the violin and the accordion, finally resulted into what we currently know under the name of Chamamé. There are recordings of early 20th century, and the term 'Chamamé' was already used in 1931, previously often referred to as the Corrientes' Polka. In the Chamamé, original Guaraní rhythms mix with the Spanish guitar and the European accordion, probably brought by the Polish, German, Austrian and Ukrainian immigrants that arrived to the area at the beginning of the 20th century.
320 kbps mp3; including full booklet scans

Part One
Part Two

Italie - Sardaigne. Cantu a chiterra

Posted By MiOd On Monday, May 19, 2008 1 comments
Credits to AmbroseBierce
Italie - Sardaigne. Cantu a chiterra Ocora C 560206, 2006
Alt text
TRACK LISTINGS 01. Cantu in Re 02. Nuoresa 03. Mutos 04. Galluresa 05. Filognana 06. Piaghesa antiga 07. Cantu in Re 08. Mi e La 09. Fa diesis 10. Si bemolle 11. Disisperada Emanuele Bazzoni - vocals Francesco Demuru - vocals Daniele Giallara - vocals Bruno Maludrottu - guitar Bachisio Masia - guitar
Joute musicale où l'on rivalise de grâce, de souffle et d'audaces vocales, le cantu a chiterra reste largement inconnu en dehors de la Sardaigne : chaque chanteur prenant place à tour de rôle autour d'un guitariste, interprète des textes puisés dans des recueils de poésie (le plus souvent du XIXe siècle et transmis oralement), et exprime endurance, puissance et inventivité mélodique.
320 kbps mp3; including full booklet scans

Part One
Part Two

Cercle d'Art Populaire - Chine. Musique Classique Vivante

Posted By MiOd On Monday, May 19, 2008 0 comments
Credits to AmbroseBierce
Cercle d'Art Populaire Chine.
Musique classique vivante Ocora C 582049, 1988
Alt text
TRACK LISTINGS 01. Yu da ba jiao (La pluie frappe les feuilles de bananier) 02. Hantian lei (Tonnerre en temps de secheresse) 03. Wujiang huange (Chant de joie du fleuve Wu) 04. Hua bangzi 05. Da qi ban 06. Wu bangzi 07. Jindiao (Air de jin) 08. Zhao Jun yan (Lamentations de Zhao Jun) 09. Xiao yuer gao (La lune est haute) 10. Han que zheng mei (L’hiver, la pie lutte pour la prune) 11. Long chuan (Bateaux-dragons) 12. Ting quan (Ecouter la source) 13. Yangguan san jie (3 variations sur la passe de Yangguan) 14. Zhuangtai qiu si (Songe d’automne devant la coiffeuse) 15. San wu qi (Trois-cinq-sept) 16. Xingjie (Passacaille) Zhan Yongmin Meng Xiande Su Ruilin Ding Guoli Miao Qi Xu Taibin
Music for pipa lute, banhu fiddle, diizi flute, and sheng mouth-organ is performed by a group of young musicians. They are part of what the notes call an evolutionary process, which appears to include elements of an international sensibility, less in material than in more indefinable interpretative attitudes. Included are good notes with illustrations of the instruments. -John Storm Roberts
320 kbps mp3; including full booklet scans

Part One
Part Two


Posted By MiOd On Saturday, May 17, 2008 2 comments
Original Zengala Band
Kenya (Africa Vol. 01)
P & G media-service 223515-321/A, 2006
Alt text


01. Usimcheke Kilema
02. Nili Kua Na Numewango
03. Sakina
04. Mama Wa Kambo
05. Asili Ya Utamaduni
06. Pamela
07. Sophie
08. Vicky
09. Baba Athumani
10. Fitina

Sudi Ali Dzaphara Alfani Juma Mwabaha Khamis Swaleh Ngozi Abdalla Hamisi Mwapesa Ali Mohamed Mwazala Abdul Abubakar Magumba Rumumba Viango Vigedi Recorded, mixed and arranged by Franco Cufone and Idy Cortini at Tropical Recording Studio in Malindi.

320 kbps mp3; including full Cover scans

Part One
Part Two

Them Mushrooms
Kazi ni Kazi - Tribute to Bob Marley - Kenya (Africa Vol. 03)
P & G media-service 223515-321/C, 2006
Alt text

01. We Are All One
02. Unkula Huu
03. Kazi Ni Kazi
04. Mama
05. Conmen Wicked Men
06. Say No
07. Enuff is Enuff
08. Rwanda
09. Back in Dubai
10. My Indian Lady
11. Walanga Pera
12. Tribute to Bob Marley
13. Viva Italia
14. Shine on
15. Swiss Lady

John Buya / Jillo - drums, vocals Freddie Awalla / Onyango - guitar, vocals Dickson Owuor / Onyango - trumpet, percussion John Katana / Harrison - keyboards, vocals Billy Sarro / Harrison - bass guitar, vocals Teddy Kalanda / Harrison - tenor sax, percussion

320 kbps mp3

Part One
Part Two

Rumba is Rumba
Bilenge Musica du Zaire - Zaire (Africa Vol. 04)
P & G media-service 223515-321/D
Alt text

1. Anna Bella
2. Wazazi Wangu
3. Bilenge Musica
4. Likanisi
5. Rumba is Rumba
6. Ewango
7. Rita. M
8. Jay - Jay

All songs recorded and mixed by Ahmed Juma at Sync Sound Studios

320 kbps mp3
Part One
Part Two

Yerere - Uganda (Africa Vol. 05)
P & G media-service 223515-321/E
Alt text

01. Yerere
02. Semusajja - Feat. Bobo & Rocky
03. African Paradise
04. Physical Thang - Feat. Ebony Affair
05. Kind O' Girl (Juliana) - Feat. Hardstone
06. Gira Otere Ogende
07. Stop the Pain
08. Sirina - Feat. K. M.
09. Washed Tears - Feat. Tedd Josiah
10. Let Peace Shine - Duet with Noel
11. People Need
12. Yerere (Remix) - Feat. Hardstone

320 kbps mp3
Part One
Part Two

Safari Sound Band
Mambo Jambo - Kenya (Africa, Vol. 07)
P & G media-service 223515-321/G
Alt text

01. Mpenzi
02. Haba Haba Soup Soup
03. Mambo Jambo
04. Binti
05. Kala Mashaka
06. Hinde
07. Kabutema
08. Malaika
09. Nilikupenda
10. Mamake Asiya

320 kbps mp3
Part One
Part Two

Sir Roberto
Acquele - Hi-Life. The Original Sound from Ghana (Africa 10)
P & G media-service 223515-321/J
Alt text

01. Yaa
02. Kaya Kaya
03. Adofo Ndwom
04. Waves
05. Save the World
06. A True African
07. Begye W'ani
08. Acquele
09. Do It Without Drugs
10. Efri Woara

All songs written, arranged, produced and performed by Sir Roberto. Tracks 1, 2, 3, 7, and 10 recorded and mixed at Soundcheck Studio, Bülach, Switzerland. Engineered by Roger Kevins. Tracks 4, 5, 6, 8 and 9 recorded and mixed at Cage Studio, Zürich, Switzerland.

320 kbps mp3
Part One
Part Two

Teresa Salgueiro - Voce E Eu

Posted By MiOd On Thursday, May 15, 2008 2 comments
Alt text

Teresa Salgueiro, a voz mágica do Madredeus, apresenta seu primeiro disco solo, Você e Eu, marcando a fusão de duas culturas, por meio do encontro da cantora portuguesa com a música e os músicos do Brasil. São 22 clássicos da mpb, com letras que encantam a artista tanto pelo poder das suas imagens como pela forma de evocar, com uma simplicidade próxima da linguagem popular, a poesia da saudade e do amor. Não deixe de conferir!

With her emotionally rich vocals, Teresa Salgueiro has helped to make Madredeus one of Portugal's most influential groups. Inspired by Portugal's fado tradition, an intricate vocal style that incorporates elements of opera, blues, and tango, Salgueiro has added a modern sensibility to the traditional sound. Salgueiro was praised, by http://www.popmatters.com for her "ethereal voice, which combines earthly desire, cosmic awe, material longing, and transcendental hope, and which settles over you like a state of grace." Salgueiro has attracted attention with her vocalizing since childhood. As a young girl she sang Portuguese music and Brazilian bossa nova tunes in the streets and taverns of Lisbon. Moving to old Lisbon with friends, at the age of 16, she continued to sing. Soon after meeting guitarist/producer Pedro Ayres Magalhaes in 1987 she helped to form Madredeus. The group recorded their debut album, Lisbon Live, at the Iberian Theater. Accompanied by the acoustic, almost classical sounds of Magalhaes and José Peixoto on guitar, Francisco Ribeiro on cello, Gabriel Gomes on accordion, and Rodrigo Leão on keyboards, Salgueiro allowed her voice to soar with irresistible passion. In 1994, Salgueiro and Madredeus recorded the soundtrack of Wim Wenders' movie, Lisbon Story (Viagem a Lisboa). Along with Magalhaes, Salgueiro played a prominent role in the film. The soundtrack was released as Ainda. ~ Craig Harris, All Music Guide
| MP3 VBR Kbps | Booklet Scans | 120 MB | 2007 |


[01]. Chovendo Na Roseira
[02]. Na Baixa Do Sapateiro
[03]. Marambaia
[04]. Estrada Do Sol
[05]. Valsa de uma Cidade
[06]. O Samba Da Minha Terra/Saudade Da Bahia
[07]. Maracangalha
[08]. Felicidad
[09]. Risque
[10]. Lamento
[11]. Inútil Paisagem
[12]. Triste
[13]. Modinha
[14]. P'ra Machucar Meu Coração
[15]. Insensatez
[16]. Meditação
[17]. Valsinha
[18]. Samba Do Orfeu
[19]. Só Tinha de Ser Com Você
[20]. Se Todos Fossem Iguais a Você
[21]. Você E Eu
[22]. Banda

Alt text

Alexian Group - Gijem Gijem

Posted By MiOd On Thursday, May 15, 2008 2 comments
Credits to AmbroseBierce
Alexian Group Gijèm Gijèm.
Musique Rromani des Abbruzes Al Sur ALCD 171, 1996
Alt text
TRACK LISTINGS 01. La danze del Beng 02. Echi d'Oriente 03. So me te keràs 04. Aria zingara 05. Suno' Romano' 06. La danza del fuoco 07. Jilo' bi nafèl 08. A briglie sciolte 09. Murdevèle 10. Kaggio' 11. Gijèm Gijèm Alexian Santino Spinelli - accordion, vocals Maurizio Rolli - double bass Marco Malatesta - percussion Francesco Ciancetta - guitar, lute, choir Guest: Juditha Hamza - violin (1, 4, 6, 10)
Alexian's leader Santino Spinelli is an Italian Roma (Gypsy) accordionist, singer and composer well known all over Europe and in Japan thanks to his commitment in preserving and promoting the Roma culture. The band's musical map includes journeys through the different regions that have hosted the Roma during the centuries, from Indian Punjab to the French Camargue. All the band's song, which are composed by Spinelli, are sung in Romanthe Roma language of the Alexian ethnic group
Alt text

320 kbps mp3; including full booklet scans

Part One
Part Two

La Negra

Posted By MiOd On Wednesday, May 14, 2008 2 comments
The first record by La Negra, whose debut is an album that was produced by Javier Limón: flamenco, jazz, tango and Brazilian music. In this work, La Negra has been able to count on the participation of musicians such as Niño Josele and Jerry González. Her first solo album reveals a voice and a performing ability that soar over the styles and songs in the record.
Alt text

| EAC-APE - 220 MB | Booklet Scans | MP3 320 Kbps - 90 MB |


[01]. El mago pitico
[02]. Inevitable
[03]. Antes
[04]. Amarte despacito
[05]. Dime pronto
[06]. Nada
[07]. Siento
[08]. Como a nadie
[09]. La seguridad
[10]. Se fue
[11]. El mago pitico (bonus track)

Djanali Akberov - Mugam d'Azerbaijan, Vol. 7

Posted By MiOd On Wednesday, May 14, 2008 2 comments
Credits to AmbroseBierce
Djanali Akberov (Khan Shushinski Trio)
Mugam d'Azerbaijan, Vol. 7 Inedit W 260069, 1996
Alt text
TRACK LISTINGS CD 1 1. Mugam Orta Mâhur 2. Mugam Shekaste-i-fars 3. Mahur Hindi (kemânche solo) 4. Navâ - Nishâpur (târ solo) 5. Huzzal Zarbi CD 2 1. Rahâb (târ solo) 2. Mugam Chopân Bayâti 3. Mugam Shushtar 4. Mugam Dogâh 5. Mansuriye Djanali Akberov - vocals & daf Vamig Mamadaliev - târ Tal'at Bagikhanov - kemânche
Three musicians : a singer, a lutenist and a bowed lute player, perform deeply moving vocal and instrumental suites from the classical Azeri repertoire. Djanali is the last disciple of Khân Shushinski. The voice of a young man and the performance of a master in the most rare Mugam. A matchless art which deserved this 2 CDs edition.
Alt text

320 kbps mp3; including full booklet scans

Part 1
Part 2
Part 3

Sakine Ismailova - Mugam d'Azerbaijan, Vol. 5

Posted By MiOd On Wednesday, May 14, 2008 0 comments
Credits to AmbroseBierce
Sakine Ismailova Mugam d'Azerbaijan,
Vol. 5 Inedit W 260049, 1993
Alt text
TRACK LISTINGS 1. Mugam Mirza Husayn Segah 2. Zarbi mugam "Karabagh Shikastesi" 3. Improvisation à la vièle kemânche, mode humâyun 4. Zarbi mugam "Kesme Shikaste" 5. Mugam Shahnaz 6. Improvisation au luth târ, modes nava nishapur et ovshari 7. Zarbi Mugaml "Semâi Shams" Sakine Ismaïlova - vocals & daf Arif Asadullaev - târ Elkhan Muzafarov - kemânche
Three musicians : a singer, a lutenist and a bowed lute player, perform deeply moving vocal and instrumental suites from the classical Azeri repertoire. Curl up in Ismailova's singing. It is warm and violent, but you will not be consoled
Alt text

320 kbps mp3; including full booklet scans

Part One
Part Two

Alim Qasimov - Mugam d'Azerbaijan, Vol. 1&2

Posted By MiOd On Monday, May 12, 2008 1 comments
Credits to AmbroseBierce
Alim Qasimov (Alem Kassimov)
Mugam d'Azerbaijan, Vol. 1 Inedit W 260012, 1989
Alt text

1. Mugam Chargah
2. Mugam Bayati Shiraz

Alim Qâsimov - vocals & daf Elshan Mansurov - târ Malik Mansurov - kemânche
Three musicians : a singer, a lutenist and a bowed lute player, perform deeply moving vocal and instrumental suites from the classical Azeri repertoire. An unforgettable voice, an unfailing science of the modes, and one of the best Oriental drummers.
320 kbps mp3; including full booklet scans

Alim Qasimov (Alem Kassimov)
Mugam d'Azerbaijan, Vol. 2 Inedit W 260015, 1990
Alt text


1. Mugam Rast
2. Tesnif, Mugam, Tesnif Dashti

Alim Qâsimov - vocals & daf Elshan Mansurov - târ Malik Mansurov - kemânche
Three musicians : a singer, a lutenist and a bowed lute player, perform deeply moving vocal and instrumental suites from the classical Azeri repertoire. Qâsimov depicts a poetic world with a remarkable vocal keenness.
Alt text

320 kbps mp3; including full booklet scans

Karunesh - Joy of Life

Posted By MiOd On Friday, May 09, 2008 3 comments
Smell the exotic spices, sway with the blissful grooves and heed the call to devotion as you listen to this exalted, ecstatic music by contemporary mystic and master multi-instrumentalist Karunesh. Featuring good friend Govi on oud and sitar.
Alt text

Upon hearing the sacred qualities in Zen Breakfast, it comes as no surprise that Karunesh's natural talent for musical expression was initially nurtured in a spiritual environment. The music of Zen Breakfast draws upon sounds from ancient spiritual and religious traditions in ways that speak to the deep-felt longing in each of us for spiritual connection. It was during five years that Karunesh lived in an ashram in Germany that he had the opportunity to learn from and play together with musicians from cultures around the world. Music was a vital part of the mystical experience being pursued and where Karunesh (Sanskrit for "compassion") says he developed the ability to weave different styles and feelings together into a living symbiosis - a symbiosis carried by his own very unique and personal "melodies from the heart." Karunesh was born in 1956 in Cologne, Germany. Although he had been drawn to music as a child and played in bands as a teen, he chose to study graphic design as a career. After attaining his degree, the path did not feel right for him and as sometimes happens to prompt us of a critical need for a change in direction, Karunesh was involved in a serious motorcycle accident. For two weeks, he was suspended between life and death, and this experience sparked the beginning of his spiritual path. In 1979 he made his first journey to India and began to follow his heart. In 1984 Karunesh released his first album "Sounds of the Heart," an album that quickly became a classic in the new age genre. More albums followed. With 450,000 albums sold to date, Karunesh has become established as one of the best-known artists in the genre. Karunesh has lived in Maui, Hawaii, since 1992, bathed in the healing warmth and fragrances of the tropics. From this island's feminine embrace, he creates music that holds a beautiful, sacred and healing resonance for those who listen. It was over breakfast one morning in Maui that company president Terence Yallop, with his background of Taoist philosophy and t'ai chi, and Karunesh, musician, sat down to talk about their hopes and dreams. From this meeting their creative collaboration was formed and Zen Breakfast conceived. Nirvana Café, Karunesh's second album for Real Music and another tasty sonic treat, released in 2002 and Call of the Mystic was released in 2005. All 3 albums have achieved top positions on Billboard's New Age Chart.

| EAC-APE - 315 MB | Full Scans | MP3 320 Kbps - 125 MB |


(01) [Karunesh] Morning Celebration
(02) [Karunesh] Longing for the Unknown
(03) [Karunesh] Evening Reflections
(04) [Karunesh] Flowing Bamboo
(05) [Karunesh] Return of the Rains
(06) [Karunesh] Joy of Life
(07) [Karunesh] Sahara Sunset
(08) [Karunesh] Shruti's Song

Baz Amadam - Persian Classical Music

Posted By MiOd On Friday, May 09, 2008 5 comments
Concert de PARISA au Royal Festival Hall
Vocal performance is at the heart of Iranian classical music, and Parisa is among Iran's greatest living singers, as this fine recording from a concert at London's Royal Festival Hall bears witness -- most strikingly, for me, in her use of the poignant fast glottal shake that is emblematic of Iranian classical singing. The pieces here, vocal and instrumental, include several newer, composed genres both vocal and instrumental. ~ John Storm Roberts, All Music Guide
Alt text

| MP3 192 Kbps | Booklet Scans | 80 MB |


[01]. Mahour: Tasnif Maliheh Saiidi, Cheikh Bahaii
[02]. Mahour: Chant Accompanied by the Qanun
[03]. Mahour: Tasnif Cheikh Bahaii
[04]. Mahour: Chant Accompanied by the Santur
[05]. Mahour: Chahar Mezrab Ustad Saba
[06]. Mahour: Chant Accompanied by the Tar
[07]. Mahour: Tasnif Maliheh Saiidi
[08]. Mahour: Chant Accompanied by the Kamancheh
[09]. Mahour: Solo Santur
[10]. Mahour: Tasnif
[11]. Mahour: Reng Shahr Ashub

Parisa (Main Performer), Mary Pardoe (Liner Notes), Mary Pardoe (Translation), Mohammad Azari, Mohammad Azari (Santur), Mohammad Azari (Santouri), Mohammad Dilnavazi (Taragat), Dr. Eraj Emami (Art Direction), Iraj Haghighi, Iraj Haghighi (Sounds), Hadi Montazeri, Hadi Montazeri (Kamanche), Maliheh Saiidi (Leader), Maliheh Saiidi (Kanun), Maliheh Saiidi (Qanoun), Koshan Yaghmai

Al-Andalus Collection [18]. Nuba Al-Istihlal

Posted By MiOd On Wednesday, May 07, 2008 4 comments
Al-Andalus Collection [01]. Salim Fergani - Prado de Gacelas
Al-Andalus Collection [02]. Naseer Shamma - Maqamat Zíryáb
Al-Andalus Collection [03]. Eduardo Paniagua - JARDIN DE AL-ANDALUS
Al-Andalus Collection [04]. Salim Fergani - Dos Corazones
Al-Andalus Collection [05]. Naseer Shamma & Oyoun - Hilal
Al-Andalus Collection [06]. Eduardo Paniagua - Agua de la Alhambra
Al-Andalus Collection [07]. Omar Metioui - La Fuente del Amor Secreto
Al-Andalus Collection [08]. Latidos de Al-Andalus
Al-Andalus Collection [09]. La llamada de Al-Andalus
Al-Andalus Collection [10]. Ibn ‘Arabi - El intérprete de los deseos
Al-Andalus Collection [11]. Al Turath Ensemble - Hermana de la Luna
Al-Andalus Collection [12]. Al Turath Ensemble - Jardines de Jazmín
Al-Andalus Collection [13]. LA BELLEZA CONTEMPLADA
Al-Andalus Collection [14]. POEMAS DE LA ALHAMBRA
Al-Andalus Collection [15]. Salim Fergani - Elegia a la muerte de Salah Bey
Al-Andalus Collection [16]. Salim Fergani - La noria de los modos Al-Andalus Collection [17]. Eduardo Paniagua - Cantos Misticos Devocionales
Música Andalusí
Núba Al-Istihlál Ibn Báya Ensemble - Omar Metioui & Eduardo Paniagua
Alt text

| EAC-FLAC - 310 MB | Booklet Scans | MP3 320 Kbps - 135 MB

  1. Bugya Twisya Nos. 1 and 2 of the Núba Mízán Bsít: San'a, Qála Lí
  2. Mízán Qá'im wa-nisf Twisya San'a, Yá Wáhida L-'asri Laysa L'asá (instrumental)
  3. Twisya No. 3 of the Núba Insád de Tab' Al-Instihlál Mízán Bráyhí: San'a, Gaybatuk
  4. Mízán D-dary Twisya Brwála, Akáml l-bhá
  5. Mawwál Al-Istihlál Mízán Quddám: twisya San'a, 'Indamá Sadá Min Suhayba Barat Gasálun Samá
  6. Mawwál sobre Tab', Al-Hiyáz Al-Kabír
  7. Mawwál sobre Tab', Raml Al-Máya

Performers: Eduardo Paniagua (flutes), Luis Delgado (andalusí lute), Gloria Lergo (voice), Mohamed El Arabi Serghini (voice, viola, darbouka), Omar Metioui (oud, andalusí lute, viola, tar, voice)

Alt text

The Network Anthologies 9 : DESERT BLUES 3

Posted By MiOd On Sunday, May 04, 2008 8 comments
The Network Anthologies 1: Ambiances du Sahara - Desert Blues 1
The Network Anthologies 2: Rêves d' oasis - Desert Blues 2
The Network Anthologies 3: L'épopée Tzigane - Road of the Gypsies
The Network Anthologies 4: Echos du Paradis - Sufi Soul
The Network Anthologies 5: Golden Afrique I&II
The Network Anthologies 6: Souffles de l'âme - Balkan Blues
The Network Anthologies 7: The Diaspora of Rembetiko -“Greek Blues”
The Network Anthologies 8: Hommage A Nusrat Fateh Ali Khan

The Dream Journey Continues Desert Blues 3 – Entre dunes et savanes It is 10 years since the label Network began recording artists from the Sahara, Sahel and neighbouring countries.
The journey to the serene side of African music has since been awarded international prizes, has been in the charts for months and is regarded as the “best-selling compilation of African music of all time” (fRoots). Many stars from the countries around the Sahara have allowed themselves to be inspired by the Desert Blues. For Desert Blues III, the editorial team has evaluated all the new releases of recent years and is now presenting the crème of musicians from 10 countries and their highly emotional ballads: including, super-stars Khaled and Souad Massi from Algeria; Malouma “The Lady of the Blues” from Mauritania; the poignant voice of Dhafer Youssef from Tunisia; Gigi, the current queen of Ethiopian soul music; expressive music from Mali by Amadou and Marian, Ali Farka Touré, Oumo Sangaré, Rokia Traoré with the Kronos Quartet; “Fula Flute” from Guinea; Tuareg music from West Africa by the successful group Tinariwen. And all of this is complemented by several completely new discoveries and first releases. A musical dream journey to the voices and vibes of the oases, the savannas, the caravans, the endless seas of sand and Tuareg campfires. Long-format double CD ..More than 2 hours playing time.
Alt text

The third element "Desert Blues 3," is no exception to this rule and is proposing 28 new pieces have in common their obvious similarities to the blues. A good twenty different artists more or less known (Cheb Khaled, Souad Massi, Malouma, Dhafer Youssef, Amadou & Mariam, Ali Farka Toure, Toumani Diabate, Oumou Sangare, Rokia Traoré, Kronos Quartet, Tinariwen or Gigi Queen ' Addis Ababa and the Ethiopian saxophonist Getatchew of Mekurya) Anyway, this compilation is full of beautiful voice, melodies envoutantes or magic full of smells of Africa ... For the Tuaregs, travel means "learning to live". It is also the sentiment that prevails in listening to these 2 magnificent CD. A compilation at any point remarkable!
| MP3 VBR kbps | Front Cover | 185 MB | May, 2008 |


01: Fanta Bourama - Djélimandy Tounkara
02: M´ba Den Ou - Idrissa Soumaoro
03: Raoui - Soaud Massi
04: Wahrane, Wahrane - Khaled
05: El Nabi - Tiris
06: Kanou - Booubacar Traore & Regis Gizavo
07: Dream After Dream - Markus James
08: Lassidan - Bako Dagnon
09: Keme Bourema - Fula Flute
10: Bati Bati - Gigi
11: Baayo - Cherif M´Baw
12: Humaisa - Abdouolaye Alhassane Toure
13: Bownboï - Rokia Traore & Kronos Quartet
14: Ai Ga Bani - Toumani Diabate & Ali Farka Toure striplet linje

01: A Kind Of Love - Dhafer Youssef
02: Tounga - Seckou Keita Quartet
03: Penda Yoro - Ali Farka Toure
04: Kar Kar - Boubacar Traore
05: Yarab - Malouma
06: Banani - Bassekou Kouyate & Lobi Traore
07: Imidiwan - Abdallah Ag Oumbadougou
08: Kulu - N´Gou Bagayoko
09: Izarharh Tenere - Tinariwen
10: Djorolen - Oumou Sangare
11: Mali Ba - Habib Koite
12: Ce N´est Pas Bon - Amadou & Mariam
13: Eywat Setenafegagn - Getatchew Mekurya
14: Ethiopia - Gigi

Electric Gypsyland I & II

Posted By MiOd On Sunday, May 04, 2008 4 comments
Electric Gypsyland - Taraf de Haidouks Kocani Orkesta
It's rare to find a remix album that really works, but this does. Four Balkan gypsy groups reworked in any number of ways might sound limiting, but the studio wizards here have managed to retain the spirit of the original tracks while taking them in very eclectic directions. From the work of Arto Lindsay and Melvin Gibbs on "Mugur Mugurel," which recalls the adventurous no wave era of downtown New York, to the glory of Lightning Head's "L'Orient Est Rouge," where African soukous and house music mix gloriously with the original, this is a delight. Turkey's Mercan Dede brings his hypnotic sensibilities to "Siki, Siki Baba," while Olaf Hund's "Are You Gypsified?" medley is nothing less than mad, creating a jam session among three of the bands that veers with loving drunkenness all over the road. The musicianship of the gypsy musicians isn't in question when they include the worldbeating Taraf de Haidouks and Kocani Orkestar, although the virtuosity isn't the important element here. Instead, the remixers exploit the melodies and the feel while surprising with context, as Bucovina Club do on "Carolina" -- a dancehall/Balkan mash-up no one could have anticipated, but which whets the appetite for the rest of the disc. Where the European version contains 13 tracks, the North American release adds two bonus cuts, including Taraf de Haidouks' "A la Turk" given the full house treatment by Cop & Thief in a manner that could make it a club favorite. This is the kind of disc that renews your faith in the possibilities of the remix. ~ Chris Nickson, All Music Guide
Alt text
| MP3 192 kbps | Covers "L.Q" | 85 MB | 2004 |


[01]. Carolina - Bucovina Club Vs. Taraf De Haidouks
[02]. L'Orient Est Rouge - Lightening Head Vs. Kocani Orkestar
[03]. Usti, Usti Baba - Senor Coconut Vs. Kocani Orkestar
[04]. Dumbala Dumba - DJ Dolores Vs. Taraf De Hairdouks
[05]. Iest Sexy - Shantel Vs. Mahala Rai Banda
[06]. Cind Eram La '48 - Juryman Vs. Taraf De Hairdouks
[07]. Siki, Siki Baba - Gaetano Fabri Vs. Kocani Orkestar
[08]. Cuculetsu - Bumcella Vs. Taraf De Hairdouks
[09]. L'Orient Est Roots - Bigga Bush Vs. Kocani Orkestar
[10]. Fantasia For Clarinet - Modern Quartet Vs. Kocani Orkestar
[11]. Mugur Mugural - Arto Lindsay & Melvin Gibbs Vs. Taraf De Hairdouks
[12]. Siki, Siki Baba - Mercan Dede Vs. Kocani Orkestar
[13]. Are You Gypsified? (Megamix) - Kocani Orkestar

Download HERE

Electric Gypsyland Vol.2
Like its predecessor, Electric Gypsyland 2 is a collection of reinterpretations of recordings by several modern Balkan bands -- some of the new versions are relatively straightforward remixes, while others are much more dramatic and imaginative reworkings of the source material. Unlike the first volume in this series, however, this one also includes a bonus disc that offers original, untouched versions of songs by those same bands (though they're not always the same tracks as the ones remixed on the first disc). The format and presentation of this collection may be a bit unusual and even disconcerting, but that's probably as it should be -- the same is true of the music itself, which is a wild fusion of musical styles even in its original form and is even more kaleidoscopically varied in the remixes. Check out the wild, almost klezmer-sounding clarinet on Koçani Orkestar's "Mi Bori San Korani," and the glitchy techno underpinnings that Smadji installs beneath it, or the dubwise production effects that DJ ClicK applies to Mahala Raï Banda's already faintly reggae-inflected "Romano Dance." But the album's highlight is "Red Bula," a brilliant piece of party-ready horn-based Gypsy dance funk given an even wilder setting by Balkan Beat Box. Contributions by Cibelle and Oi Va Voi are equally exciting. Highly recommended. ~ Rick Anderson, All Music Guide
Alt text
| MP3 VBR kbps | Full Scans | 185 MB | 2006 |


Disc: 1
[01]. Homecoming - Tunng & Taraf De Haidouks
[02]. Alone At My Wedding - Buscemi & Kocani Orkestar
[03]. Oi Bori Sujie - Animal Collective
[04]. Red Bula - Balkan Beat Box & Mahala Rai Banda
[05]. Romano Dance - DJ Click & Mahala Rai Banda
[06]. Mi Bori Sar Korani - Smadj & Kocani Orkestar
[07]. Duba Duba Si Hora - Shantel & Taraf De Haidouks
08]. Rom And A Home - Oi-Va-Voi & Taraf De Haidouks
[[09]. Maxutu - Cibelle & Kocani Orkestar
[10]. Man Who Drinks - Forty Thieves Orkestar & Mahala Rai Banda
[11]. Morceau D'Amour - Nouvelle Vague & Mahala Rai Banda
[12]. Neacsu In Africa - ShrineSynchroSystem & Taraf De Haidouks
[13]. New Adventures Of Soldier Tufaiev - Gurzhy, Yuriy & Zelwer
[14]. Go East - Fabri, Gaetano & Taraf De Haidouks
[15]. Ismail Oro - 43 Skidoo & Susheela Raman
[16]. Spoitoresa Revisited - Russ & Nahala Rai Banda

Disc: 2
[01]. Cudna Zena - Kocani Orkestar
[02]. Siki Siki Baba - Kocani Orkestar
[03]. L'Orient Est Rouge - Kocani Orkestar
[04]. Duba Duba Si Hora - Taraf De Haidouks
[05]. Terno Chelipe - Taraf De Haidouks
[06]. Cind Eram La '48 - Taraf De Haidouks
[07]. A La Turk - Taraf De Haidouks
[08]. Spoitoresa - Rai, Mahala Banda
[09]. Lest Sexy - Rai, Mahala Banda
[10]. Romano Dance - Mahala Rai Banda
[11]. Fiances Dream - Zelwer 12. Soldier Tufaiev Gets Married - Zelwer

Asie Mineure - Anatolie. Musique Profane

Posted By MiOd On Thursday, May 01, 2008 0 comments
Credits to AmbroseBierce
Adnan Ataman, Arif Sag, Binali Selman Asie Mineure.
Anatolie - Musique Profane Al Sur ALCD 130, 1994
Alt text
TRACK LISTINGS 01. Ensemble Adnan Ataman - Kervan 02. Arif Sag - Air d'Azerbaidjan 03. Ensemble Adnan Ataman - Air d'Avshar 04. Arif Sag - Teke Zortlatmasi 05. Ensemble Adnan Ataman - Air de Urfa 06. Binali Selman - Mey solo 07. Ensemble Adnan Ataman - Gurbet Elde Bas Yastiga Gele 08. Ensemble Adnan Ataman - Sabah Ilen Esen Seher Yeli 09. Ensemble Adnan Ataman - Basimda Dut Agaci Var 10. Ensemble Adnan Ataman - Gelin Alayi 11. Ensemble Adnan Ataman - Kaval 12. Ensemble Adnan Ataman - Hilal Ebrulerin Ahu Gozlerin

320 kbps mp3; including full booklet scans

Part One
Part Two

Hamza El Din, Escalay (The Water Wheel)

Posted By MiOd On Thursday, May 01, 2008 1 comments
Alt text
Hamza El Din (b. Toshka, Egypt, July 10, 1929; d. Berkeley, California, May 22, 2006), was a Nubian oud player, tar player, and vocalist. Born in the village of Toshka, near Wadi Halfa in southern Egypt, he is considered by some to have been the father of modern Nubian music. Originally trained to be an electrical engineer and after working in Cairo for the Egyptian national railroad, El Din changed direction and began to study music at the Cairo University, continuing his studies at the Accademia Nazionale di Santa Cecilia in Rome; he also studied in Ibrahim Shafiq's Institute of Music and the King Fouad Institute for Middle Eastern Music, and traveled in Egypt on a government grant collecting folksongs. His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and to his eventual emigration to the United States. Like much of Egyptian Nubia, his home village of Toshka was flooded due to the construction of the Aswan High Dam in the 1960s, creating in El Din a drive to preserve and promote his culture. In 1964 and 1965, he recorded two albums for Vanguard Records; his 1968 recording Escalay: The Water Wheel is recognized as one of the first world music recordings to gain wide release in the West, and was claimed as an influence by some American minimalist composers, such as Steve Reich and Terry Riley.[1] In this period, he mentored a number of musicians, including Sandy Bull. Later, he released albums for Lotus Records and Sounds True. His album Eclipse was produced by Mickey Hart. He performed with the Kronos Quartet on an arrangement of Escalay in 1992. His pieces were often used in ballet performances and plays. El Din held a number of teaching positions on ethnomusicology in the United States during the 1980s and 1990s (in Ohio University, University of Washington, and the University of Texas), eventually settling in the San Francisco Bay Area after studying the biwa in Tokyo Japan during the 1980s. In 1999, he released his last album, "A Wish". He died on Monday, May 22, 2006, at the age of 76, after complications following surgery for a gallbladder infection at a hospital in Berkeley, California. He is survived by his wife, Nabra.

One of the first world-music releases to reach Western ears (originally issued in 1968), this album rightfully established Hamza El Din as one of the leading instrumentalists on the lutelike oud, which he taught to guitarist Sandy Bull and others. The three tracks that comprise this disc, all lengthy improvisations, showcase El Din's remarkably fluid technique and his Nubian roots, whether on the traditional "Song with Tar" or "I Remember," which was originally performed by Egypt's greatest diva, Om Kalthoum. Perhaps the best example of El Din's instrumental meditations, however, is the title track, which is his own composition. Its lines ripple and sway, then stop to ponder and work around a phrase before moving on--a style unique at the time, but which influenced a generation of oud players that followed. A masterpiece.

(01). The Water Wheel
(02). I Remember
(03). Song With Tar

Alt text

Ape (EAC Rip): 190 MB | MP3 - 320 kbs: 110 MB | Booklet Scans

Archives have 5% of the information for restoration

Part 1 | Part 2

OR MP3 320 kbps