Jalal Zolfonoun Kord Bayat. Traditional Music from Iran Music of the World CDT-134, 1995
flac - including booklet scans
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
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 Deschênes320 kbps mp3; including full booklet scans
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.  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. 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. 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) 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. 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. 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/
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
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
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
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
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 Roberts320 kbps mp3; including full booklet scans
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
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.
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.
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
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
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.
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.
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
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)
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.
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 |
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
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