Omar Metioui - Laud Andalusi

Posted By MiOd On Monday, September 29, 2008 1 comments
Omar Metioui - Laud Andalusi

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On this recording, Metioui recovers the music of the oud masters of early this century who were recorded, and whose music was more directly linked to AndaluciaÕs Arab past. The resulting sound is quite different from that of most of todayÕs oud players, soulful, and dazzling in its virtuosity. Includes a beautiful booklet with a history of the instrument.

Omar Metioui est né à Tanger en 1962. Parallèlement à des études pharmaceutiques à Bruxelles, il a étudé la musique arabo-andalouse au Conservatoire de Tanger à partir de 1974. Il a rejoint l'orchestre principal de musique andalouse de Tanger "El-'Arbi s-Siyyár" comme luthiste en 1976. Il fut premier luthiste de 1987 à 1994 de l'Orchestre du Conservatoire de Tanger sous la direction du Chiekh Ahmed Zaïtouni. Il a occupé également cette fonction de 1991 à 1994 au sein de l'Orchestre du Ministère des Affaires Culturelles.

En 1994, il a créé avec Eduardo Paniagua le groupe hispano-marocain de musique andalou-maghrébine "Ibn Báya". Il a créé plus tard, en 1997, un groupe de musique sacrée au sein de la confrérie "Al-Shushtari". La même année, il a créé l'ensemble "Al-Ala Al-Andalusiyya".

Omar Metioui a participé à plusieurs concerts en différents pays européens (Espagne, Portugal, France, Belgique, Pays-Bas, Italie), asiatiques (Japon, Iran) et arabes (Algérie, Tunisie, Egypte, Yémen, Jordanie, Syrie).

Aujourd'hui, Omar Metioui exerce sa profession de pharmacien à Tanger tout en développant sa vocation de musicien et de musicologue sur tous les continents.

Omar Metioui was born in Tangiers, Morocco in 1962. He initially studied pharmacology in Brussels, before returning to Tangiers to study solmization, Andalusi singing and oud at the Conservatory of Music and Dance. Between 1976 and 1980 he sang and played the oud with El Arbi s-Siyyar, the main Andalusi orchestra in Tangiers. He is currently first lute with the Conservatory orchestra, and continues to perform throughout Europe and the Arab world.

This CD is on the Sony Classical label. It features improvisations and vocal/oud pieces, each of which is in a particular Andalusian mode or tab'. Although marketed as a lute recording, the instrument used is definitely an oud!

Tab' s-Sika
1. Taqsim
Tab' al-Hiyaz al-Kabir
2. Bugya 2:26
3. Twisya de la Nuba
4. Taqsim 4:40
5. Twisya de la San' a
Tab' al-Istihlal
6. Taqsim
7. San' as Dary
Tab' 'Iraq al-'Ayam
8. Kursi Basit
9. Taqsim
10. Twishya de la Nuba
Tab' s-Sahli
11. Taqsim
12. Muwwal (Show them, haughty and alluring), Ibn al-Farid (1181-1235)

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Shankar, Menuhin, Rampal - Improvisations-east meets west 3

Posted By thawallah On Sunday, September 28, 2008 12 comments
Improvisations: 4 Indian Ragas: Menuhin, Shankar, Rampal

The above front cover is the German version

Ravi Shankar and Yehudi Menuhin are almost exact contemporaries. During the late 1960’s and early 1970’s, Shankar assumed a position of paramount importance, mainly because of his collaboration with the Beatles and his involvement in the Concert for Bangladesh. However, for some obscure reason, his traditional Indian music was not able to command the same interest later on. Menuhin is especially remembered because of his interpretative genius, although he was a musical prodigy: the pupil of Enescu, an exquisite conductor, and a refined composer. The latter quality was only utilized for special occasions and the scant information does not leave us in a position to ascertain the reason behind Menuhin’s compositions we have on disc. Although the compositional spirit of both artists seems to be similar, there are some important differences worth pointing out. Shankar’s music on this album is a patchwork of sitar-based pieces linked by a common thread of chant (the Asian musician has also recorded an album of traditional Hindu mantras set to classical Indian music). His ecstatic ragas (which are normally improvisational jazz-like pieces) also employ the use of low ranges, and a manipulation of scoring to increase the dramatic contrast. The model for all these traits is to be found in such masterpieces as RAGA ANANDA BHAIRAVA, RAGA PILOO, and SWARA KAKALI, all based on ancient Indian ragas for which Shankar seems to have a great admiration. Menuhin’s compositions betray a certain affinity with Debussy and the French Impressionist tradition. His more functional style aspires to not much more than the simple harmonization of the violin and the sitar tunes, and through the languid and relaxed charm of this music, he is able to create some wonderful reflective melodies out of the simplest of ideas, as in TENDERNESS and TWILIGHT MOOD. These two exemplary musicians of the WEST-MEETS-EAST tradition, as they were initially known, are truly fine examples of transcultural polyphonic art when it was starting to flourish, in the late 1960’s, and which was to culminate in the absolute masterworks of the fusion era, with its peak in the 1990’s. This is an amazing recording despite its lean playing time. DANIEL DELEANU

A1 Tenderness
A2 Twilight Mood
B1 The Enchanted Dawn
B2 Morning Love

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The Lilting Banshee -Traditional Airs & Dances for Celtic Harp

Posted By thawallah On Tuesday, September 23, 2008 2 comments

Eileen Monger has put together an appealing collection of traditional airs and dances for Celtic harp. Monger, who skillfully plays a harp her father crafted, is accompanied by several talented artists: Mike Billinge on the bodhran (goatskin drum), George Monger on the hammer dulcimer, and Jenny McLeod on the uilleann pipes and whistles.
(Uilleann, by the way, is Irish for elbow, referring to the fact that these pipes -- much softer sounding than Highland bagpipes -- are pumped by a bellows under the elbow). The album is well balanced with tracks that range from laments to very lively reels and double jigs, with a good range of polkas, hornpipes, and other dance sets in between. The album's appeal is strengthened by the fact that some of the tracks have interesting histories. "The Wild Geese," for example, is an air that laments the departure of many in the Irish army to the continent following the surrender of Limerick in 1691. It is said that the women sang it on the shore as the men were leaving. "Give Me Your Hand" ("Tabhair Dom Do Lamh" in Irish) was composed by the aristocratic Rory Dall O'Cathain (c. 1570-1650). He dedicated it to Lady Eglinton, who insulted him when he visited her house by demanding in a peremptory manner that he play a tune. When he walked out, she learned of his rank and apologized. O'Cathain then composed the tune in her honor. The tune is sometimes mistakenly attributed to a contemporary, Turlough O'Carolan, who apparently once tried to throttle O'Cathain for slandering him at a festival.
While not all of the tunes have such rich history, they do not suffer for it. Howard Jones originally composed "Hide and Seek" for the synthesizer. The instrumental version on this album makes it sound somewhat more traditional without losing the haunting quality of the original. Another altered tune is "Fingal's Cave," originally a Highland pipe lament that is here successfully performed as a march. Variety with consistency hallmarks this album and recommends it to all Celtic music fans. ~ Peter Ditzel, All Music Guide

01. King of the Fairies/The Lilting Banshee
02. Poll Ha'penny/Plains of Boyle/Cnoc na gClarach Slides
03. O South Wind/Great High Wind
04. Wild Geese
05. Bonny Portmore
06. Morning Dew/The Ivy Leaf
07. Limerick's Lamentation/Give Me Your Hand
08. Drunken Sailor
09. Niel Gow's Lament for the Death of His Second Wife/Farewell to Craigie
10. Kerry Polkas
11. Fingal's Cave
12. Morris Tunes: Orange in Bloom (Sherborne)/Step Back (Field ...)
13. Hide and Seek

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Putumayo Presents: Acoustic Arabia

Posted By MiOd On Tuesday, September 23, 2008 9 comments
Steeped in ancient tradition, the acoustic music of the Arabic world is featured on this mesmerizing collection

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01. Gamar Badawi - RRS
02. Alger, Alger - Les Orientales
03. Azara Alhai - Rasha
04. Mada - Charbel Rouhana and Hani Siblini
05. Tiris Mibreeha - Tiris
06. Ghir Enta - Souad Massi
07. Batalti Eli - Zaman
08. Les Larmes de Boabdil - Mousta Largo
09. Tu n'aurais jamais du - Maurice El Medioni
10. Wijjak Ma'ii - Zein Al-Jundi

On previous collections, Putumayo has explored upbeat Arabic pop and dance music (Arabic Groove and North African Groove) and laid-back Arabic electronica (Sahara Lounge). With Acoustic Arabia, we turn our attention to the subtler, more organic music of the Arabic world which has been inspired by the region’s traditional music.

With their stripped-down arrangements and softer, more introspective quality, the songs on Acoustic Arabia highlight the fundamental beauty of the music of the Arabic world. This collection features an intriguing roster of artists, including several international stars and exciting new discoveries. Each musician has a fascinating life story that brings added depth to their music.

One of the best-known featured artists is Algerian singer-songwriter Souad Massi, whose contemplative songs address social and political issues and were banned by the conservative government. Maurice El Medioni, a world-renowned Jewish piano legend from Oran, Algeria first began performing alongside Arab musicians during the golden age of the Algerian music halls of the 1940s and 50s, and is still tickling the ivories as an octogenarian. The band Tiris hails from Western Sahara and is made up of refugees who have been part of the struggle to reclaim their homeland from Morocco which now controls the region.

Les Orientales, fronted by three divas - Mouna Boutchebak, Saléha and Sylvie Aniorte-Paz, revisits Algerian music hall songs of the post-World War II era. For more than 20 years, musicians from all over the world have met in the RAS, a magical oasis in the Sinai desert by the Red Sea. Sudanese singer Jamal Porto’s “Gamar Badawi” was written and recorded at the RAS oasis. Zein Al-Jundi was born and raised in Damascus, Syria and moved to Austin, Texas where she performs, teaches belly-dance and owns a store selling Middle Eastern arts and crafts. She not only provided a song, “Wijjak Ma’ii,” but also wrote the album’s liner notes.

The gentle emotion and entrancing melodies of the songs featured on Acoustic Arabia will help listeners deepen their appreciation for the rich music of this part of the world.

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Ustad Bismillah Khan - The Magnificence of Stereo

Posted By thawallah On Wednesday, September 17, 2008 10 comments

Last month one of my posts contained an album with examples of the double reeded instrument, the 'Shehnai'. This month we have an album by the Master of the Shehnai, Ustad Bismillah Khan (1916-2006). This is an old recording ripped from vinyl by Count Reeshard , whom I thank dearly for this collection of soul stirring music.
I do recall seeing a copy of this LP back in the early 70's (because of the unusual name of the album) but had never heard the music until recently.
The Shehnai has a very unusual high pitched sound (somewhat akin to the high notes of the clarinet or soprano Saxophone), and to the uninitiated could be difficult to listen to for an extended period of time - I think you either love it or are unmoved.

Ustad Bismillah Khan was prolific over many decades and traveled widely with his 'party' of musicians, usually 3 or 4 other Shehnai players (students), and tabla was the usual accompanying instrument.

In 2001 he was awarded India's highest civic award the 'Bharat Ratna', for his contribution to music.

'Khan had the rare honor of performing at Delhi's Red Fort on the eve of India's Independence in 1947. He also performed Raga Kafi from the Red Fort on the eve of India’s first Republic Day ceremony, on January 26, 1950. His recital had become a cultural part of India's Independence Day Celebrations, telecast on Doordarshan every year on August 15th. After the Prime Minister's speech from Lal Qila (the Red Fort,) in Old Delhi, Doordarshan would broadcast a live performance by the shehnai maestro. This tradition dated from the days of Pandit Nehru.' ~ Wikipedia

On the 21nd August 2008 Ustad Khan was shown further respect by Indian Prime Minister Manmohan Singh, who announced the release of a commemorative postage stamp, terming it "a token of our nation’s and our government’s respect for him".
Without doubt Ustad Bismillah Khan is one of the great souls of the universe.

01 Raga Lalit Tritaal
02 Dhun Taal Kharawa
03 Raga Multani Tritaal
04 Dhun Ghazal

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Banda Municipal de Celanova

Posted By julio sotomayor On Monday, September 15, 2008 3 comments
Banda Municipal de Celanova
Viva Celanova - Balada galega - Todo son nubes - O perfeuto - Galicia miña - Os tres galeguiños - De corredoira - O choupo - Chantada - Brabant - Churrusqueira

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All India Radio - The Inevitable and 002

Posted By thawallah On Wednesday, September 10, 2008 1 comments

Hello to the regular followers of my posts, and to any new comers. It would be fair to say that the majority of my posts are Sub-Continental in flavour…with all the diversity that that entails. Whether it is classical, chill, new age- whatever it will grab my attention.
This newest post of mine is by a number of musicians who go by the name of ‘All India Radio’- the genre that they have been slotted in to by many people in the music industry is ‘trip hop’ or ‘trance’.

This is a double cd pack- the first one ‘ The Inevitable’ (the original front cover)
- was released on debut in 1999.
The second one simply titled‘All India Radio 002’ (released in 2001). When I purchased ‘002’ it became apparent that the 1st cd in the pack was a bonus cd. It was made this way with the early copies of the release. Therefore, I will post the 2 cd’s as a package to maintain the integrity of the artists intentions.

It has to be stated, that if you are looking for classical music or Indian instruments often used in any of the afore mentioned genres...or even if you were to think it might be some recordings from the 'All India Radio station', you could be disappointed.
Some of the track titles could lead you astray eg. ‘Hotel Madras’, ‘Bollywood Nights’, or ‘Bombay Mafia’- there is very little that you would associate with Indian music, although there are, some sound bytes of Indian street noises overlaid on the music therein.
What you will get is some beautiful dreamy sound-scapes, very positively ambient, which will de-stress you...if lying down and relaxed, you will sleep blissfully!

As mentioned, these are the first two releases of All India Radio (AIR). There are 6 releases in total. Their latest release ‘Fall’ (2008) - whilst maintaining the un-mistakeable ‘sound’ of AIR, the musician’s; Mark Kennedy (guitars & electronics), Mark Wendt (bass), and Ben Sims (drums) have been joined by vocalist/songwriter Leona Pure.
I have not been able to find out too much about this lady’s previous lives, but she is Pure by name, her voice is Pure angelic- which comes with a full range of notes that she uses. I doubt if there is any vocal work she couldn’t do justice to.

Here is a video and sound track called ‘Persist’ it is the second track from the new release ‘Fall’… there is Leona’s voice, and an interesting story on what inspired the song.

It is my humble opinion, that AIR will achieve major acclaim in the next 12 months with this new release. The voice of Leona makes the sound more accessible to a wider audience. Please go out and purchase yourself a will not be disappointed.

What others have had to say about AIR

"All India Radio began life in 1999 after founding member Martin Kennedy heard a friends badly recorded tape of Indian street noises and decided it contained some of the most evocative sounds he had ever heard. Taking his inspiration from the KLFs classic 1988 album Chill Out, Martin fused the lo-fi cassette recordings together with KLF-inspired ambient soundscapes and All India Radio was born.

"A glorious treat for the ears, this debut from the ex-Pray TV partnership of Martin Kennedy and Aidan Halloran is constructed from samples, programs and wobbling guitar lines and based on a collection of street soundscapes recorded in India by Halloran.
It is when these street samplings are at their most interesting that the music is at it's mysterious, exotic best, for they infuse the tracks with a genuine air of adventure. In fact the rest of the components of the fourteen tracks of The Inevitable aren't particularly novel, but the fact that the airy keyboard chords and flowing beats evolve exactly as you expect them, to make them all the more irresistible.
And, there's plenty going on below the enchanting surface aesthetics for those after a bit more substance. It's the kind of music that comes to you in dreams and to hear it actualised is really quite spooky." - Martin Jones, Inpress Magazine 2000

"This is the type of atmospheric bliss that leaves you with impressions, nothing really definitive or concrete, but these faint memories, homesickness, reminiscent smells you can't place, some kind of whispering of a history like a ghost town revealed after the draining of a lake.
Like a pulsating blob, pricked by old west twangy guitar, shadowed by snippets of street sounds, peppered with attitude and pieced together in a seat-of-the-pants, almost random process where shards of sound are stuck together with glue, almost like a scrap metal sculpture on a foundation of billowing nostalgia.
You might describe it as Dj Shadow goes out west, haunted by the Twin Peaks soundtrack or country electronica or cowboy dreams, the old west on one helluva noir-ish chill pill- but whatever it inspires in you, All India Radio is a gem." - Reviews

"Some albums come out of nowhere and escape all attempt at classification. The name and the cover suggest a new anglo-Pakistani bangra beat-style production, while in fact it is a rather arty project imported from Australia.
AIR is made of Aidan Halloran and Martin Kennedy, former members of indie band Pray TV and painter for the latter. The sound - definitely ambient- is lo-fi and low key: guitar, drum machine, sound sampled in India, plateaux and many space effects. Somewhere between languid opium moods and desolate landscapes, high art and Paris Texas." - - Open Mag, France 2000

“The acclaimed debut album from Australian down tempo instrumental band All India Radio. Spun by the late great John Peel who playlisted it on his show, the album also charted in the Belgium, Dutch and Polish Indie charts. The Inevitable was followed by 002 and their ARIA nominated self titled third album, the music from which featured in the US TV series One Tree Hill and many ABC TV & Foxtel TV programs. The band are currently working on their fourth studio album” . John Peel BBC playlist favourite 1999.

"While 'The Inevitable' was a terrific debut, '002' is a work of superior beauty. Ghostly voice and music samples, distorted, distant pianos and choirs are woven through palettes reminiscent of Brian Eno and the KLF ('Chill Out'). Turn out the lights, close your eyes and be transported to...somewhere not on this earth. Early copies come with the first album as a bonus disc". - The Age Newspaper.

"There is no doubt that the compositions of Martin Kennedy have a distinct flavour of their own. Though they travel and twist across many landscapes, the soul and root of the music maintains an alluring ambience. We are brought into the mood with an authentic trip hop mix which later returns in the latter part of the first two CDs. The attraction is brewed through very simple, long and deep basslines. These are coloured with wandering guitar strokes over the top. At times the melodies could be derived from the Ry Cooder school, set in a post 20th century context of electronic origin. This is a truly diverse piece of work with a lot to offer". - Ben Karsay, 3D World November 2001

Ok... to the music

‘The Inevitable’

The tracklist

01.Hotel Madras
02.Street Conversions
03. Losing Houston
04. Night Fevers
05. Bollywood Nights
06. Wake In Waco
07. Holy Cowboys
08. All India Radio
09. Radio Silence
10. The Final Frontier
11. Bombay Mafia
12. Departure Lounge Tea Break
13. All India Radio (Drivetime Remix)
14. Hotel Madras (Reprise)


The tracklist

01.By The Time I Get To Narita
02.Permanent Revolutions
03.Pacific High
04.You'll Never Go To Bollywood
05.Conspiracy Theories
06.Havana Waits
07.Highland Lowlife
08.How Many, For How Long
09.All The Way Down The West Coast
10.Border Crossings
11.Gringo Perdito
12.Wetbacks And Greenbacks
13.Surf On The Malecon

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Perlita de Huelva - Amigo conductor

Posted By julio sotomayor On Tuesday, September 09, 2008 1 comments
Perlita de Huelva - Amigo conductor
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01. amigo conductor
02. que bonita es mi niña
03. la niña de fuego
04. el divorcio
05. ¡ay! corazon
06. la golondrina
07. obrero emigrante
08. la flor de la canela
09. quererte hasta la ceguera
10. verde,verde

| MP3,320 kbps | 2005 | 75 MB | Flamenco |

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Pedro Soler - Sombras. Guitarra Flamenco

Posted By MiOd On Tuesday, September 09, 2008 5 comments
Pedro Soler
Sombras. Guitarra Flamenca, 1995
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There are many people who think that he is older than actually is (he was born in 1938). The reason being that very early he was adopted by the Masters of the "golden age" of flamenco. Having arrived in Madrid on the day Manuel Vallejo died, it was at the famous Villa Rosa, plaza de Santa Ana, that he got to know the still many renowned personalities of that period. He had the opportunity of accompanying Pericon de Cadiz, Rafael Romero, Bernardo de los Lobitos, of listening to and seeing perform Perico del Lunar the elder and the legendary Manolo de Huelva, among others.

In the spanish quarter of Toulouse, at that time the capital of Republican spaniards in exile, he had already taken his first steps with Jose Maria of Grenada, Jacinto Almaden, attracted by the sonority of Soler's style, decided to form him to become his guitarist.

He kept him as second guitarist, always by his side on his tours in Spain and throughout Europe. Pepe de Badajoz, one of the rare guitarists to have regularly accompanied Don Antonio Chacon, was first guitarist of the troupe, Performing at first only to accompany the dancers, Soler was learning from Babajoz without ever "taking a class". The master would simply give him advice. It was up to him to hear, to see and especially to understand because the only instructions were approximately : "that's it" or "that's not it". The only remuneration for Pepe's advice being a box of enormous Romeo and Juliette cigars from time to time. A great friendship united master and pupil but yet Pepe gave Soler the "Alternative" in a rather cruel fashion in 1967 during one of Almaden's recitals in Madrid at the "Teatro de la Comedia". Pepe was accompanying the first part, the more traditional songs of the "jondo" and Soler the second part, the freer songs of the Levant that were Almaden's real specialty. When the last song of the first part, the Seguiriya was announced, Pepe put away his guitar and left, in spite of Almaden's protests, obliging Soler to introduce himself to Madrid in front of a public where all the aficionados and artists were present and accompany a song he knew only relatively well. The beginning was difficult and intricate but the public soon adopted his guitar and he left "the arena" carrying off two ears (his own at least). The press (A.B.C.) echoed the public's response " "The masters Pepe de Badjoz and Pedro Soler fulfilled theirs accompanists' roles with great effectiveness". At the end of his life, Badajoz sent for Soler. He left him a sort of musical inheritance, even saying : "Play this and say its yours. I never had it recorded".

Soler accompanied Almaden until the latter's death. He performed for many years with Pepe de la Matrona whose teaching were a determining factor for him. He also accompanied Juan Varea for a long time, later, Enrique Morente and at the moment, Miguel Vargas is the singer that he most often accompanies.

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Essentially flamenco music relies upon the use of three modes : Major, Minor and Phryglan.
It is chiefly baseb on a shema of which the cycle is twelve beats in a binary and ternary combination. Paul Claudel wrote : "Twelve is three multiplied by four, the square multiplied by the triangle, it is the root of sphere, it is the perfect number." Twelve, the number of signs in the Zodiac, the number of Apostles, the hours of the day and night, the months of the year...

(01). Aire Serrano (Serrena)
(02). Aljibe Arabesco (Granaina)
(03). Cantina Del Pelele (Cantina)
(04). Luna Callada (Por Tientos)
(05). Flor Del Caribe (Guajira)
(06). Noche Oscura (Seguiriya)
(07). En Los Patios (Sevillanas)
(08). Canas Del Genil (Garrotin)
(09). Oracion Minera (Rondena)
(10). Sombras Del Atardecer (Soleares)
(11). Cuna De Mimbre (Nana Flamenca)

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Pedro Soler & Renaud Garcia-Fons - Suite Andalouse

Posted By MiOd On Monday, September 08, 2008 4 comments
Pedro Soler & Renaud Garcia-Fons
Suite Andalouse pour contrebasse et guitare flamenca, 1994
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The European press has repeatedly hailed Renaud Garcнa-Fons as being, “the Paganini of the double bass”.
The Franco-Spanish bassist performs on a custom built, five-string contrabasse (tuned E,A,D,G,C), which gives him a sweeping range, even superceding the high notes of the cello and his playing register can ascend even as high as the violin. Especially during his frequent solo sojourns, you’ll often find yourself exclaiming, “I can’t believe that’s a double bass!”

Born in 1938, Pedro Soler began playing guitar with exiled refugees from Andalusia who came to Toulouse after the Spanish Civil War. He performed in flamenco companies, studied with masters, and later accompanied celebrated flamenco singers and dancers. As a recording artist of over 50 years, Soler is one of the most honored flamenco artists.

(01). Puente De Triana
(02). Azahar Malagueno
(03). Noche Gaditana
(04). Madrugada - Renaud Garcia-Fons
(05). Caminos - Pedro Soler
(06). Cante Del Guajiro
(07). Gitanet - Renaud Garcia-Fons
(08). Sentir Farruco
(09). Barrio De Santiago
(10). La Union

Pedro Soler - flamenco guitar
Renaud Garcia-Fons - double bass

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Pedro Aledo & Ensemble Méditerranéen - D'ile en ile

Posted By MiOd On Monday, September 08, 2008 9 comments
Pedro Aledo & Ensemble Méditerranéen
D'île en île. Musiques de Méditerranée, 1995
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Ensemble Méditerranéen
Pedro Aledo
From island to island

The Mediterranean Ensemble launched themselves out the challenge to appear entirely on the record marks but, also and especially to exist concretly through concerts and cultural events, which aims besides the sound and musical attraction, do bear on the creation of a humanistic trend. As a matter of fact, more than a "fusion", the Mediterranean and worldwide cultural generally speaking, is a universal patrimony which deserve all the interest of the human wills, in order to soundly build the grounds for a revival of the cultural and educative values. A momentum towards the surpassing of oneself, needs some courage and efforts. Some actions untiringly repeated. By bringing together some musicians friends from different extractions, I would like to take part in the creation of trend of tolerance and joy of living shared freely.
The support and the confidence of France-Télécom allowed me to under-take this artistic step. I do quote this sponsorship with a heartfelt gratitude.

My sincere thanks, also, to Regine and J.P. Déméry (Souleiado) as to the persons that brought their help to the realization of this record.

Pedro Aledo~

A very popular song in Algeria and in the maghrebian communities living abroad the country. This song do accompany the festivities during the marriages.
Spanish text and arrangements : P. Aledo,
Spanish song : M. Fernandez,
Text and provencal song : M. Bramerie,
Algerian song : T. Bestendji,
Violin solo : C. Zagaria.

Andalusian popular song : "I sell very mild melons, and watermelons are very coloured".
On this theme, P. Aledo built a woof, half sung, evoking the "Tanguillo", musical form from Cadix.
Spanish text : A. Fernandez, P. Aledo,

Music composed by P. Aledo during a recent stay at Tlemcen (Algeria).
J.C. Latil (Oboe),
T. Bestendji (Quanoun),
M. Montanaro (Flute),
H. Hamadouche (Mandolute).

In the origin, this song was accompanied by a jew's harp. P. Aledo disclosed oriental-andalusian feature on the melody and coloured it with a "taqsim" and some answers in the quanoun

Inspired from the SERENATA SICILIANA, composition of P. Aledo, by inserting in it some verses in corsican, french, catalan and spanish. The quest of the beauty : "of she", the woman, the mother, the sea, the light...
This theme gave it's title to the record Soloist, guitar and singing : P. Aledo.

From the north-west of Spain, region of Sanabria, repetitive musical theme on which Equidad Bares, the Performer, has improvised and fixed this loving plaintive ballad with a musical arrangement of P. Aledo
Soloists : M. Montanaro (double flutes),
Ch. Zagaria (violin).

At the time of the practice for recording of this record, Jacques DAU made explode this "Lamentu" of the south of Corsica. Song of the mountains, which seems inspired by some "Volcanic sigh" of the corsican soul.

Berber wedding music played by T. Bestendji in the Zurna (close to the brton bombard, both are ancestors of the oboe).
Davoul and Bendir by S. River and Hamadouche.

In the first CD of the Mediterranean Ensemble, P. Aledo had superposed an Algeria Flamenco rhythm and a corsican terzetti.
It's the meeting here, still astonishing, of the Petenera, archaic flamenco mode (dreaded by the singers, so much it was apparently loaded of "maldicion") and an Occitan song which text quite as much tinged with sadness and loneliness.
Soloists guitar : Juan Santiago and Antonio Fernandez,
Song : Felix Santiago and Miquela Bramerie.

A song from a musical under "Le siege de Mons" (Words),
Michel Montanaro (Music).

Contraction between two cultures since centuries neighbourhood.
Dialogue between a part of a "cantigua" sepharade and an "arabo-andalous"evocation.
Vocal : Pedro Aledo, Taoufik Bestendji.

Rumba Flamenco, far from the common spectacular screams to this musical style. The young Manuel Fernandez, his brother, his cousin and parts of the Ensemble, offer this song with vitality and moderation.

Cenem Diyici offered this song, from the east of Turkey, to the Mediterranean Ensemble.Ballade of an evening of January the 30th 1992, coming to settle on this record, such as a present coming from the heart of voice and the soul of Cenem friendship.
Accompanied by Alain Blesing (Ac.Guitar).

Raga Marwa
(01). Chant de noces (Traditional Algerian)
(02). Dulce melonar (Traditional Andalusian)
(03). TLM (Pedro Aledo)
(04). Serenata siciliana (Traditional Sicilian)
(05). D'île en île (Pedro Aledo)
(06). Como quieres (Traditional Of Sanabria)
(07). Faggianella (Traditional Corsican)
(08). Chaoui (Traditional Berber)
(09). De Cadiz à Marseilla (Traditional Andalusian/Provencal)
(10). Gaspard de Vilanova (A. Neyton & M. Montanaro)
(11). Sepharabe (Traditional Sephardic/Algerian)
(12). Yo no se que es el amor (Traditional)
(13). Separation (Traditional Turkish)

Michel Montanaro - accordeon, flute, galoubet, tamburin, alto sax
Guy Suanez - spanish lute
Equidad Bares - vocals
Pierre Bonnet - flamenco guitar
Taoufik Bestandji - kanun
Zurna - vocals
Felix Santiago - flamenco guitar, vocals
Juan Santiago - flamenco guitar
Antonio Fernandez - flamenco guitar, vocals
Manuel Fernandez - vocals
Sandy Rivera - vibraphone, percussion
Keyvan Chemirani - zarb, percussion
Mustafa Toumi - darbouka
Christian Brazier - double bass
Andre Carboulet - clarinet
Christian Zagaria - violin, mandolin
Hakin Hamadouche - vocals, mando-lute
Miquela Bramiere - vocals
Jean-Luc Latil - oboe
Pedro Aledo - vocals, guitar, director
Jacques Dau - vocals
special guests:
Francoise Atlan - vocals
Cenem Diyici - vocals
Alain Blesing - guitar

Recorded at Marseille, January 1992

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320 kbps including full scans


Kushal Das, Surbahar - Raga Marwa

Posted By MiOd On Sunday, September 07, 2008 6 comments
Kushal Das
Raga Marwa, Surbahar, 2005
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Kushal Das, a north Indian solo sitarist was born to a highly enriched musical family of Calcutta. His grandfather Late Bimal Ch. Das was a renowned Esraj player while his father Shri Sailen Das and uncle Sri Santanu Das are sitarist-s of high repute.
Kushal started his talim from the age of seven. He received intensive and rigorous training in advanced sitar techniques and the art of music making under the affectionate guidance of Prof. Sanjoy Bandopadhyay, the renowned sitar maestro and academician. He also had the proud privilege of having learnt from great musicians like, Pt. Manas Chakraborty, Pt. Ramkrishna Basu and Late Pt. Ajoy Sinha Roy.
With a profound knowledge of musical understanding and raga improvisation Kushal is now considered as one of the foremost torchbearers of the tradition of Indian classical Instrumental Music.
The critics and connoisseurs have acknowledged him as a worthy successor of his idol, the legendary maestro Late Pandit Nikhil Bandyopadhyay.
His concerts are always marked for their aesthetic appeal and insight with a fine command of technical expertise. With maturity as his forte Kushal thus have the predominant virtues of Indian heritage and music.
An "A" grade musician of All India Radio and Television, he is a recipient of Sangeet Visharad from Pracheen Kala Kendra-of Chandigarh and Sur-Mani form Sur Singar Samsad of Mumbai.
Kushal has participated in most of the major music festivals in India. To name a few, Tansen Music Conference, Dover Lane Music Conference, ITC Sangeet Sammelan & Mini Sangeet Sammelans, State Music Academy Annual Conference, Saltlake Music Conference, All India Radio concerts are some of the important ones. (

Raga Marwa
1. Alap
2. Jhor
3. Jhala
4. Gat Jhaptal
5. Gat Drut Teental
6. Jhala Drut Teental


Taoufik Bestandji - Poèmes d'amour

Posted By MiOd On Saturday, September 06, 2008 0 comments
Taoufik Bestandji & Farid Bensara
Poèmes d'amour. Anthologie de la musique citadine Algérienne.
Malouf et Canaa, 1995
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Malouf and Canaa
by Taoufik Bestandji

I have often been struck by the intransigence and the dogmatism of master Maghrebin musicians. Their cold attachment to the notion of "artistic territoriality" has developed into an unprecedented obscurantism and accentuated the erosion and impoverishment of the repertories of urban music. "This "insraf is strictly Telmcenian, it can in no way be interpreted by musicians from Constantine"...From East to West, statements such as these are often heard and these people persist in breaking the ties that, in all evidence, have united the classical music of the Maghreb for centuries, All criticism, all attempts at reflecting on the history and "cultural policy" of the music in these countries is either denied or relegated to quarrels between traditionalists and modernists, scientists and alchemists. Any aesthete having an independent mind, wishing to go beyond the notion of clans and "artistic regionalism", finds himself confronted in sterile polemics.

My desire to unite the repertories of Algiers (Canaa) and Constantine (Malouf) can seem provocative. My aim is very different: to attempt to rediscover the exchanges and circulation of works, that used to be so intense, and made this music vast corpus nourished by diverse influences. To do so, I insisted on respecting the aesthetics and technical standards of each of these two musical traditions: training of the musicians, choice of instruments, techniques used... Only certain forms of interpretation differ: I sought the interdependencies of the songs and the musical "sentiment".

After twenty-four years of exploring the Malouf, I reached the limits of the repertory.
There are different reasons for this.
In the 1970's there was a revolution in musical transmission. The use of tape recorders became widespread and helped young musicians to learn faster the repertory that was passed on orally before.
With the death of certain masters, entire sections of the nuba repertory disappeared. Musicians became sedentary and gradually isolated, further increasing the frailty of this heritage that had been preserved by the nomad life of masters who would move on when they felt the need for replenishing their repertory.

In 1974, a year before the war broke out between Morocco and the Polisario I gave a concert in Tetouan of Arab-Andalucian music that was on enriching experience for me: the people of Tetouan were charmed by our Malouf. Our group did a "jam session" with the S. Chekara orchestra which clearly revealed the similitude between the Moroccan and Constantine repertories. The same form of hedonism emanated between Algeria and Morocco in 1975 put an end to this project. I then turned to the Tunisian malouf which is closer to the urban music of Constantine, but, unfortunately, frozen and dominated by an institution, La Rachidia.

My obsession today is to compare and confront pieces that are interchangeable in their melody and rhythm. I have played relentlessly, during the past thirteen years, with the groups from Algiers and Tlemcen.
I may be considered as non standard by musicians of Constantine, as an intruder by musicians of Algiers and Tlemcen. It does not matter what I am given. My only goal is to make aware specialists and music lovers of the musical practices that have contributed to the richness of the borderless Andalucian-Maghrebin music.

Space-time, Nation state and Ala

The study of Maghrebin music is complex. There are no written sources, and the circulation of men and works over time has made the task difficult for specialists and musicians who are curious about their history.
The Maghreb, that vital space that saw their birth and blossoming of the nuba, was split and divided into three nationals - Morocco, Algeria, Tunisia. Since the independence of these countries, the arguments of artistic territoriality and musical heritage have been used to political, and not cultural, ends.
The orchestra of Rabat, previously directed by master Oukili, the Mossilia of Algiers and the Rachidia of Tunisia have broadly contributed to diplomacy between the three states of the Maghreb. Following their independence, the existence and development of urban music gained a new legitimacy and musical geography bent to the geography of political systems. The Ala, the Gharnati, the Canaa and the Malouf suffer today from a harsh nationalistic paternalism without historical or cultural foundation. To better lay the foundations of political legitimacy of States, the most influential artists-musicians became national defenders of a musical repertory that they modelled to their liking. The international regionalism, the privileged relationships between certain artists and the state and their manipulations reflect the confusion that prevailed within government circles. When the relations between these states deteriorated, the diffusion of music, and Andalucian music in particular, was prohibited, marking the breaking point.
Master musicians were deeply affected by this situation. The ravages of isolation and the national cultural policy gave new models to the nuba of the Maghreb. The external quarrels, reduced to internal conflicts, led to rival musical societies, sometimes devoid of meaning: Fez-Tetouan in Morocco, Tlemcen-Algiers-Constantine in Algeria, Tunis-Testour in Tunisia....

The best example of this situation is probably La Rachidia which was one of the most powerful instruments in the fight against colonialism, and became one of the Tunisian state's showpieces after independence was gained.
Theoretically, the Tunisian Malouf offers a fairly clear historical fresco of the different influences of Arab, Berber, and Ottoman music; however, this foundation, moulded from a millennial wealth of melody and literature, which has been congealed in the space of a just a few decades into a compilation written in a universal code under the power ofmodernisation.
The Rachidia is an institution created under the contestant nationalism movement of Bourguiba, defending the Tunisian cultural identity against colonialism and later, against the idea of an assimilation of the Maghreb. The Rachidia undertook radical transformations. The methods for training and diffusing the Malouf were submitted to strict control by the Conservatory. The modernisation of pedagogical tools confirmed the desire to break away from the traditional places of music as cafe-concert halls. The orchestra grew to resemble western symphonic orchestras. Instruments such as the nay, taught by Ali Darwiche, dominate the fhel of Ahmed El Wafi... In short, the Rachidia became an important element of Tunisian politics the modernists.

The Rachidia's close cousin, the Malouf of Constantine found itself cut off from all hypothetical roots. Its development became a national question. It was forced intoautonomy, being structurally and historically too far removed from the Canaa of Algiers.
The musical masters of Constantine built a closed universe, without much thought.
Ghrib is a word from Algiers, different from Hsin of Constantine. This variation should not be done. its not authentic. Statements such as these leave the neutral listener perplexed. the elites of the Canaa speak in the same way when they learn that a movement was changed in Tlemcen. for them, only the local tradition is authentic.

The interminable quarrels directly influenced the training of young musicians, to the point that, each region lost its taste for an overall style that was so alive in the past.

This recording comes to modestly unsettle these restrictions. The practice of the Malouf and the Canaa made me conscious of how serious the problem is: sectorisation leads to the death of micro-repertories. Urban musical tradition. relying on the strength of its history and its vivacity, must go beyond ideological cleavages and political manipulations.
The two nuba that are recorded here were carefully chosen and interpreted to reveal the comparison between the style of Algiers - The Ghrib is typical of Algiers - and of Constantine - the interpretation of the Cika nuba is from the Malouf. Listen carefully to discern the bridges between the two nuba. The words have been translated to make the comparison easier; the poetry and the themes are foundation of this art. They help to better penetrate this universe that bridges the Atlantic to the confines of Fez.


Shortly after french colonisation. the word "Nuba" called war music to mind. "la nuba" was inscribed on postcards from the beginning of the century, showing a Zouave band without any brass instruments or drums. A dozen zourna players (double reeded wind instrument) accompanied by tabala (percussionists) interpreted popular melodies in classical modes.
Leon Roches, the head musician of the army of Africa was told the following legend at emir Abdelkader's camp, which he later transcribed in a book published at the beginning of the twentieth century: "i was told a typical story about the Nuba that goes like this: A pleasant Arab asked his compatriots if they understood the language of the Nuba: "It doesn't mean anything. it sings" they said, "Ignorant or simple-minded that you are", he said, "The Nuba speaks in the name of the sultan and yourselves".
the epithet "Nuba" recalled the noisy folklore of the Spahis regiments. It has a totally different meaning today: these suites of profane cantatas, interpreted in precise modes (Dhil, Zidane; Cika, Ghrib...), leading the initiated music lover to a state of Ecstasy and melancoly. The Nuba is by nature, mythical and nostalgic. The eternal Golden Age of Andalucia continues to inspire musicians and fulfil music lovers; this music also recalls refusals and disillusion.

The mouachah (poems sung to Arab-Andalucian music) of the two Ghrib and Cika Nuba talk of courtly love. they are for the most part anonymous. When they were composed in the Maghreb, they remain tinted with the nostalgia of the Al Andalous country, and the gardens and harmes of Grenada and Seville continue to forge the conscience of the people of Maghreb.

There are two Cika nuba in Constantine, the Nuba Cika and the Nuba Cika-Mjenba. the difference between the two is more in the order of pieces than a distinction in mode: the three Mcedder of this Nuba (Ya bass-8/adha nahit-9/ fah el banafsaj-10) are, in the tradition of Constantine, always interpreted in this ordder. The rest of the Nuba follows the order chosen by the musicians. They may move on with the Darj and, therfore, execute other movements (Insraf, khlac), or they can those the Inklabat, as is the case in this recording.
In this recording the Istikhbar, which usually comes at the beginning of the Nuba, comes after the three Mcedder.
The Nuba Ghrib is executed according to the rules of the Canaa of Algiers: each movement (Mcedder, Btayhi, Darj, Insraf, and Khlac) is interrupted by an instrumental solo. To renew with the custom of chorus singing, the first, seventh, and twelfth titles of this recording are sung by the entire group.

Between two musical cultures

Farid Bensarsa, currently professor of Andalucian music and conductor of a Canaa orchestra in Saint Denis, France, represents the meeting of two musical cultures: the Malouf of Constantine and the Canaa of Algiers.
He was born in Constantine in 1953. Like most musicians of his generation, his musical debut was at the consrvatory and with the artists of the funduk. Once established in Algiers, he took classes from the prestigious musical organisation, la Mossilia. He learned virtually the entire repertory from the grand master of Canaa, Ahmed Serri, and became conductor of the Mossilia after A. Serri's departure. At the request of his master, he initiated the musicians of la Mossilia to the Malouf. Bacheraf, and other pieces from Constantine, are today part of the repertory of Algiers. With his friend and master of the Canaa Nasser Benmrabet (violinist in this recording). he explored and made a rigorous classification of the nuba of Algiers.
In Algiers, the kwithra generally replaces the ud arbi (lute from Constantine). Farid, chose to keep his instrument. "Each time I play a Mcedder Ghrib, I love to subtly "dub" it with a mood that recalls the Hsin mode of Constantine. I can only do this with my ud." He would like to make a recording using these two instruments that are so far yet so close.

(1) Farid bensarsa is the conductor in the first part of this recording. With Arbaoui - Maoui - (lute), Bensaid Mokrane (alto), djamel Allam (mandoline), Abdelaziz Djemai (derbouka), Ahmed Adel (tar) and Nacer Benmerabet (violinist and conductor of the Mossilia of Algiers), all members of the Canaa orchestra of Saint Denis, he founded a non-profit organisation and teaches Arab-Andalucian music to young people.

(2) The second group is very different. The artists are all professionals. Mourad Fergani, son of master Mohamed Taher fergani, is a great stylist. Through a specific tuning, his guitar has its own sound and his playing style is unique. His solo in the Cika nuba reveals a care for harmonisation of the malouf.
Abdi H'Midou, flutist and old friend, is a confirmed jouwak player. He learned to master the difficult alternation of notes of this instrument with the grand master K. Darsouni. the instrument is gentle and melodious in his hands. His improvisations are rich in Lakhal Belhaddad, qanun player (zither) is well-known throughout the Arab world. He reveals his total mastery A. Fakhardji, . Today he accompanies all the great Algerian musicians, in particular in Chaabi music. His virtuosity is unequalled in all of western Maghreb. This "al Sur" collection devoted a CD to him, in which he reveals his technique and mastery of the qanun in more detail.
The beat/tempo of the Cika nuba is given by mabrouk Aissaoui on the tar and Nasser Bousaboua on the derbouka, two percussionists with different musical horizons. mabrouk Aissaoui of the Malouf of Bonne. Nasser Bousaboua trained mainly in the musical organisations of Constantine. His technique is close to that used for the Iranian zarb.
All these musicians today live and give concerts in France.

Taoufik Bestandji (Song, kwithra, alto)

 It is always difficult to write about oneself. Briefly, my background is as follows:
I was born thirty-seven years ago in Constantine, in a family of musicians. I couldn't adapt to the teaching methods of the Conservatory of Constatine, and turned to the last funduk of the city and private parties where I received most of my training. It seems to me today, that this was the only means for musicians of my generation to acquire the true foundations of the Malouf, since the conservatory and similar organization of Constantine reject the popular repertories (hawzi Mahjouz, Aroubi...)
At the end of the 1970's, I became known through television appearances, calling me to the attention of a few great masters such as A. Toumi, with whom I learned rare pieces. Alongside master T. Fergani, I learned the technique of certain Hawzi, without taking lessons directly.
Attracted by the practice of different instruments, I taught in the music schools of Constantine at a very young age.
During my three-year military service in Algiers, I became close with a number of musicians and musical societies, and have followed their evolution ever since.
In 1989, I left Constantine to teach Arab-Andalucian music at the National Conservatory of the Region of Marseilles. I have lived in France since then and constantly strive to share my passion for music.

Taoufik Bestandji

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1. The night of union
In the sweet, beautiful night,
Our bodies and souls are euphoric,
I saw nothing but beauty in you.
All through the night you were like a courtesan, dazzled.
Pleasure was with us.
All night I braided flowers and my cup was filled.
To the sound of the lute and singing, my heart was full of joy.
Now in my solitude, without comfort,
thanks to you, my love, in all truth, I can live.

2. promises of love
None other than you I will love
I make the vow
Can not force you to love me
Do not know how
Nevertheless, I vow to wait for you
If I have hope
I will drink until ecstasy
To see you again
Can not stand your refusal
Must give up
You do not know the pain
That I have in my heart
You loved, I have too much pride
I am in mourning.

3. My messenger tears
My tears are my messengers
They tell you of my humble love
Do not push me away
I an nothing but a messenger
Love of my heart, when you left
You left me ill, annihilated
You had taught me how to love:
I can no longer love any other.

4. A pleasant moment
Oh moon, Oh Selene
Your white disk radiates
Androgynous woman,
You are beautiful
In the moonlight.
You served me
A sweet wine.
All at once, in one motion,
I drink and kiss you all over.

5. Breaking up
The woman I love is beautiful
But she is far from me and my body wants her.
But I broke up with her
And I am torn with regret.
I felt tenderness for her.
I liked to serve her patiently.
My body still burns for her
And my soul also yearns for her.

6. To censor of love
I am drunk, look at me
Have pity on my state
I am in love with a star
Very far from me
Tell me what pushed me
To love her so much
I will never lose hope
Of seeing her again
I will drink enough to dream of her
That she will come
And say "I want to drink too
and be carried away"
Have pity on my state
I am crazy about her.

7. Forbidden love
I told my heart not to love her with all my might
But the forbidden love is stronger than me
Let us rejoice, God allows it
O my heart, be patient
And do not lose hope

She charmed me with her beautiful eyes
She stole my heart
Now it is said, where is the secret?
I admit to it, I am crazy about her
Unfortunate secret of Punchinello!

8. The blue violet
Oh blue violet
Exquisite and alone
Your perfume is so sweet
You hide your little head
No one see you in the garden
Kiss my cheek and my leg
Become my most beautiful slave
-He spurned me, she says
He turned away from me
-Oh violet, tell me why
When you leave me you have pity
And in spite of me, my wounded heart
Is a slave to your sweet law.

9. Love punishment
Deep down in my heart
I suffer and sight
My body will not sleep
He wants it
In the garden, between the vines
My beautiful gazelle is sitting
She has joined her lover
Escaping from her chaperone
The wine in our full cups
Adds to the gold of her presence
In the garden, between the vines
My beautiful gazelle is sitting.

10. Courtship
I met her at a pilgrimage
Winning indulgences for her sins
I tried to set up an innocent meeting
She says "no, not you, and certainly not here"
"Goodbye madam" and I turn around
But, shortly afterwards, I miss her
She was sweet and cute
Be good to me, God of love
Set her on my path again
And you, muezzin, after the prayer
Give her a landmark for me.

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320 kbps including full scans


Hekuran Xhamballi - Kabà & Vàlle d'Albanie

Posted By MiOd On Friday, September 05, 2008 5 comments
Hekuran Xhamballi
Kabà & Vàlle d'Albanie, 2000
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Hekuran is a very famous Rrom from Korça, and his family also is quite famous for music: all three brothers, Izet, Fiqret and himself are brilliant musicians - two of them play the clarinet and one the accordion. He would perform many concerts abroad, more than 30 times, since Enver (Hoxha)'s times. He participated also in the 4th Rromani World Congress in Warsaw in 1990, together with Demir, who died last year, both of them as representatives of the Rroma from Albania, Hekuran is a Kabuzi (the Kabuzi group came from Turkey and Greece to Korça), but he went around with all kinds of people, with Meckars, with Evgjits and with Albanians, he has assimilated all the varieties of Albanian music. He is presenting in this CD a bunch of melodies : mostly kaba, but also valle, valleshtruar and others which are related to kaba in terms of structure, melancholy or inspiration. The kaba is the basis, the soul of our music. It is so beloved by everybody that everyone says it originates from his own region, he wants to make a monopoly out of it. Most people in Albania maintain it comes from Korça, because there is in this city a neighbourhood called "Kaba", which allegedly gave it its name. Nobody can tell if it is true or not, but all Muslims know of the body of the holy kaba in Mecca, and maybe a pilgrim who came back from there gave this name to his neighbourhood in Korça, so the name by itself does not indicate anything about the kaba, The Evgjits also maintain that the kaba is theirs, and it is true they have produced brilliant kaba. be that as it may, it is not important for us to declare "the kaba belongs to these or those". The kaba lives its own life and in fact it belongs to anybody who understands the music of the soul, and also to all of you who are listening to this CD... I just would like to tell you in short a legend of ours, which is related to the kaba:
"Once upon a time, lived Clarinet, a Rrom of authority, who used to play Romani dances, heavy dances of all kinds and Violin heard him, came to him and both of them got associated for ever. However one day, Clarinet had to go far away to a far-off country beyond the sea to earn money, because there was a terrible famine and both were very poor, they were starving. Violin used to come to the sea-side and weep with a very melancholic melody, heart-rending and harrowing. Clarinet could hear from the other side of the sea and answered with a melancholic melody as well, but which was also showing virility, because the kaba is thick, produced with a thick voice. He would say in replay : "Don't worry, I am coming very soon to you and we will never separate anymore from each other: where Clarinet is, there is also Violin, where Violin is, there is also Clarinet, at weddings, on the move, in happy days, in bitter events, everywhere both of them are together, just like Rroma: when Rroma take to the road, they do not separate, they leave together with their wife, their family. This was the tale."

It is true that Rromani people travel in family, husband and wife, together with the children, in search of better places to live, where they could live normally like buman beings. In the Albanians' tradition, it is rather the husband who would start out by himself, the father alone - like Clarinet at the beginning of the tale; this was called gurbetlik, mergim (exile), But look, the Rroma suffered a lot the bitterness of separation, and now they do not want anymore to leave back any member of the family.
Well, since Clarinet plays alone the kaba, this witness that it is very old, dating back to the time when he was still beyond the sea, before he joined together again for ever with Violin - as they are today.

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Hekuran Xhamballi - clarinet
unnamed accompanists on accordeon, violin, bouzouk, percussion

320 kbps including full scans


Adeus & Aloha - The Portuguese Heritage of Hawai'i

Posted By MiOd On Thursday, September 04, 2008 6 comments
Adeus & Aloha. The Portuguese Heritage of Hawai'i, 2002
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In the past many Portuguese, mainly from the islands of Madeira and the Azores left their homeland and travelled to Hawai‘i, in seach of a better future. A part of the Portuguese traditions are kept alive in Hawai‘i by descendants of the Portuguese immigrants. A traditional festival which still lives both in Hawai‘i and in the Azores is the Holy Ghost Festival. Nowadays there are not many people left who still speak the Portuguese language and a lot of traditions have disappeared. Whereas immigrants from Madeira introduced the predecessor of the ‘ukulele in the past, the Hawaiian Portuguese themselves nowadays prefer to play the piano or some other keyboard. The CD presents a mixture of styles: remnants of Portuguese traditions in Hawai‘i, but also examples of authentic forms that still live on in the Azores and on the island of Madeira. The CD also contains a few beautiful examples of the Portuguese influence on the local music of Hawai‘i
and other islands in the Pacific.

The CD covers the story of the Portuguese in Hawai'i: their origins, what is left of their culture in their new homeland and the impact they have had on the culture of Hawai'i and neighbouring island groups in the South Pacific. The CD is a rather unusual mixture of music from the Azores, Madeira, continental Portugal, Portuguese immigrants in Hawai'i and of Hawaiian music.

This is the story of the Portuguese in Hawai'i: their origins, what is left of their culture in their new homeland and the impact they have had on the culture of Hawai'i and neighbouring island groups in the South Pacific.
It is an example of what has been happening for centuries throughout the world: the story of people on the move, on the one hand, and other people who welcome their new fellow countrymen and who adopt elements of what they bring with them. It is a story of farewell and of welcome, of adeus and aloha (although aloha also has other meanings!).

The Tongan writer Epeli Hau'ofa once wrote that "the sea is our pathway to each other and to everyone else". Epeli was referring to the regional identity anchored in the common heritage of all the island peoples of the Pacific Ocean. He added that: "The Pacific Ocean also merges into the Atlantic and the Indian Ocean to encircle the entire planet. As the sea is an open and ever flowing reality, so should our oceanic identity transcend all forms of insularity, to become one that is openly searching, inventive, and welcoming. In a metaphorical sense the ocean that has been our waterway to each other should also be our route to the rest of the world."

In 1881 the Hawaiian King Kalakaua visited Portugal, but both before and after that date many Portuguese travelled in the opposite direction: from Portugal to Hawai'i. And like many other people heading for the same destination, they were welcomed by the Hawaiians.

The Portuguese in Hawai'i belong to the "pre-American" Caucasian ethnic grouping. Within this group they are classed as a specific haole subcategory.
Haole was the term used by the ancestors of the present day Hawaiians to describe the first western visitors. Ha means breath or the breath of life, and the suffix ole denotes an absence of it. Thus the word haole has very negative connotations. The old Hawaiians simply did not believe that men with such pale skins and frail bodies could be alive and healthy. Nowadays the haole is the number one ethnic group in terms of population.

The Portuguese in Hawai'i for the greater part migrated to the Pacific from the island of Madeira and also from the Azores. These islands in the Atlantic Ocean had previously been settled mainly by people from Continental Portugal. Of course, the Portuguese settlers in Madeira and the Azores brought with them the way of life and traditions of their homeland. Some of these altered in time as a result of the different conditions they encountered and also because they were occasionally influenced by the other traditions of other settlers such as Flemish people from Flanders who settled in the Azores at the invitation of Prince Henry the Navigator. This was particularly true of the island of Faial, where the village name of Flamengos still reminds us of this historical fact.
Similarly, the town of Huertere, a Flemish nobleman who settled in Faial in the 15th century with fifteen fellow countrymen.

The first Portuguese settlers arrived in Hawai'i in the second half of the 18th century. Some sources mention 1788, other sources state 1794. The majority of these people were seafarers on either trading or whaling ships.
Several Portuguese crew members decided to leave their ships either on their own or in small groups, in order to enjoy a new life in Hawai'i and thereby escape the harsh life aboard the whalers and other vessels. Many of these men began to farm or were engaged in a variety of other occupations. Many also married Hawaiian women and made Hawai'i their home. These men came from the islands of Madeira and the Azores, mainland Portugal and also from the Portuguese colonies of Timor, Macao and Cape Verdi.

The biggest wave of immigration from Portugal to the islands came later. A German botanist named Hildebrand toured Madeira in the late 1860s to survey its plant life, There he discovered a hard-working people who tilled island farm lands similar to those of Hawai'i.

He told his Hawaiian contacts that Madeira might provide a source for plantation labour. The government of Hawai'i was in need of labourers on its sugar plantations and at the same time farmers on the island of Madeira were succumbing to a severe economic depression fostered by a blight that had decimated vineyards and the wine industry. So Madeira and the eastern Azores were chosen as a source of labour. In 1878, 114 Madeirans, including a number of wives and children, arrived aboard the ship Priscilla. In 1881 King David Kalakaua visited Portugal and the same year two ships brought 800 men, women and children from Sao Miguel, the Azores, to hawai'i. In 1882 a treaty of immigration and friendship was signed between Portugal and the kingdom of Hawai'i. From that moment onwards, migration to Hawai'i became popular with people wanting to escape poverty and the military system. In Hawai'i, Portuguese labourers joined Chinese and-initially-a small number of Japanese workers in sugar fields. Many of them replaced Chinese workers who left plantations to open stores and work in the trades in Honolulu and Hilo. The demand for workers increased when the reciprocity treaty in 1876 between the Kingdom of Hawai'i and the U.S.A. opened the U.S. sugar marker to Hawai'i. Between 1878 and 1900 more than 12,000 Portuguese, primarily from Madeira and the Azores, came to live in the Hawaiian islands.

nearly 6,000 more immigrants from Portugal had arrived by 1913, when the last mass immigration was made. Now, Portuguese from the mainland was also arrived in the islands, Many of them became anions Hawaiian cowboys.

Unlike many of the other early immigrant groups in Hawai'i, most Portuguese came as families with them a culture steeped in European traditions. On the one hand home life was run along traditional Portuguese lines, but on the other hand the Portuguese also broke away from their traditional family life-style and moulded it with the ways of Hawai'i people. By contrast, Portuguese immigrants in San Francisco and Boston clung to the old ways somewhat in isolation.
This was one of the reasons why the Portuguese immigrants in Hawai'i became respected in their new country. But they were also hard working people. They were actually the first group of white Europeans that worked the fields like Hawaiians or the earlier imported guest labourers. They were well received by both Hawaiians and haole merchants and planters.
Many of the Portuguese became lunas or foremen on the plantations and thus gained a middle-level power foothold fairly quickly. Following the completion of their initial obligations with the sugar and pineapple plantations, many of the Portuguese immigrants chose to continue their employment. Others, however, left the sugar fields when their contracts with the plantations were completed to establish small independent farms outside the plantation districts. They starred dairy farms, and introduced the commercialmanufacturing of butter and growing of corn. Many success stories began to emerge from the Portuguese community.

By the mid-1920s about 27,000 Portuguese lived in Hawai'i. By the 1960s, most Portuguese and part- Portuguese had lost their distinctive ethnic characteristics and had settled mainly in Honolulu and Hilo, away from the sugar can fields. Only on Maui and the Big Island were some still working on sugar plantations and pineapple fields. It was here that people were still speaking Portuguese. Nowadays it is hard to find people who still speak the language. Even people who sing Portuguese songs usually do not speak the language.

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Flamenco para niños

Posted By MiOd On Thursday, September 04, 2008 1 comments
Credits to Julio

Flamenco para niños (Flamenco for children)

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01. Entre Dos Aguas (Instrumental) de Paco De Lucia
02. Bulerias De Antonio Pozo de Juan Pena
03. Nana Del Caballo Grande de Camaron De La Isla
04. Cambiaste De Parecer de Carmen Linares 3
05. Pa La Pimpi de Tomatito
06. Rosa Maria (Tangos) de Paco De Lucia / Camaron De La Isla
07. Bambino, Piccolino de Bambino 1
08. Guajiras De Lucia (Instrumental) de Paco De Lucia / Pepe Lucia / Raul Bailaor / Ramon Algeciras
09. Vamonos Pa Casa (Sevillanas) de Camaron De La Isla
10. Familia Habichuela (Soulerias) de Pitingo
11. Dale Con El "E" (Bulerías) (Live) de Alvaro Isla
12. Bulerías De Manuela (Tientos) de La Perla De Cadiz
13. Puerta Del Principe de Manolo Sanlucar