Posted By Nada Brahma On Monday, June 30, 2008 7 comments
Along with his brother, Suleyman, Kudsi Erguner is one of the top players of the ney, a Turkish reed flute. In addition to his own recordings, Erguner has performed with Peter Gabriel, Maurice Bejart, Peter Brook, Georges Aperghis, Didier Lockwood and Michel Portal. His compositions and collaborations have been heard in the films, The Last Temptation Of Christ and Meetings With Remarkable Men, theater piece and film, Mahabharata, and ballets, Le Voyage Nocturne and Neva. Erguner's band, The Kudsi Erguner Ensemble, was formed in 1988, as Fasi, with the goal of preserving the classical music of the sixteenth century Ottomon Empire.

Erguner hails from a musical family. His father, Ulvi Erguner, and garndfather, Suleyman Erguner, were well known players of the ney. In addition to what he learned from his father and grandfather, Erguner learned from the older musicians who often visited his childhood home. Erguner's knowledge of Turkish classical music was enhanced through his studies of the Sufi-brotherhoods.

Launching his musical career, in 1969, as a member of the Istanbul Radio Orchestra, Erguner moved to Paris, six years later, to study architecture and musicology.The following year, he worked on Peter Brook's movie, Meetings With Remarkable Men, filmed on location in Afghanistan. Erguner later renewed his collaboration with Brook, composing and performing the score for a theater piece and film, Mahabharata.

After conducting research in Turkey, through a grant from UNESCO, in 1980, Erguner returned to Paris and founded Mevlani, an institute for the study of the classical music and teachings of the Sufis. Between 1986 and 1987, Erguner spent lengthy periods in Pakistan recording and documenting traditional music for Radio France and France Musique. In late-1987, Erguner performed a concert of Ottoman music at the Royal Albert Hall in London.

In 1988, Erguner collaborated with Peter Gabriel on the soundtrack of The Last Temptation Of Christ. The same year, he recorded an album with his brother, The Mystic Flutes Of Sufi, featuring preludes to ceremonies of the Whirling Dervishes. Kudsi and renewed their partnership in 1990, releasing a second album together, Sufi Music Of Turkey. The following year, Erguner released three albums -- Turquie Musique Soufi, with Ilahi and Nefes N. Uzel, Oriental Dreams, with Mahmoud Tebrizizadeh, and, together with thee Kudsi Erguner Ensemble, was one of several artists featured on Gazel: Classical Sufi Music Of The Ottomon Empire. In 1997, Erguner joined with Derya Turkan to record, Chemins. Two years later, he formed the Kudsi Erguner Sufi-Jazz Project, with Christof Lauer, Michel Godard and Marc Nauseef, and recorded, Ottomania. ~ Craig Harris, All Music Guide

MP3 320 kbps including Covers



Posted By Nada Brahma On Monday, June 30, 2008 2 comments
Kudsi Erguner’s Ottomania is the first World Music project that integrates the classical music of the Ottoman Empire with Western jazz improvisations and rhythms. It documents the story of a remarkable musical encounter, and is a logical continuation of Erguner’s eventful life.

Kudsi Erguner was born in Diyarbakir, Turkey in 1952, and has lived in Paris since 1975. On his way to preserving the inheritance of the Sufis, Kudsi Erguner had to battle against those who opposed him, and travel down unfamiliar paths. The flutist (he plays the Ney, a Turkish reed flute) is also active as musicologist, author, teacher and artistic adviser. He has worked as a musician and composer on various film scores (Martin Scorsese, with Peter Gabriel), theater pieces (Peter Brook), and ballet productions (Maurice Béjart, Carolyn Carlson). He has fused the most varied styles and epochs of occidental music with traditional Turkish music. It was because of this intermingling of musical styles that he aroused so much attention with his participation in Mozart’s The Abduction from the Seraglio at the Salzburg Festivals in 1997/98. Likewise with his solo improvisations during the performance of Guillaume de Machaut’s Messe de Notre Dame with the Hilliard Ensemble at the London Royal Festival Hall in February 1999.
Part 1
Part 2

La Musica de Al Andalus - Ensemble Al Ala De Marakech

Posted By MiOd On Sunday, June 29, 2008 3 comments
La Musica de Al Andalus - Ensemble Al Ala De Marakech
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The nuba is a long structure.In general terms, it is articulated around an instrumental prelude, which includes the different themes that appear later in the nuba, different fragments of sons and instrumentals interludes, together with other elements of coherence, such as rhythm, which goes gradually from lento to prestissimo at the end. Traditions attributes the origin of the nuba to Ziryab.Although pre-dating poems or fragments of melody have been made use of and inserted, the current from to be found in the north of Africa is fundamentally the late medival type and from the Nasrid period.Abu Abd Allah Muhammad ibn al-Hassan al-Haik, who Lived in Tetuan in the 18th centtury, made a complation of nubas, in 1979, which is known as the Maymu'at al-Ha'ik. The musicologist Mahmoud Guettar characterised these forms as being either typically of the Maghreb or of the western Mediterranean, with influences of the music of al-Andalus (which in some places was the majority influence), but also with elements of Bedouin, Berber, Turkish, middle eastern and autochrhonous music. It is called maluf (traditional) in Libya, Tunisia, and in the region of Constantina,  san'a (musical work) is Algeria, and  alat (instruments) or  tarab  (emotions) in Morocco. The nubas of the Maghreb have been brought together into compilations several times over their history, as theoretical and narrative works.In the Middle Ages there existed the eastern nuba, although the term  nuba  has been replaced by  wasla  in the Near East and by  fasil  in Turkey.
The Moroccan  nuba  created from the contributions of Cordoba and al-Qayrawan was a medival formation, and it incorporated a series of autochonous elements down its history. Structured basically into an introduction of vocal and instrumental preludes and five vocal cycles which progress from lento to presto,as well as instrumental interludes. In general, the  nuba consists of the following parts: 1) Introductory part, made up of instrumental and vocal preludes: misaliyya  an instrumenal prelude; insad tab al-nagma, a vocal prelude;
bugya , an unmeasured instrumental prelude. 2) Body of the nuba, structured into an overtune: tusiya, which was originallyinstrumental, and to which texts were later adapted (for the mnemonic purpose of not forgetting it). The  tusiya usually includes the different themes that will appear in the  nuba  Next come instrumental and vocal pieces in a rhythmic progreeion from lento to prestissimo,organised in five phases of rhythm or vocal cycles called  basitqayim wa-nisf,bitayhi, al-dray and quddam .Each one is an independent unit, and in turn consists of:  tasdira , the first cantus, a show movement;  sa'at muwassa'a', a series of songs in a slow movement;  al-qantara al-ula , a first cantus where the movement Begins to be slightly faster, followed by a series of cantus of the same movement; al-qantara al-taniya, a considerably accelerated cantus or mazuz; insirafat, cantus in incrasing fast time; and qufl a very fast final cantus. Set vocal works, or san’a (artistic works, elaborated pieces) can be distinguished in them, generally choral in form, from the songs, sometimes improvised by the munshid main singer or soloist) called baytayn and mawwal and played as solos. Improvised instrumental interludes are frequent,and these are formed from the chemes of the melodies of the nuba, called tawasi (plural of tusiya).
The Moroccan tradition conserves eleven main nubas and fifteen derived forms called (following the order given in the manuscript of Al-Ha’ik):
I. Ramal –Maya, II. Al-Isabahan, III. Al-Maya, IV. Rasd al-Dayl, V. Al-Istihlal, VI. Al-Rasd, VII. Garibat al-Husayn, VIII. Al-Hiyaz al-Kabir, IX. Al-Hiyaz al-Mashriqi, X. ‘Iraq al-Ayam, XI. Al-Ussaq.
The Maghreb also has other popular and religious forms of nuba which usuallytake the name of the Wali (or holy man) to whom they are dedicated. Like wise, the Jewish peoples of North Africa conserve a repertoire of nubas originating from al-Andalus.
This nuba is type number VII.According to the manuscript of al-Ha’ik, the ideal time to perform it is at twilight, unlike others which were performed at different times of day.
It combines the tab (modes) Garibat al-Husayn (C fundamental and a natural scale), Garibat al-Muharrara (fundamental in D) and Sika (E fundamental).The instruments used are the rabab, a chordophone instrument of the viol family, with two chords tuned in fifth; the ud ruba’I, a Moroccan Lute with four double strings, tuned in fifth; the Kamanya (violin); qanun, a trapezoidal zither; tar (tambourine) and darbuka, a cupshaped drum.
This is one of the musical groups that has best conserved the traditional music of al-Andalus. The maestro Mohammed Azeddine has been the mythical Moulay Abdellah El Wazzani. The group has two great solo singers Moulay Abdelrani Kettani and Abdelmajid El Ferrane.Their performances of secular music,as in this case, is combined with a religious repertoire, achieving great quality and emotional and aesthetic depth.
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EAC-Flac & Booklet Scans [650 MB]

Debashish Bhattacharya And Bob Brozman - Mahima

Posted By MiOd On Sunday, June 29, 2008 0 comments
Two renowned slide guitarists (from India and the US) meet and merge their talents and ideas into a new musical sound.
with Sutapa Bhattacharya (vocal) and Subhashis Bhattacharya (tabla).
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The distinctive sound of the slide guitar is an intrinsic feature in blues, Hawaiian and Indian music. On Mahima, these traditions meet in the capable hands of two of the world’s greatest slide guitarists, Debashish Bhattacharya and Bob Brozman. In the process, the two have created a true hybrid, a spectacular union of guitarists on a unique album, which also showcases the vocal talents of Sutapa Bhattacharya and tabla master Subhashis Bhattacharya
While American bluesman would probably like to believe otherwise, the slide guitar has been developed in many cultures. The earliest reports of Hawaiian slide guitar come from 1876, while Indian culture can trace the use of a slide instrument upon strings back to the 11th century. American guitarist Bob Brozman has explored Hawaiian slide deeply and jammed his way around the world, delving into different cultures and finding common musical threads. Here he is joined by India's Debashish Bhattacharya on Hindustani slide guitar, his brother Subhashis on tabla and an array of percussion, and sister Sutapa on vocals. Ranging from the more classical Indian music "Maa" to the riff-heavy "Tagore Street Blues" to the positively rockin' "Bana Mali," the guitarists duel with an open approach that blurs all lines of division, while Sutapa and Subhashis stick closer to the Indian traditions. Like a Bollywood flick about a back-country blues guitarist, Mahima is ragas and 16-bar blues, simultaneously alien and somehow not so far from the American folk form. --Tad Hendrickson
The fourth in a series of collaborations between Hawaiian slide virtuoso Bob Brozman and artists from around the world (two with Japanese guitarist/sanshin player Takashi Hirayasu, and one with guitarist Rene Lacaille preceded), Mahima features the combination of efforts of Brozman with the family of Indian slide virtuoso Debashish Bhattacharya. Tabla playing comes courtesy of Debashish's brother, and additional vocals from their sister, Sutapa. The fusion here comes in an interesting way, as the artists both strive to meet at the opposite genre, with Brozman trying to delve further into Indian traditions than Hawaiian, and Bhattacharya delving deeply into Hawaiian sounds with his custom instrument. The end result of such an approach, as well as being a conscious efforts to create new sounds here and there, is a surprisingly exotic sound. The album opens up with an exceptionally Bollywood-infused piece, carried largely by Sutapa's singing. A Bollywood-informed version of "Raga Basant Mukhari" follows, and a bit of relatively straightforward blues guitar-work follows that, with some more distinctly Indian flavor mixed in. A bit of "Raga Bhairavi" mixes into "Maa," and a more folky "Digi Digi Dom Dom" brings the tone back to the contemporary. An African approach is taken in "Bana Mali," and the album returns to the exotica genre with the folk-based "Jibaner Gan," which also provides a showcase for some extremely virtuosic passages passed between the guitarists. The coastal "Sujan Re" is followed by a song reminiscent of the small Konkani region and a Rajasthani-influenced "Loomba Re Loomba." The album finishes on a lullaby written for Bhattacharya's daughter, making full use of the gentle abilities of the slide guitar in a vaguely bluesy fashion. As a showcase for the guitarists alone, the album perhaps doesn't go as far as it could have. As a showcase for the cultures represented by the players' mixing, though, it goes quite a distance. The interaction between the slide guitarists, the multi-cultural percussion, and utapa's vocals is where the magic of this sound rests. Highly recommended. ~ Adam Greenberg, All Music Guide

The Higher Octave Collection: Music from Around the World

Posted By MiOd On Sunday, June 29, 2008 3 comments
The Higher Octave Collection - Music From Around the World-for Around the Clock
"Music from around the globe to ease you into your day or calm you after hours. Some of it will touch your heart, some of it will get your feet tapping. Two disc compilation including 20 songs by top artist[s] like Ottmar Liebert, Craig Chaquico, William Aura, CUSCO, Himekami and The Soto Koto Band"
"This is one of those samplers that's really worth getting, unless you happen to have all the albums it samples. Two discs, divided into 'Night' and 'Day,' containing twenty tracks and around a hundred minutes of music, cover a broad range of styles, from the floaty sort of new age to the near-jazz stuff to the Soto Koto Band. The price is right, the overall mix is just so, and it's likely that any listener will wind up buying one or more of the albums sampled. ~ Steven McDonald, All Music Guide"

| MP3 320 Kbps | Full Scans | 225 MB |


Disc: 1

[01]. Barcelona Nights - Ottmar Liebert
[02]. Northeaster - Cusco
[03]. Return Of The Eagle - Craig Chaquico
[04]. Kelefa - Abdel Kabirr/The Soto Koto Band
[05]. August Moon - Ottmar Liebert
[06]. Flute Battle - Cusco
[07]. Passage - Randy Tico
[08]. Namaskar - Tri Atma
[09]. Morning In Martinque - Eko
[10]. Horse Latitudes - Eko

Disc: 2

[01]. Summers End - Craig Chaquico
[02]. Starry Night (March Of Kings) - Ottmar Liebert
[03]. Kilimanjaro - The Soto Koto Band
[04]. Isle Of Gold And Silver - Himekami
[05]. Stay With Me - William Aura
[06]. Tosa Dunes - Himekami
[07]. Seaplanet - Cusco Listen
[08]. Bathed In Moonlight - Himekami
[09]. On My Wings - Nightingale
[10]. Sky's Beyond - Nightingale


Posted By Nada Brahma On Sunday, June 29, 2008 7 comments

Along with his brother, Suleyman, Kudsi Erguner is one of the top players of the ney, a Turkish reed flute. In addition to his own recordings, Erguner has performed with Peter Gabriel, Maurice Bejart, Peter Brook, Georges Aperghis, Didier Lockwood and Michel Portal. His compositions and collaborations have been heard in the films, The Last Temptation Of Christ and Meetings With Remarkable Men, theater piece and film, Mahabharata, and ballets, Le Voyage Nocturne and Neva. Erguner's band, The Kudsi Erguner Ensemble, was formed in 1988, as Fasi, with the goal of preserving the classical music of the sixteenth century Ottomon Empire.

Erguner hails from a musical family. His father, Ulvi Erguner, and garndfather, Suleyman Erguner, were well known players of the ney. In addition to what he learned from his father and grandfather, Erguner learned from the older musicians who often visited his childhood home. Erguner's knowledge of Turkish classical music was enhanced through his studies of the Sufi-brotherhoods.

Launching his musical career, in 1969, as a member of the Istanbul Radio Orchestra, Erguner moved to Paris, six years later, to study architecture and musicology.The following year, he worked on Peter Brook's movie, Meetings With Remarkable Men, filmed on location in Afghanistan. Erguner later renewed his collaboration with Brook, composing and performing the score for a theater piece and film, Mahabharata.

After conducting research in Turkey, through a grant from UNESCO, in 1980, Erguner returned to Paris and founded Mevlani, an institute for the study of the classical music and teachings of the Sufis. Between 1986 and 1987, Erguner spent lengthy periods in Pakistan recording and documenting traditional music for Radio France and France Musique. In late-1987, Erguner performed a concert of Ottoman music at the Royal Albert Hall in London.

In 1988, Erguner collaborated with Peter Gabriel on the soundtrack of The Last Temptation Of Christ. The same year, he recorded an album with his brother, The Mystic Flutes Of Sufi, featuring preludes to ceremonies of the Whirling Dervishes. Kudsi and renewed their partnership in 1990, releasing a second album together, Sufi Music Of Turkey. The following year, Erguner released three albums -- Turquie Musique Soufi, with Ilahi and Nefes N. Uzel, Oriental Dreams, with Mahmoud Tebrizizadeh, and, together with thee Kudsi Erguner Ensemble, was one of several artists featured on Gazel: Classical Sufi Music Of The Ottomon Empire. In 1997, Erguner joined with Derya Turkan to record, Chemins. Two years later, he formed the Kudsi Erguner Sufi-Jazz Project, with Christof Lauer, Michel Godard and Marc Nauseef, and recorded, Ottomania.
Part 1
Part 2

Playa Azul: Flamenco Chill 1,2&3

Posted By White Rose On Saturday, June 28, 2008 0 comments
Playa Azul: Flamenco Chill
This Compilation is with artists on the one hand from the new Flamenco scene comes and others their musical influences more from Lounge, electronics and jazz refers. This mixture from both bearings hides the term “Flamenco Chill” and possesses that, which was missed for some time by many people with innumerable Compilations - she has again the correct Chill Out a character. Loans from the typical Flamenco guitars of reef, because the acoustic guitar is still the center in this music.

| MP3 VBR kbps | Full Covers | 115 MB |


[01]. Agua Loca - Laguna Gitarra
[02]. Duende - Aire y Olas
[03]. Chambao - Ahi Estas Tu
[04]. Raul Orellana Feat J Bonell - Entre Dos Aguas
[05]. Toni Xucla - Estrany En Terra Estranya
[06]. Agua Loca - La Plazuela
[07]. Sangre De La Terra - El Sueno Del Mar
[08]. Lenny Mac Dowell - Playa Azul (Remix)
[09]. Diego Cortes And Jaleo - Daniel
[10]. Mac Dowell and Krell - La Conquista part 1
[11]. Mac Dowell and Krell - La Conquista part 2
[12]. Sangre De La Terra - Aguas Blancas 7 am
[13]. The Alkemyst - Dos Hombres
[14]. Paco Fernandez - Halcon Vuela
[15]. Alpha-X - Mi Corazon (Smokers mix)
[16]. Freddy Marquez - Quiero Despertar
[17]. Maximus And Ensemble Ethnique - Mystery Of The Seven Chakras

Playa Azul: Flamenco Chill 2

| MP3 VBR kbps | Full Covers | 105 MB |


[01]. Carlos Gallardo Duende - Sonando Colores
[02]. Pep Liado Feat.El Nono - Vai Dedere
[03]. Stigmato Inc. - Mediterraneo
[04]. Agua Loca - Feeling Good
[05]. Federico Aubelle - Mona
[06]. Ojos De Brujo - ley de Gravedad
[07]. Jose Delgado - Sol Rossa
[08]. Jazzamor - Fly
[09]. Con Fuerza - Platea
[10]. Alma Chillout - Cachivache
[11]. Plazasonora - Anda y Dime
[12]. Hermosa - Time Everlasing
[13]. Agua Loca - Playa Latina
[14]. Jaleo - Nostagia
[15]. Dark Suite Feat.Aura - Dark Suite Piano
[16]. Christophe Goze - Leaving

Playa Azul: Flamenco Chill 3

| MP3 VBR kbps | Full Covers | 115 MB |


[01]. Jose Delgado - Freegull
[02]. Moca - Kleine Trنumerei
[03]. Chambao - Como El Agua
[04]. De Madera - Canaveral
[05]. Agua Loco - Love Will Come
[06]. Jose Delgado - Life At Sundown
[07]. Almadrava - Distancia Del Mar
[08]. Lenny Mac Dowell - Te Quero
[09]. ESO ES - Spirit Of The Light
[10]. Spiral Feat. Dana - La Meme Chose
[11]. Jose Delgado - Summerset Area
[12]. Raul Orellana Feat. Pilar Romero (La Tana),
Gipsy Rhythm 'Ahora Estoy Aqui' (New Millenium Vocal Edit)
[13]. Mystic Diversions - Beneath Another Sky
[14]. Agua Loca - Vientos De Primavera

Master of Chinese Traditional Music

Posted By MiOd On Saturday, June 28, 2008 2 comments
Master of Chinese Traditional Music: Dizi
Yu Xunfa - Di Flute Performer
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| MP3 320 kbps | Covers | 145 MB |


[01]. A Visit To Suzhou
[02]. Lake View on a Moonlit Autumn Night
[03]. A Sprig of Plum Blossom
[04]. A Joyful Reunion
[05]. Six Clappers In Zhong Hua
[06]. Delivering Public Grain with Horse Carts
[07]. Autumn Yearning At the Dressing Table
[08]. Charm of Mount Langya
[09]. Reaping Crops
[10]. Confluence

Radio Tarifa - Temporal

Posted By MiOd On Saturday, June 28, 2008 3 comments
Radio Tarifa - Temporal
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| EAC-APE - 230 MB | Full Scans | MP3 320 Kbps - 105 MB |


(01) [Radio Tarifa] La Tarara
(02) [Radio Tarifa] Las Cuevas
(03) [Radio Tarifa] Cancion Sefardi
(04) [Radio Tarifa] Baile de Almut
(05) [Radio Tarifa] Solea
(06) [Radio Tarifa] Tangos de la Condicion
(07) [Radio Tarifa] Conductus
(08) [Radio Tarifa] Temporal
(09) [Radio Tarifa] El Mandil de Carolina
(10) [Radio Tarifa] Vestido de Flores
Radio Tarifa is one the outstanding world music groups of the turn of their time. Their name derives from the town of Tarifa, which is the part of Spain nearest to Morocco. The group's mixture of Spanish and Arabic music is not itself new (see Juan Peña Lebrijano. for example). What is new is that instead of simply fusing musical styles as they currently exist, Radio Tarifa goes back in time to the common past of those styles, back to before 1492 when the Moors and Jews were exiled from Spain, and imagines a shared style that might have evolved had history been different, including not just elements of Spanish and Arabic music but also other musics of the Mediterranean, of the Middle Ages, of the Caribbean. This invented style is not only fascinating in its own right, but sheds light upon the real styles of Spain, most notably flamenco. Until the success of their first album Rumba Argelina, Radio Tarifa was not a full-fledged performing band, but a nucleus of three musicians who brought other performers into the studio as needed. This nucleus consists of Spaniards Faín Sánchez Dueñas (percussion and other instruments) and Benjamín Escoriza (vocals) and Frenchman Vincent Molino - sometimes listed as Vincent Molino Cook - (winds). Arranger Dueñas might fairly be described as the leader and theoretician of the group. He and Molino founded an early music group, playing music from the late Middle Ages and Renaissance) called Ars Antiqua Musicalis, although this group was never commercially successful. Later Dueñas met Benjamín Escoriza, a troubadour flamenco singer raised by Gypsies. The last piece was in place. Rumba Argelina was a work of love and vision and experimental daring recorded in 1993, released in Europe by World Circuit Records in 1996 and finally landing on American shores in 1997 via a collaboration of World Circuit and Nonesuch. The critical and popular success of Rumba Argelina made it possible for Radio Tarifa to put together a full-fledged touring band, which has crossed both Europe and the United States, as well as enabling a follow-up album Temporal, which means "Storm." This second album, from 1997, moves in the direction of the roots of flamenco and is less pan-Mediterranean than its predecessor and was also a success. Cruzando el Rio appeared in spring 2001. ~ Kurt Keefner, All Music Guide
Started around 1990, Radio Tarifa is a Spanish ensemble that has come into its own as a purveyor of pan-Mediterranean musical styles from across time. With a penchant for traditional gypsy pieces from Persia, North Africa, and their homeland, Radio Tarifa provides musical proof of the continuity of gypsy music throughout the world (a fact explicated in the film Latcho Drom with equal effectiveness). For their second release, Temporal, the ensemble concentrates on traditional material from Iberia, with pieces culled from Galician, Andalucian, Castilian, and Flamenco culture. Reflecting the distinctly Middle Eastern influence -- via Moorish culture -- in Spanish music, many of the cuts here feature such Persian, Arabic, and North African instruments, including the tar lute, ney flute, and derbouka clay drum. The group also use Greek and Indian instruments, not to mention both medieval and modern devices like the crumhorn wind instrument, organ, and electric bass. This rich mix is topped off by some excellent vocal performances. Another fine title in the group's small but stellar catalog. ~ Stephen Cook, All Music Guide
With Mediterranean instruments like the oud, derbuka and ney, Radio Tarifa collapses recognizably Arabic sounds with flamenco rhythms, playing with a flair reminiscent of a traditional Balkan wedding band. (The Spanish ensemble also tackles a 16th-century Sephardic tune and a 12th-century French procession.) Central to Radio Tarifa's charm is the rough-edged voice of Benjamin Escoriza, whose throaty elocution makes his Spanish a terrific blur of clarity and wavering timbre. Aside from the Mediterranean percussion--supplied mainly by the differently-pitched hand drums--Radio Tarifa also dots its grooves with Afro-Cuban inflected bongos and an electric bass, making this global concatenation particularly delightful. --Andrew Bartlett
One of the most fascinating world music albums of 1998 is by a group that, until success struck, did not really exist. Radio Tarifa are named after a fictitious radio station and play music that sounds indigenous to Iberia but is actually a remarkably organic hybrid of modern styles and ancient traditions. Temporal is a delightful, provocative surprise. Think border music for a borderless world. --Fernando Gonzalez
EAC-APE [ 230 MB]

King's Singers & Sarband - Sacred Bridges

Posted By MiOd On Friday, June 27, 2008 3 comments
Concerto Köln & Sarband - The Waltz. Ecstasy and Mysticism
Concerto Köln & Sarband - Dream of the Orient
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In a world where the result of our collective knowledge of the diverse cultures is the hope for global understanding, this album is pivotal.

As a Performing Arts Presenter, I had the opportunity to present the United States Premiere of the collaboration between The King's Singers and Sarband--"Sacred Bridges." Before an awed audience of 400 people this album was recreated in its entirety. Performed straight through, without breaks for applause, the work left the audience in stunned silence for a full thirty seconds before applause began from one individual and then grew to the entire group assembled. The end result was aboth a standing ovation and a crescendo generated by the audience that is normally associated with rock concerts.

Take a quiet hour and sit with this album. You will be moved in ways not normally transmitted by the recorded notes. This album represents what occurred on stage for our audience. It's special both for the King's Singers fans, but those looking for a more world music investment for their unmatched vocal harmonies.
SACRED BRIDGES is not just a recording of great beauty and intensely interesting music, it is also a solid though quiet stance about global understanding, especially in the realm of basic spiritual flow and similarities among the currently (and historically) disjunctive elements of Christianity, Judaism, and Islamism.

The King's Singers couple with Sarband (an instrumental group playing the reed flute, a three-stringed violin, a zither, and a small drum)) present a seamless series of psalms, prayers, incantations and other religious utterances and music from all three religions. The result is uncannily beautiful and enormously moving. From 16th and 17th psalms of Sweelinck, Rossi and Goudimal to Jewish works by composer Hebreo to Islamic ones by composer Ufki, the chants and instrumental episodes form this running song of mood and heightened awareness and are unique and wholly lovely. One cannot step away from this recording without connecting to the thread that joins all religions - if religions are broken down into their essential elements of spirituality, sincerity, and longing for peace and brotherhood.

The performers are, as expected, outstanding and the variety of music will find some new voices for different people depending on their spiritual and musical background. And that is as it should be - a sacred bridge of discovery that we all are beings with shared needs. This recording should be placed in the libraries of not only music enthusiasts, but also in homes where people seek to understand the nebulous differences among these three great belief systems. Highly recommended on every level. Grady Harp
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SWAPAN CHAUDHURI - The Majestic Tabla of Swapan Chaudhuri

Posted By Nada Brahma On Thursday, June 26, 2008 0 comments
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“…the controlled virtuosity of Swapan’s (Tabla) playing always implied that if he cared, nothing could stop him. What a display he put on…!" San Francisco Chronicle, USA

Pandit Swapan Chaudhuri is a phenomenon in the arena of Indian Classical Music. Musicians honor him as one of the most highly respected Tabla players, worthy of highest regard all over the world. He is a recipient of the prestigious Sangeet Natak Academy Award from the Government of India, and the American Academy of Artists Award, both of which are reserved only for those artists who have attained the highest level of artistry. He has received the Excellence in Performing Arts Award from the Global Indian Congress in San Francisco, and has been nominated to the esteemed International Percussive Arts Society's Hall of Fame. It was Swapan’s beloved parents, through their own passion for music, who initiated his formal musical training and inspired him in the field of Tabla, paving the path that would eventually lead him to virtuosity.

Swapan started learning Tabla at the age of five. He bases his style on the intensive training he received from his Guru, the late Pandit Santosh Krishna Biswas of Calcutta, the eminent exponent of the Lucknow Gharana. He holds a Master’s degree in music and has been conferred honors for his distinguished contributions in the field of Tabla by various academic and musical institutions. He also holds a Degree in Economics from Jadhavpur University, Calcutta.

Swapan’s music is the spontaneous expression of his powerful emotions and his deep knowledge of Tabla. His ingenuity has ushered in a purely new style of Tabla playing. It is undoubtedly through his clarity and elegance of performance, both as an accompanist and as a soloist, that he has achieved such notoriety throughout the world as a true master of Tabla.

As a soloist and accompanist Swapan has traveled throughout Europe, North and South America, and Asia accompanying Maestros such as Ustad Ali Akbar Khan, Pandit Ravi Shankar, Ustad Vilayat Khan, the late Pandit Nikhil Banerjee, Ustad Amir Khan, Ustad Amjad Ali Khan, Pandit Bhimsen Joshi, Pandit Jasraj, Dr. Balmurli Krishna, Pandit Birju Maharaj, Dr. L. Subramanium, and Pandit V.G. Jog as well as other eminent artists. In addition, he has produced numerous recordings, including his own Tabla solos and videotapes, and has appeared extensively on television and radio. Two records, Legacy (1997) and Passing on the Tradition (1998), were nominated for Grammy awards, on which Swapan collaborated with Asha Bhosle and Ali Akbar Khan.

Swapan’s music reaches beyond the scope of Classical music to include performances and recordings with musicians such as Stevie Wonder, L. Shankar, Mark O’Connor, John Handy, Larry Coryell, John Santos, the reputed Persian musicians Alizade and Kayhan Kalhor, the African drum master, Malenga, and the renowned guitarists, Vlatko Stefanovski and Miroslav Tadic. He has participated in many International Music Festivals such as Bath, Perth, Sydney, Tokyo, Toronto, San Francisco, Kuala Lampur, Stuttgart and Berlin. He has composed for several percussion ensembles that have received tremendous appreciation from Western as well as Indian audiences. He is associated with various American and European Universities as a visiting professor.

Swapan Chaudhuri has held the position as Director of Percussion at the Ali Akbar College of Music in San Rafael, California and in Basil, Switzerland, where students from all over the world receive intensive training in Tabla. He is also the Department Chairperson for the World Music Department at California Institute of the Arts in Los Angeles, California.
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KEYVAN CHEMIRANI - Le Rhytme de la Parole 2

Posted By Nada Brahma On Thursday, June 26, 2008 5 comments
Le Rythme de la Parole Musical conversations Iran – Southern India– Mali Artistes: Alireza Ghorbani , Chemirani's , Sudha Ragunathan , Trio Chemirani
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This project, which initially took the form of a series of encounters between Keyvan Chemirani and other great voices of the world, led to the creation of a disc, entitled The Rhythm of Speech. The languages are Persan, Tamil with karnatic music of Southern India and Bambara with the didadi of Mali, conveyed by 3 singers of immense talent. The languages have been allowed break free their prosodic framework, thanks to the rhythmical inventions, as subtle as they were unexpected, from the young percussionist Keyvan Chemirani. Despite the various backgrounds of these artists, the result doesn’t become just a hotchpotch of several different oral traditions but a whole new music. The rhythm of speech II With this double album, Keyvan Chemirani proves his compositional vision has gone that notch further. The player of daf, zarb, bender, udu and cajon offers us a delightful exchange with nine other musicians from different yet – as he proves – complementary music continents. Two years after the first in these conversations with singers Sudha Ragunathan and Nahawa Doumbia, Chemirani underlines the seemingly endless pool of exchange and harmonisation he has tapped in to. More than ever, he places his percussions at the heart of the prosodic relationships between their voices and the instrumental ornamentations they inspire. Half the battle is already won thanks to the judicious choice of Keyvan’s collaborators. Sudha Ragunathan has proven her pedigree through her collaborations with Titi Robin. This adept of sacred music from southern India refuses the constraints of the nigh-scientific dimension in Carnatic music and proves the high degree of flexibility this millennium style offers. “I understood that sound has no barrier,” she explains in the excellent sleeve notes by France Culture producer Caroline Bourgine, “And even when you work with voices you don’t know you can still manage to integrate with them.” The voices are those of Iranian Ali Reza Ghorbani and Nahawa Doumbia, the rough diamond from the Wassoulou region of Mali. The latter is backed by the exquisite kora of Ballaké Sissoko, and both Malians represent the improvised and unbridled energy of the double-album. “Her coarse, grating voice fills with raw matter very simple melodies based on pentatonic scales,” explains Chemirani when evoking Doumbia’s singing, “… (They) harmonise wonderfully with each other.” Arguably one of the finest examples is “Terik’e” where Cherimani constructs a complex bridge between the Didadi music from Wassoulou and his Persian modal arrangements. Didadi is a style based on ceremonies around the sowing and harvesting periods and Doumbia excels in these vocal jousts. The ney of Eshagh Chegini provides an unusual resonance to her voice, and the smoothness of their harmonisation is once again a tribute to Chemirani’s arrangements. Behind this project one recognises the research of Martina Catella. This ethnomusicologist was the initiator of the first opus two years ago and her ability to popularise these complex music styles appear to have had a deep influence on the approach by Keyvan. Each song is a gem that is a culmination of a rigorous process of experimentation. The entire experience is beautifully brought to life in the accompanying DVD, where Chemirani explains the challenges the ten musicians successfully overcame to bring out this silky recording.
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Posted By Nada Brahma On Wednesday, June 25, 2008 3 comments
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Le Trio Joubran

Majâz is the Joubran Trio's second opus, for which the trio brought in percussionist Yousef Hbeisch. A new international tour, made all the richer for his artistic contribution, is at the heart of their programme for the 2007-2008 season. This new album reveals the maturity of a trio that took flight with Randana, and whose Majâz is an invitation to travel.


Samir was born in Nazareth, in 1973, in the Galilee. At five, his father introduces him to the oud. The encounter between boy and instrument is more like the passionate encounter of two lovers. At nine, Samir enters the Nazareth Institute of Music. In 1995 he graduates from the highly prestigious Muhammad Abdul Wahhab Conservatory of Cairo. His musical talents are recognized in the musical workshops and seminars he attends in various arabic and European countries, leading him to teach the oud in a large number of schools and institutes.

The Joubran family adventure begins with Samir, an innovative soloist. Their first album, Taqaseem, comes out in 1996, followed by Sou'fahm in 2001. His first album under the Daqui label (the label of the Atypical Nights in Langon), Tamaas, appears in 2002. His run of performances in European and Middle Eastern venues begins. At the time, Samir is the only Palestinian performing outside the borders of his country. He is also the first musician to be awarded, in 2003-2004, a two-year scholarship to Italy through the Writer's Asylum Program which is organized by the International Parliament of Writers.

His musical virtuosity receives universal acclaim, and he is quickly invited to play with numerous other artists, in particular with great poets of the likes of Mahmoud Darwish. Music allies itself with the spoken word to bring to life poetry where melancholy and passion are inextricably mixed.

Samir Joubran's musical talent is acknowledged by the movie world when he composes the original sound track for Rashir Masharawi's Ticket to Jerusalem. He is then contacted by director François Dupeyron. Three tracks from the album Tamaas are included in the sound track of Inguélézi. Three titles from Randana are used in Parvez Sharmas' documentary A jihad for love (coming out this year).

After Randana, the first album to bring together all three Joubran brothers, their new opus, Majâz, came out recently. With Palesine beating in his heart, driven by his desire to give voice to his oud, Samir Joubran will travel the world with his brothers.

"We have two battles to fight. The first is for our career, and the other is for peace in Palestine, and the end of the occupation."


Wissam was born in 1983, in Nazareth, in the Galilee. His father signs him up for violin lessons at the Nazareth conservatory. He becomes attracted to the oud after watching and listening to his brother Samir play it. He establishes an intimate connection with the oud, with its wholesome curves, its round belly. Seeing how he merges with the instrument, Hatem, his father, hand crafts and gives him a small oud for his ninth birthday.

Wissam starts out by performing local concerts in Palestine. He then turns toward the theater, where he plays the role of a singing oud player in a piece about the life of Moudaffar El Nawab. When he is twelve, he seizes the opportunity to take his dreams and talent all the way to Paris' Arab World Institute, where he shares the stage with his brother Samir.

In 2002, again at his brother's side, Wissam performs musical interludes at readings of Mahmoud Darwish' poetry. Then, with the album Tamaas, Wissam's international career takes off. He decides to bring is musical culture and experience fully to bear in his relationship with the oud; thus, in 2005, he is the first arab to graduate from the prestigious Antonio Stradivari Conservatory, in Cremona. Wissam, like his father before him, continues in the line of his ancestors and becomes a master luthier. He builds the Joubran Trio's three ouds with his own hands, tailoring each one so that, when they are played, oud and player are one.

Master luthier, oud player, and firm believer in the symbiosis of traditional arabic music and the modernity of the oud, Wissam Joubran is carrying his family legacy steadfastly into the future.


Adnan was born in the Galilee, in Nazareth, in 1985. The life story of the youngest of the brothers is unique. Since childhood, he had wanted to become a percussionist. Yet, he would soon hearken to the oud's call. His desire to play it becomes stronger at the age of fifteen. For two years, alone and with the help of his older brothers, Adnan learns to play this instrument. Immediately upon coming home from school, he would pick up Wissam's oud and, playing Samir's melodies, send his fingers flying along the trail left by his brother. Hatem, their father, encourages him to take part in oud playing contests, and he is one of the five winners of a contest held in Palestine. The first audience Adnan would play to are his father's clients.

Returning from a tour, Samir brings up the possibility of forming a trio. This possibility becomes the object of Adnan's striving, and during the next year he would work with passion and discipline. It is thus that, in Paris' Luxembourg garden in August 2004, the Joubran Trio would come to life.

Alongside his brother Samir, Adnan provides musical accompaniment for the Fattoumi-Lamoureux dance company. In addition to his career within the Trio, Adnan will also perform for Parisian audiences a piece that combines music and the circus called EKO DU OUD (the oud's echo).
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KARIM ZIAD - Ifrikiya

Posted By Nada Brahma On Wednesday, June 25, 2008 1 comments
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A North African Journey Through Paris.
The muffled and at the same time sonorous call of the Gumbri rings out. This Moroccan string instrument combines melodic and percussive qualities, and stands as a symbol for the music of the Maghreb. Yet before we can get our bearings, a complex Euro-Afro-American sound comes in. Welcome to Paris. Welcome to the multi-cultural ambience of percussionist Karim Ziad’s music. The 34 year old Karim Ziad looks back to his youth in Algiers, a city that, in contrast to its current condition, exuded a multi-cultural flair not so many years ago. It was here that Ziad collected his first musical experiences. Ziad commented, "When I was young I didn’t just hear music from Morocco and Algeria. Algiers was always a cultural melting pot. We had radio and TV, and Europe was around the corner. A half-hour on the plane and you’re there. I didn’t have to think about my music, since all those elements that I was hearing simply came together." Karim Ziad received his first finishing as a percussionist in bands playing at marriages. Within the Maghreb musical repertoire it was necessary to feel as at home with French songs, funk, Berber music, as well as other African and Oriental musical traditions. Karim Ziad came to Paris when he was 20. Here he found a multi-ethnic climate with no barriers or borders. He quickly made contact with other musicians, playing with Joe Zawinul, and with Cheb Mami’s band. He soaked up musical experiences like a sponge, and searched for the best way to combine all those musical elements and tendencies that made up his daily experiences. However he never chanced upon that magic elixir that would leave him satisfied. It was with Nguyên Lê’s "Maghreb & Friends" (ACT 9261-2) that he was able to take the crucial next step. "I learned a lot about how to deal with sound from Nguyên. Even so I approach music differently than he does. He is very intellectual. I on the other hand trust only my heart and my ears." Another fundamental difference: Karim Ziad uses the classical song - form. He sings lyrics. But the spiritual ties between the two friends lie much deeper than a superficial discussion over the traditional or modern content of their sound and the format of their pieces. Both have been able to mix different cultural elements without disturbing the immediacy of each individual musical expression. As with Nguyên Lê’s albums one can approach Karim Ziad’s music from very different perspectives. One can hear it as music from the Maghreb, or come to it from the direction of jazz and pop; one can see it as a style of emancipated Euro-jazz with American influences. "My main direction is the music of the Maghreb. North-African music. I’ve combined this music with Occidental sounds and harmonies - with guitar, piano, drums, and bass. Paris is the right place to realize this sort of mixture. We couldn’t make the same music in England or Germany." The basic sound and harmonies on the production stem from Europe. But the multi-faceted rhythms and the singing represent Africa. Karim Ziad wants to communicate on the broadest possible level. "When you play the music of the Maghreb for Europeans, you have to change it in order to reach the public. A lot of Europeans like the music that comes from the Maghreb, but they can’t understand what is really happening in it. But when you mix it with European or American sounds, it immediately becomes softer, more gentle. Then you can reach the people, move them. Music that isn’t meant for anyone is boring." Ziad doesn’t just focus on the North Africans or the French; he focuses on the whole world. His music sounds like a marketplace of emotions, passions, experiences, traditions, and visions. You can not only hear them, you can taste, smell, feel them. In this way it is nothing more or less than an exact mirror image of the one truly cosmopolitan city in Europe, Paris. Ziad needed only than ten days to record and mix "Ifrikya". The music already existed in his head. He only had to let it out - and then to so move his musical partners that they would, together with Ziad, paint this "picture of love", as he calls it. "I chose the best musicians that exist for this music.Abdelkbir Merchane, the singer on the first piece, is the best Gnawa player that I know. The bassist is Linley Marthe from Mauritius. The pianist, Boris Zulfikarpasic wrote the song "The Joker". If you didn’t know that this song came out of Bosnia, you would take it for Algerian. I already played with Martinique’s Michel Aliba on "Maghreb and Friends". There is also the blind French-Jewish keyboard player Jean-Philippe Rykiel, who has worked a lot with musicians like Youssou N’Dour and Salif Keita. Besides that there are several background vocalists who come from the Maghreb. And of course Nguyên Lê. I myself play a variety of instruments, from keyboards through bass to guitar."
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KUMAR BOSE - Dynamic (Double Album)

Posted By Nada Brahma On Wednesday, June 25, 2008 0 comments
Kumar Bose is a master tabla player from the Benares gharana school. A disciple of Pandit Kishan Maharaj, Bose is best known for the decade he spent as part of Ravi Shankar's ensemble in the 1970s. Dynamic is a single improvisation based on classical themes in the tintaal rhythm (16 beats). And while the album is billed as a solo tabla recording, there are two other instruments providing drones and melodies for Bose's stunning improvisations, a sarangi and a harmonium. They simultaneously offer Bose a repetitive and cyclic melody known as the 16-beat Iehara. His own response is not just rhythmic, but lyrical as well. His structural approach on the first disc is to play across themes and variations, and on the second, to go off into wild flights of improvisation on the two drums (tabla and bayan). The tonal varieties of these pieces are startling and awe-inspiring. There is a non-stop series of harmonic interpolations that are not only incorporated and elaborated upon harmonically as well as rhythmically but they happen nearly instantaneously. That these two hours flow by so quickly is testament enough to the musicianship of Bose: that he continually astonishes, as well as delights, is a hallmark of his genius. Wonderfully recorded live at the Saptak Festival, in 2002, this set boasts excellent sound and wonderful notes.

this album shows why pt. kumar bose is widely regarded as an authority on benaras baj. set to teental, the structure is classic. I especially like the uthan and variations kumarji so playfully develops. you will notice some of kumarji's favorite bants..esp. dhige dhina trkta dhinna..which is beautifully played...a different treatment of the same kaida can be heard in the darbar festival album. parts of this album is mesmerizing and might put you into a meditative trance! a must have for any tabla lover esp. who loves the aggressive benaras style.

Disc: 1
1. Tabla Solo (Tintaal, Pt. 1)
Disc: 2
1. Tabla Solo (Tintaal, Pt. 2)

Personnel: Kumar Bose (tabla); Shishirchandra Bhatt (harmonium).
Recording information: Saptak Festival, Ahmedabad, Gujarat, India (2001).

FLAC (EAC Rip): 390 MB | MP3 - 320 kbs: 210 MB | Scans

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NGUYEN LE - Walking on the Tiger's Tail

Posted By Nada Brahma On Wednesday, June 25, 2008 1 comments
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Walking on the Tiger’s Tail: When facing danger, one behaves with wisdom, while understanding the peril without provoking it, and remaining both quiet & determined. Most of the titles found on this album were inspired by Taoist stories full of this paradoxical poetry. Butterfly Dream: After dreaming that he was a butterfly, Zhuangzi woke up wondering whether he was still Zhuangzi, or rather a butterfly dreaming that he was Zhuangzi. Yielding Water: the irresistible strength of water lies in its yielding quality. Therefore, weaknesses can erode the stone, flexibility can subdue the strong & the rigid. Totsu! is an exclamation supposedly uttered when a Zen student achieves enlightment. The sound also imitates the dry crackle the pawlonia leaf makes as it scratches the ground upon falling. Wingless Flight: It is easy to stop walking: the trouble is to walk without touching the ground. You have heard of winged creatures flying. You have never heard of flying without wings. You have heard of men being wise with knowledge. You have never heard of men wise without knowledge. I wrote this music after a tough period in my life which paradoxically brought me to a kind of tranquillity that I was both experiencing & searching. This led me to Chinese ancient books - symbols of a universal force & wisdom. Once relieved, I wanted to share & to build on the music of those moments with two very dear friends : Art Lande, the piano player who strongly influenced my first two albums ´ Miracles ª(1989) & ´ Zanzibar ª(1992), & his long time musical partner, Paul McCandless, the outstanding wind player. The three of us have such a great understanding of one another that I wanted a special orchestration for this reunion. Thus the choice of a 'bass-free' band, in which each of us would take up the bass role. The highlighted percussions of Jamey Haddad recall the distant lands where those rhythms find their roots. I would like to deeply thank all those who expressed their friendship when my health was weak, & I dedicate this music to those who are now facing the Tiger. Music has sustained me as a mother sustains her child, & Music reminds us that each second is a miracle ! Nguyên Lê, December 2004
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Omar Khorshid And His Magic Guitar

Posted By White Rose On Wednesday, June 25, 2008 3 comments
Omar Khorshid, (1945-1981): Star of the cinema and leading guitarist of the Orient, Omar Khorshid has also composed the music for thirteen films andin 1971 won the Premier Prix at the Film Festival of Tachkand for his music for the film “Tbnati El Aziza” . He is renowned as one of the greatest guitarist of the Arab world and has accompanied all it’s leading singers… Umm Kulthum, Abdel Wahab, & Abdul Halim Hafez.
Belly Dance Omar Khorshid – Vol.1

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[01]. Solenzara
[02]. Casa Tshock
[03]. Kiss Of Fire
[04]. Arabian Melody
[05]. La Playa
[06]. Never On Sunday
[07]. La Cumparsita
[08]. Apache
[09]. Johnny Guitar
[10]. Kan Zaman
[11]. Fi Daou El Amar 12. Warkat Ya Nassib

Belly Dance Omar Khorshid – Vol.2

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[01]. Love Story
[02]. Hernados Hide Away
[03]. Guitar Tango
[04]. Pop Concert
[05]. Godfather
[06]. Pop Corn
[08]. Midnight Love
[09]. La Paloma
[10]. Sawt El-Hub
[11]. Shams Ala Al-Jaleed
[12]. Ijaza Min Al Hobb

Omar Khorshid - Tribute to Om Kolthoum

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[01]. Alf Layla
[02]. Hazihi Laylati
[03]. Fakarouni
[04]. Wi Marat Al Ayam
[05]. Amal Hayati
[06]. Men Ajl Aynaik
[07]. Enta Omri

HUONG THANH & NGUYEN LE - Fragile Beauty

Posted By Nada Brahma On Tuesday, June 24, 2008 1 comments
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Far from being a matter of personal preference or utopian ideology, the global citizen is a fact of 21st century city life. Wandering through the streets of any big metropolis in the world, it becomes immediately apparent that the so-called “global village” is a reality, not just a catchphrase. The consequential convergence and blending of cultures has for a long time been the main artistic subject for singer Huong Thanh and guitarist Nguyên Lê. Both are of Vietnamese origin, both have been living in Paris for a long time, and both of them live their, as Lê once put it, “identity as children of the diaspora” in a fusion of western and far-eastern culture. Fragile Beauty is Huong Thanh’s fourth album under her name on ACT following Moon and Wind (ACT 9269-2), Dragonfly (ACT 9293-2) and Mangustao (ACT 9423-2), all of which feature Nguyên Lê as producer, co-composer, arranger and accompanist on the guitar. As before, the name of the album speaks eloquently of the music. The steady flow of life, its ephemeral nature and fragility are central themes of Buddhist culture. Vietnamese poetry has found a multitude of images to describe this: flowers drifting on water, or the passage of the clouds or the swallows. The team Thanh/Lê draw their inspiration from this rich heritage of images and motifs. Their repertoire ranges from an excerpt from the noble 10th century national epic “The Pavilion of Crystallized Azure” through the modern impressionist “Drifting on the Water” to sometimes melancholy, sometimes happy work songs. Huong Thanh is a daughter of one of the most famous singers of the new Vietnamese theatre (Cai Luong). Her crystal-clear voice with its strange, yet enthralling quality that uses the syllables, melodies and scales of Vietnamese music, represents the traditional element on this album. Yet her singing remains open to the musical transformations brought to the music by Lê’s Hendrix-legacy, his jazz-innovations and his avant-garde electric playing. European musical tradition forms a kind of connective fabric in this context, given a Mediterranean colour by Paolo Fresu’s gentle trumpet playing and the singing double bass of Renaud Garcia-Fons or a jazz flavour by Dominique Borker’s piano harmonies. Yet a vital factor contributing to the recording’s textural richness is the multitude of string- and percussion instruments from all around the world used on the album: the Vietnamese 16 string zither (dàn tranh) and bamboo balafon play their part as do the African Udu, talking drums, congas and cajon. A further new colour is provided by Mieko Miyazaki, the internationally celebrated young master of the 8th century traditional Japanese instrument the koto. And of course Lê himself subtly yet pointedly utilizes his electronic arsenal of radiator, synthesizers and samplers. “One of the main ideas was to give the Asian instruments a different colour by connecting them to different traditions. Africa has inspired me since my work on ‘Ultramarine’”, says Lê. African rhythms, Japanese liveliness combined with western melodies and jazz harmony all become part of an exciting venture, the basis and destination of which remains recognizably Vietnamese. A venture, which leads to a fusion of past and present, that points directly to the future. Drifting flowers over the water, wandering clouds in the wind. Deep in the night she awaits for her love. These themes, often found in Vietnamese poetry, are buddhist-inspired images of the world’s impermanence, of the fragility of our existence. Ephemeral yet always renewed. Thus the Vietnamese musical tradition is transfigured in Fragile Beauty by unexpected encounters (jazz harmonies, African rhythms, Japanese vividness), by new orchestration of ancient instruments (koto, trung or luth) and a true dimension of improvisation and interplay. Nguyên Lê
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Posted By Nada Brahma On Tuesday, June 24, 2008 1 comments
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His name has been familiar for some time to knowledgeable fans of music. No matter whether the musical jack-of-all-trades Karim Ziad, born in Algeria in 1966, is accompanying Cheb Mami or helping out the WDR Big Band, the Zawinul Syndicate, or his friend Nguyên Lê, his reputation has traveled from Paris to the rest of the world. The exceptional percussionist Karim Ziad is taking the listener on an adventurous journey for his third album under his own name. The list of musicians with whom Ziad has recorded his new disc, Dawi, reads like a who’s who of jazz and world music: Nguyên Lê: guitars; Frank Chastenier: piano; David Aubaile: Rhodes piano; Michel Alibo: electric bass; Karim Nazem: lead rap Linley Marthe: electric bass; Aziz Sahmaoui: percussion/background vocals; Menni Mohamed: percussion/background vocals; Scott Kinsey: synthesizer/piano; and Rani Krija: keur, karkabou, tbel – to name just a few of them. Karim Ziad, whom his friends fondly call the Little Prince, plays, in addition to diverse percussion instruments, guitar and gumbri (a Moroccan bass lute) and sings. With his music Ziad wants to bring people closer together, especially the people of East and West. And so it is a crackling and tension-filled musical mixture that awaits you on this new shiny silver disc: the sounds of the traditional music of North Africa – the Maghreb – flow into a more than simply productive fusion of jazz and electronic sounds. In the eleven tracks on Dawi you can hear what Ziad means when he says: “I go my own way when I combine traditional rhythms and patterns from, say, North Africa, the Maghreb, with European and American sounds. I am not exclusively fixated on jazz but want to development an independent, unmistakable sound.” To achieve that, Karim Ziad has made a long journey. He likes playing the musical tour guide on his jobs, leading his colleagues and listeners through lesser known musical terrain. The percussionist, singer, and gumbri player is an engaged advocate of genre-crossing projects that mix music and rhythms from the many styles of North Africa and the world. Karim Ziad mixes styles but never forgets his musical roots and his own origins; he states, with his usual modesty: “I am a Berber.” Born in 1966 and raised in the melting pot of Algiers, Karim Ziad experienced the degrees of tension of a cultural change: on the one hand, the hidden rebellion of many young people who were more interested in pop music than for Arab and African music; on the other, the mixed variety of traditional Algerian vocal music (Chââbi), Bedouin songs, Gnawa traditions, Egyptian film music, French chansons, and the rapidly growing popularity and dynamics of raï. In this complex milieu, the young musician established a broad field of activity. From early on, Karim Ziad played in various groups, including at weddings, which called for an open attitude toward many musical traditions and styles. At twenty, Ziad moved to Paris. There he quickly found access to the diverse multicultural music scene of the French metropolis. For him it was pure luck, for the political developments in Algeria had long since led him to decide not to return to his homeland for a time. And why should he? In Paris he was attracted by jam sessions with other musicians from the Maghreb, by the enthusiasm of the Orchestre National de Barbès, and by a lucrative offer from the famous raï performer Cheb Mami. One of the many fortunate coincidences in Ziad’s life was meeting the guitarist Nguyên Lê at a recording session for the Algerian composer Safy Boutelle. In him he found a musical brother: “From Nguyên, I learned a lot about dealing with sound. Although I approach music differently than he does. He is very intellectual. By contrast, I only trust my heart and my ears. My music is essentially more traditional than Nguyên’s.” The two of them forged plans for a joint CD project, which was produced in 1997–98 in cooperation with the WDR and released under the title Maghreb & Friends. Karim was essential to the creation of the album: “It’s really my first record,” as Karim Ziad sums it up in retrospect. Nguyên Lê is full of praise for the multi-instrumentalist, for his musical partner familiarized him with the rhythms of North African music and brought him together with young Parisian musicians from the Maghreb. Nguyên Lê says of Ziad: “Karim is gaining recognition in French jazz circles for his abilities. He is a ‘complete musician,’ a talented composer, a circumspect coproducer, and a highly original drummer, who not only watches over the tempo and drums like an acrobat but always accompanies the melody as well. Karim is also an expressive singer and plays the gumbri, a Berber instrument known as the ‘bass of the desert,’ perfectly.” In contrast to fashionable trends like Algerian rap (GNAWA DIFFUSION) – the preferred sound for many young people of Moroccan and Algerian origin – Karim is interested in other rhythmic tensions but above all in the Gnawa tradition. His music and his arrangements of traditional themes on Dawi, as on his two previous solo albums, Ifrikya and Chabiba, evoke dreams of North Africa and convey a desire to move and to dance. Karim Ziad’s activity in ensembles is as varied as his playing venues: his band Ifrikya, with musicians from various fields (including the famous Gnawa performer Abdelkbiri Merchane), the Louis Winsberg Trio, Cheb Mami, the Trio Bosilo with Bojan Z and Julien Lourau, and of course his new label boss, Joe Zawinul. Zawinul, probably the jazz musician from the German-speaking world who is best known internationally, and who has a penchant for multicultural exchange among musicians, discovered Karim Ziad in Paris in the late 1990s and immediately invited him to join his band, the Zawinul Syndicate. After working elsewhere, Karim Ziad returned to Joe’s band. There was reason enough to celebrate at the concerts opening the club that would be the band leader’s new domicile: Birdland in Vienna in October 2004. There Ziad was the rhythm leader on the team of percussionists with Aziz Sahmaoui and Arto Tuncboyaciyan, heading the churning percussion ensemble in, among other works, his own compositions (Chabiba and Louange). On Dawi, his third album under his own name, everything is flowing again: the enthusiastic singing, the rhythmic interplay, the tonal shading and differences between East and West and between continents. On his latest work Karim Ziad proves that he has learned a lot in recent years. But see for yourself: it’s worth the trouble!
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Keyvan Chemirani - Battements au Coeur de l'Orient

Posted By Nada Brahma On Tuesday, June 24, 2008 3 comments
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KEYVAN CHEMIRANI - Battements au Couer de l'Orient The eldest son of the renowned Chemirani family, Keyvan has also become the spokesman for these Iranian percussionists exiled in the south of France. Over the years, he distinguished himself by participating in far-reaching exchanges with the likes of Titi Robin, Erik Marchand, Françoise Atlan and Carlo Rizzo. These “conversations” gave rise to an album series called Les Rythmes de la Parole, “The rhythm of speech”, involving dialogues between musical cultures from Iran, India and Mali. In 2008, Keyvan released Battements au Coeur de l’Orient, or “Beats in the Oriental Heart”, a dazzling exchange with Indian tabla player Anindo Chatterjee.

Battements au cœur de l’Orient Let me say straight off the bat that I witnessed the creative process of this seminal album and wrote its sleevenotes. So I am perhaps not in the most objective position to write about a CD I find outstanding in its thrust and trans-cultural relevance. But, for some reason, this recording has not yet been reviewed elsewhere in English, and it deserves to be brought to readers attention. So, here goes. This is Keyvan’s third recording for the Accords Croisés label. I followed one of the afternoon sessions between these seasoned artists, in an exchange that lasted three days. Anindo Chatterjee was on a transit visit between two continents and gladly lent his firebrand tabla hands to Keyvan’s project. It was a dream come true for the French Iranian who has always been fascinated by the metric precision and multiplicity of timbres produced by the Indian tabla. After years of collaboration with Indian percussionists, playing with one of the world’s greatest tablists was a natural progression for Keyvan, who has always thrived on exchanges between distinctive musical cultures. Distinctive, yes, yet India and Iran are so close in their musical geography and classical repertoires. The artistic explorations between the two nations reached a climax four centuries ago. Much of what we hear in North Indian classical music at present is influenced by Persian works. “It’s like meeting up with long-lost relatives,” explained to me another seasoned artist on this album, Ken Zuckerman. The sarod player has been collaborating with Chatterjee for 30 years and the mutual respect they have for each other made the studio exchanges all the easier for Keyvan. Zuckerman had no trouble using his melodic instrument as a rhythmic accompaniment for the zarb and tabla leads that dominate these nine tracks. For it is clear from the start that Keyvan decided to put the Irano-Indian percussions at the forefront of Battements au Coeur de l’Orient. Chatterjee’s crisp and melodious strokes accompany Keyvan’s zarb lead with the innate sense of timing that has made the likes of Ravi Shankar praise this Pandit as one of the world’s best. Keyvan’s mastery of the zarb’s subtle yet all-enveloping sound is answered by the higher-pitched “daya” and “baya” rhythms coaxed out of the tablas by Chatterjee. Around this, there is Zuckerman’s sarod, the kemenche from Greece played by Sokratis Sinopoulos, the evocative bansuri flute blown by Henri Tournier, the lyra strummed by Stelios Petrakis and the soulful vocals of Keyvan’s sister Maryam Chemirani. The family network is further strengthened by the presence of Keyvan’s younger brother Bijan on the saz and zarb. Together, they construct a homogenous, at times dazzling, conversation that sweeps along the listener from the beginning to the end of this aural feast.

30th May 2008
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Hi there everyone, This is my first incursion, so I hope to do things right. I am happy to have found my way to this marvelous space. Finally every kilobyte worth and full of true Music and Gems. A big Salute to you all. This is one of the most recent and fabolous productions of this french Label, and as you have probably seen, there are quite a few parts of it's growing collection already present. I am glad to contribute with this little treasure.

The Rough Guide to 'Eastern Europe'

Posted By MiOd On Monday, June 23, 2008 6 comments
[01]. The Rough Guide To The Music Of Russia

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It has been more than a decade since the fall of the Soviet Union. Since then, Western music has flooded the nightclubs and airwaves of Moscow and St. Petersburg, but, for a variety of reasons, Russian music has been held up at the border...until now. 'The Rough Guide To The Music Of Russia' is the first international release to feature music from Russia's most beloved artists. The album includes music from Alla Pugacheva, Russia's first lady of song, legendary singer-poet Vladimir Vissotsky, Sergei and Tatiana Nikitina (voices of the soundtrack, Moscow Does Not Believe In Tears), Cossack folk from Jeanna Bichevskaya, Gypsy virtuosos Loyko and much more.


[02]. The Rough Guide to Hungarian Music

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With a population less than the size of greater New York, Hungary has produced a remarkably wide variety of music. While Marta Sebestyen and Muzikas (represented here) are probably the country's best-known musical export, there's plenty more worth hearing, not just the remarkable traditional tanchaz dance music of the Ökrös Ensemble, but gypsy and regional traditions, which remain very potent, with Zoltán Juhãsz and Mihály Halmágyi prime examples, the latter with some wonderful dance music. But there's plenty of room for the modernists, too. Romano Drom offer the contemporary end of the Rom Gypsy tradition, and they're remixed to great effect by Emil on their track. The Transylvanians seem to be very ethno-punk, with "Akasztós" sounding as if "Anarchy in the UK" had traveled to the Balkans. Kalyi Jag would seem to be strongly influenced by Dylan and Springsteen, while keeping their central European roots intact, while Fekete Vonant offer a sort of Gypsy rap that's not quite rap at all, but co-exists in the same neighborhood. Overall, incredible music and playing, and a chance to explore the many tangled strands of music that make up Hungary. ~ Chris Nickson, All Music Guide


[03]. The Rough Guide To The Music Of Turkey

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There's been very little exploration of Turkish music in the West, and on the basis of this you have to hope there'll be a lot more in the future. This disc covers the waterfront, from the pop sounds of Sezen Aksu and Ebru Gündes to the tortuous (yet playful) time signatures of Laco Tayfa & Hüsnü Senlendirici and the brooding sound of the Barbaros Erköse Ensemble, with Erköse, one of the country's leading musicians and a stunning clarinetist, at the helm. It's a carefully sequenced disc, moving slowly from straightforward Turkish pop -- which is no copy of Western sounds -- through gypsy music to Sufi sounds. The pivotal point is the very political Grup Yorum, whose "Haydi Kolkola" is ready accessible, but has a distinct roots edge. And from there, it moves to a rawer sound, such as Kemani Cemal Cinarli's "Mavisim," with its remarkable solos on hammered dulcimer and violin. Truth to tell, there's not a bad track on here, and compiler Dan Rosenberg has done an excellent job of illustrating how the different styles of music in Turkey have influenced and bled into each other, and the way both the Middle East and Europe have shaped it. A fascinating journey through an underexposed culture. ~ Chris Nickson, All Music Guide


[04]. The Rough Guide To The Music Of Eastern Europe

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A nice mix of some familiar faces (Marta Sebestyn, the Trio Bulgarka, Ivo Papasov) with some less familiar entries from the various expanding worlds of Eastern European music -- which saw a traditional revival in the late 1980s and early 1990s, and then a kind of fusion insurgency that produced some particularly quirky blends. This compilation actually avoids the contemporary fusion element until the very last cut, "Anonym" by Nikola Parov, and even there the traditional elements are strong (though not quite in the sense of, say, Macedonian dance music, which will keep you very alert; all those odd little rhythm shifts...). While this is quite a good album, it's curiously unsatisfying, perhaps because there is so much more waiting to be explored on a country by country basis. Consider it, then, a nice introduction. ~ Steven E. McDonald, All Music Guide

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Al-Andalus Collection [19]. Cantoras de Tetuán

Posted By MiOd On Monday, June 23, 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 Al-Andalus Collection [18]. Nuba Al-Istihlal

Cantoras de Tetuán
Cantoras de Tetuán - Female Singers from Tetuan
Cantos tradicionales de mujeres del Norte de Marruecos - Traditional women's songs from North Morocco Various female performers
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    Trad., Northern Morocco
  1. Melhún (dialectal poetry): "Yá láynmí f- lí'tí" (Reproches de amor - Disapproval of love)
  2. Popular urban song: "Nár l-hamra" (Fuego Rojo - Red Fire)
  3. Moaxaja san'a mizán bsít al-Istihlál: "Biayyi sabab nuhyar" (Por qué razón me dejas - Why do you leave me)
  4. San'a mizán bsít al-Istihlál: "Billáh 'alayk yá bugyatí" (Por Dios, anhelo mío - Oh God, my longing)
  5. Muwwál: "'Ayni llati 'addabatni" (Esos ojos que castigan - Those eyes that punish) Mizán btáyhi Rasd d-Dail: "Bushrá laná nilná l-muná" (Enhorabuena, hemos conseguido la felicidad - Congratulations, we have reached happiness)
  6. Melhún (dialectal poetry): "Má zayn dá nhár l- yúm" (Hermoso día - Beautifull day)
  7. "Al -hr´miyya shkú f-lbáb" (La maliciosa - The wicked woman)
  8. "Yábní yá habíbí" (Responde amor mío - Answer me my love)
  9. Muwwál: "Bi-l-hawá qalbí la 'allaq" (Mi corazón está enamorado - My heart is in love) Popular song: "Al-Múlu'a" (La apasionada - The passionate woman)
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The Conservatory of Music in Tetuán, founded in 1944 under the Spanish Protectorate a decade prior to Moroccan independence, has played a key role in training in and documentation of the vocal traditions of northern Morocco. Regional vocal styles reflect a centuries-long intersection of Andalusian, Levantine and Berber traditions. Cantoras de Tetuán compiles nine critical historical recordings from the 1960s, presenting the work of several master female singers, including Mnnána I-Jarráz, Alia I-Myáhed, Zohra Bttíwa and Pliyka y Sham d-Dhá. The women perform in full string orchestra settings, covering a repertoire associated with a time in which women and men were separated in virtually all public settings. Hence, this is music performed by women for women; only in the 1970s did this separation of the sexes begin to diminish, so the songs heard here are of particular interest insofar as they resonate within a particular moment in Moroccan social history. Digital remastering can achieve only so much with original recordings whose condition were reportedly not the best, but technical limitations cannot mask the patent artistry of this release. Anyone interested in the history of Moroccan music and the emergence of popular forms from older traditional genres will discover much here. Notes (written by Paniagua and Metioui, delineating the classical, folk and popular genres essayed herein) are in Spanish and English, with lyrics in Spanish and Arabic.

| EAC-APE - 380 MB | Booklet Scans | MP3 320 Kbps - 155 MB | 2007