THE RAGA GUIDE - A Survey of 74 Hindustani Ragas

Posted By Nada Brahma On Sunday, November 30, 2008 4 comments
Hariprasad Chaurasia: flute; Buddhadev Das Gupta: sarod; Shruti Sadolikar-Katkar: vocal; Vidyadhar Vyas: vocal

The Raga Guide is an introduction to the vast topic of Hindustani ragas, the melodic basis for the classical music of Northern India, Pakistan, Nepal and Bangladesh. It is the modern reference work for listeners and connoisseurs, students and scholars.
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USTAD VILAYAT KHAN - Different Strokes

Posted By Nada Brahma On Sunday, November 30, 2008 5 comments
Vilayat Khan was born into a family of musicians tracing its pedigree generations back to the court musicians of the Mughal rulers. His father was Enayat Khan (1895–1938), recognised as a leading sitar and surbahar (bass sitar) player of his time, as had been the grandfather, Imdad Khan (1848–1920), before him. Vilayat was taught in the family style, known as the Imdadkhani Gharana (school), or Etawah Gharana, after a village outside Agra where Imdad lived. However, Enayat Khan died when Vilayat was only nine, so much of his education came from the rest of his family: his uncle, sitar and surbahar maestro Wahid Khan, his maternal grandfather, singer Bande Hassan Khan, and his mother, Bashiran Begum, who had studied the practice procedure of Imdad, Enayat and Wahid. Vilayat's uncle Zinde Hassan looked after his riyaz (practice). As a boy, Vilayat wanted to be a singer; but his mother, herself from a family of vocalists, felt he had a strong responsibility to bear the family torch as a sitar maestro. Vilayat Khan omitted one of the two thick bronze alloy bass strings from the sitar. The Etawah gharana sitar is designed for long sustaining of meend (pulling the string along curved frets) and produces a clearer, more resonant tone with less buzz than the traditional sitars. In the 1950s, Vilayat Khan worked closely with instrument makers, especially the famous sitar-makers Kanailal & Hiren Roy, to further develop the instrument. Also, he liked to perform without a tanpura drone, filling out the silence with strokes to his chikari strings. Some ragas he would somewhat re-interpret (Bhankar, Jaijaivanti), others he invented himself (Enayatkhani Kanada, Sanjh Saravali), but he was first and foremost a traditional interpreter of grand, basic ragas such as Yaman, Shree, Todi and Bhairavi. When he died from lung cancer in 2004, Vilayat Khan had been recording for over 65 years, broadcasting on All-India Radio since almost as far back and been seen as a master (ustad) for 60. He had been touring outside India off and on for more than 50 years, and was probably the first Indian musician to play in England after independence (1951). In the 1990s, his recording career reached a climax of sorts with a series of ambitious CDs for India Archive Music in New York, some traditional, some controversial, some eccentric. Towards the end of his life, he also performed and recorded sporadically on the surbahar. Vilayat Khan spent much of his life living in Calcutta. He was married twice, his first marriage ending in divorce; he had two daughters, Sufi singer [Zila Khan] ( ) and Yaman (named after ragas), and two sons, Shujaat (b. 1960) and Hidayat (b. 1975), who both play the sitar. He was survived also by his younger brother, Imrat Khan, the post-war star of the surbahar field. The brothers played celebrated duets in their youth, but had a severe falling-out and for years were not on speaking terms. Vilayat took few disciples other than his sons; among the best-known are Kasinath Mukherjee, Arvind Parikh, Kalyani Roy, Debashis Datta. Away from the sitar he enjoyed horse-riding, pool playing, swimming and ballroom dancing. His successes made him rich, and though he grew more pious late in life, he used to drive sports cars and dress in haute couture, and also collected such various items as firearms, smoking pipes, antique European crockery, cut glass and chandeliers. Fans and media alike liked to play up Vilayat Khan's rivalry with and animosity towards Ravi Shankar . However, in calmer moments Vilayat would admit there was not much to it. His animosity for the politics and institutions of India's cultural life was another matter. In 1964 and 1968, respectively, he was awarded the Padma Shri and Padma Bhushan awards – India's fourth and third highest civilian honours for service to the nation – but refused to accept them, declaring the committee musically incompetent to judge him. In January 2000, when he was awarded the Padma Vibhushan, the second highest civilian award, he again refused, going so far as to call it "an insult". This time, his criticism had a slightly different twist: he would not accept any award that other sitar players, his juniors and in his opinion less deserving, had been given before him. "If there is any award for sitar in India, I must get it first", he said, adding that "there has always been a story of wrong time, wrong person and wrong award in this country". Among other honours he turned down was the Sangeet Natak Akademi Award. For a while, he also boycotted All-India Radio. The only titles he accepted were the special decorations of "Bharat Sitar Samrat" by the Artistes Association of India and "Aftab-e-Sitar" (Sun of the Sitar) from President Fakhruddin Ali Ahmed.
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Institut Du Monde Arabe : Sudan

Posted By MiOd On Monday, November 24, 2008 4 comments
Credits to "R"

Chants Sacres De Nubie Et Du Kordofan

Track Listing
01. Sal Al-Rakab (Enquire About the Convoy) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Shihub, Mahmud

02. Shâshâ Al-Samir (Hum, My Companion) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Allah, Muhammad 'Ab

03. Shawqaq Shawa Al-Damîr (Your Love Has Made Me Dizzy) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Mahi, Hajj

04. Al-Jihâd Fiyâ Halfa (O My Friends) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Hajj Al-Mahi

05. Yâ Habîbî Ahmad Tabib (My Beloved Ahmad Is Also My Savior) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Hajj Al-Mahi

06. Al-Hijâz Iâha Barqû (Hedjaz Appeared Like a Flash of Lightning) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al- Hajj Al-Mahi

07. Al-Ba'ûdah (The Mosquito) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Zamakhshari

08. Anta Nûr Al-Gharbi Wa-Sabâh (You Shine Forth Over East and West Alike) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Bura'i, Sheikh '

09. Sâqiyat Al-Lay (Night-Time Irrigation) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Bura'i, Sheikh '

10. La Ilah Illa Lah (There Is But One God, Allah) - Ensemble Al-Mahi & Ensemble Al-Bura'i,

MP3 320 kbps , including scans


[02].Al-Nûbatiyya - Chants Et Tambours De Nubie

For a country that no longer officially exists (its territory is split between Egypt and Sudan), Nubian music receives a fair amount of exposure. This album, recorded live in 1997, showcases Nubian songs about love and, inevitably, nostalgia. The pieces have the unhurried pace of the desert, and follow a formula -- a single lead singer backed up by a mixed chorus and percussion. But, although formulaic, it never becomes boring; there's ample melody in the songs themselves, and the warmth in the voices overcomes any sense of sameness. This particular troupe hails from Khartoum, in the Sudan, and their style is refracted through their more urban environment.

[01]. Dolgidang Ayy Naafiradam Daasci (Je Cachais Mon Amour Dans Mon Coeur)
[02]. Ikka Naaraji Ayan AA Kouddoumanna (Mon Coeur Ne Reposera Que Lorsque Je Te Verrai)
[03]. Waidia Kirai, Ayga Ouwwo Kirai (O Toi Qui Est Seule)
[04]. Ya Salaam Yaa Wazzi Yaa Taayer (O Cygnes Qui Volent)
[05]. Salaam Lamaana, Noarin Amaana (Paix Et Quiétude Sont Des Dons De Dieu)
[06]. Variations Rythmiques Sur Târ (Rhythmical Variations On Tar)
[07]. Ya Jemeel Sillaanngi (O Belle File Où Vas-Tu)
[08]. Walla Fouraagin Saaba (Certainement, Votre Départ Sera Eprouvant)
[09]. Mann Koudoud Toa Yaa Naas (O Petite, Y'A-T-Il Quelqu'Un Pour Te Conseiller)
[10]. Tello Menna (Où Sont-Ils Allés) (Where Have You Gone)

320 kbps including scans


[03].Blues In Khartoum

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Rumor has it that song in Kordofan accom-panied by intermittent clapping can be heard up to thirty kilometers beyond their village of origin. This desert region situated in the very heart of sudan, the "land of the two Niles", is the birhplace of many talented, powerful singers. One such is Abdel Gadir Salim, an immense figure in every sense of the word and considered to be one of the foremost representatives of the Sudanese urban singing style. He is a leading figure in a revival of the genre, commonly referred to as "jazz", no doubt because of its instrumentation (the presence of bongos, brass instruments and the guitar). Salim not only boasts an impressive vocal range and power but is also an excellent Ud player (the arab lute). Ranging from slow languid tunes in Cairo style to frenzied rythms such as are are found in Zaire, he has developed his own style, a true belnd of all the remarkably diverse elements abd peoples that go to make up his homeland.
Mp3 192 kbps, including full Cover scans

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For many people the lyre is a symbolic instrument that immediately evokes the past in both the historical and mythical sense; what inevitably springs to mind is Apollo's lyre, of course. However, the lyre still exists nowadays, as certain traditional music proves. It is Sudan's most popular instrument; making music there means quite simply to sing whilst accompanying oneself on the lyre. This record, with its programme covering four different styles from four regions in the Sudan is therefore a real premiere, one might even say a revelation. It gives us a clear idea of the sound of this relatively unusual instrument, played in such a different way by each of the musicians presented here - Sabet Osman, Qassas Kilabo Miri, Muhammad Gubara and Muhammad al-Badri.
Mp3 320 kbps , including full booklet scans

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Institut Du Monde Arabe : KUWAIT

Posted By MiOd On Sunday, November 23, 2008 0 comments

Kuwait has forged the urban musical genre known as sawt out to the different cultural and ethnic mixtures there. Its influence has spread as far as the rest of the Gulf and the Indian ocean. The modernisation of the Kuwaiti sawt is forever linked to the name of Abdallah al-Faraj, a poet, composer and singer, and the source of several titles on this album.
1. Wallah (By God) - Al-Umayri Ensemble, Al-Faraj, Abdullah

2. Qif Bit-Tawâf (Standing for Tawaf) - Al-Umayri Ensemble, Al-Faraj, Abdullah

3. As-Sihru Fî Sûdi L-Uyûn (The Magic in the Pupils of His Eyes) - Al-Umayri Ensemble, Shawqi, Ahmad

4. Jarrak Shujûnî Wa-I-Tihâbî (It Has Stirred My Troubled Heart) - Al-Umayri Ensemble

5. Qarîb Al-Faraj (Consolation Is Nigh) - Al-Umayri Ensemble, Al-Faraj, Abdullah

6. Bâta Sâjî Al-Tarf (He of the Langourous Gaze) - Al-Umayri Ensemble,

7. Ighnim Zamânak (Make the Most of Your Life) - Al-Umayri Ensemble,

Credits to "R"

320 kbps including full scans



Posted By julio sotomayor On Friday, November 21, 2008 1 comments

01. Venimos del Aljarafe
02. En el cielo alumbra una estralla
03. A mi barrio
04. Abreme María
05. Mi ayer
06. Una década, maestro
07. De nombre Manuel
08. El latero
09. En mi cabecera
10. Detrás de marzo viene abril
11. Señor San José
12. El abuelo
13. El rosario
14. Cantemos, cantemos

|Mp3|320 kbps|2005|153 Mb|Flamenco|

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Abed Azrie - Suerte Live in Berlin

Posted By MiOd On Tuesday, November 18, 2008 7 comments
Abed Azrie - Suerte Live in Berlin

Abed Azrie 's voice contain all the sunshine of the riviera, from Syria (his homeland) to France. With his poetic world, somewhere between Mesopotamia and Europe, between tradition and modernity, Abed Azrié proves that the world is eternaly young...

In his composition of SUERTE, Abed Azrié tried to evoke the energy of what is known in Spanish as duende and in the Arab world as tarab – an expression born of Judeo, Christian, and Arabian gypsies which describes the process by which the body is completely taken over by the energy of the music. In search of the Andalusian soul, two voices and two languages combine over Arabian, Flamenco, and Western instrumental styles - the fusion of modern with eternal, a celebration of dance, joy, and women. For the lyrics, Abed has selected a series of exquisite eleventh century Andalusian poems, or wuwwashahat that utilise a multi-metrical style developed in Spain around the ninth century – a contemporary form of the western medieval troubadours’ verse which preserve their precursors delicate themes. They rejoice in cultural duality and seek to transcend the senses through music. From the immortal territories of the Mediterranean, the rich tones of Abed Azrie ’s voice over the Arabian violins, Flamencan guitars, and classic contrabass serve to create a rich tapestry of musical textures; the result is an uplifting and timeless soundscape

[01].Semaï Por Buleria
[02].Semaï Por Buleri
[04].Suerte 1
[05].Entre Esperanza Y Deseo
[07].Entre Tus Manos
[08].Entre Tus Manos 1
[09].Entre Tus Manos 2
[10].Entre Tus Manos 3
[11].Entre Tus Manos 4
[12].Sabio Amigo
[13].Sabio Amigo 1
[14].Sabio Amigo 2
[15].Sabio Amigo 3
[16].Sabio Amigo 4
[18].Grabado 1
[19].Grabado 2
[25].Sol De Suerte

WV (EAC Rip): 500 MB | MP3 - 320 kbs: 180 MB | Scans

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3

OR MP3 320 kbps
Part 1 | Part 2

Navidad Flamenca

Posted By julio sotomayor On Monday, November 17, 2008 6 comments
Navidad Flamenca

| Mp3, 256 kbps | 65 MB | 2005 | Flamenco |
01. El Niño Gloria - Gloria recien nacia, gloria
02. Canalejas de Puerto Real - La virgen va cansaita
03. Niña de la Puebla - Alborada de villancicos
04. Leonor Amaya - Villancicos gallegos
05. Canalejas de Puerto Real - En un portalito oscuro
06. El Cojo de Huelva - Campanitas de la aldea
07. Antonio Molina - El Belen
08. Dolores de Cordoba - Donde tiene su nido el pajaro verde
09. Canalejas de Puerto Real - Un pastor en su casita hizo tortitas de miel
10. Rafael Farina - Nana de Jerez
11. Dolores de Cordoba - En el portal de Belen
12. Enrique Montoya - Los gitanos en navidad
13. Lola Flores - Aires navideños jerezanos
14. Niño de Marchena - Oracion de los pastores de Marchena
15. Las doce campanadas

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Tejendra Majumdar - A Light from the East

Posted By Nada Brahma On Friday, November 14, 2008 3 comments
Tejendra Majumdar - A Light from the East

Sarod - Tejendra Narayan Majumdar
Tabla - Yogesh Samsi

The Sarod is the most majestic sounding of all India's musical instruments. Its natural reverb and deep, resonant tone creates an air of grandeur and mystery. The history of the Sarod is a matter of historical debate, but what we do know reveals India's artistic connections with its neighbours Afghanistan and the Middle East. Its predecessor, the Afghan Robab is an ancient instrument which according to literary archives was already being used in India in the 16th century. Since then, the Sarod has undergone many modifications in the hands of musical geniuses who through the centuries, have strived to create an instrument to suit each generation's aesthetic needs. Today's Sarod has retained many of the characteristics of its ancient predecessor, being made from one piece of carved wood, with a fretless metal fingerboard, and a skin stretched over the body of the instrument. The strings are strummed with a plectrum made of coconut shell, and the distinctive ringing sound is created by the musician stopping the string with the nail.

Tejendra Narayan Majumdar is one of the most influential and well-respected musicians in India today. He is one of the leading exponents of the Senia Maihar gharana, a musical 'family' which has produced giants such as Ravi Shankar and Ali Akbar Khan. Like so many of India's musicians, his training started at home from an early age. His grandfather, Bhibuti Ranjan Majumdar, and father Ranjan Majumdar provided early inspiration and guided the young prodigy through the initial part of his learning. Later, he became the disciple of the distinguished Sarod maestro Ustad Bahadur Khan and embarked on a path of rigorous training that was to last for eighteen years. All great Indian musicians share a seemingly unlimited appetite for learning and self improvement, which continues throughout their career. After the death of his guru, although by then a popular performing artist in his own right, Tejendra has pursued musical training and guidance under the tutelage of the most revered Sarod legend, Ali Akbar Khan.

Through his own endeavours and practice and with the benefit of all these influences, Tejendra has successfully developed a unique style of playing incorporating the dynamic instrumental approach, tantrakari with the melodic, lyrical vocal style known as gayaki. His success in blending these two styles has made him one of the most sought after performing artists in India and abroad today.

This recording consists of two classical ragas and one semi-classical piece.

Raga Bilaskhani Todi is a very popular and powerful morning melody belonging to the Bhairavi group of ragas. It was created more than four hundred years ago by Bilas Khan, the son of India's greatest musician Mia Tansen, the legendary court musician of Emperor Akbar.

The alap is a slow, gentle elaboration of the raga in which the musician skilfully and accurately explores subtle melodic nuances, careful not to cause any ambiguity or confusion with other ragas which use the same notes. For a raga is more than just a set of notes or a scale. It incorporates particular key phrases that help to assert its own unique identity.

The gradual unfolding of the ascending tones serves to enhance the serene mood of the music. Tejendra's alap incorporates three octaves, exploring the entire tonal range of the Sarod. The second part of the alap, known as jorh (track 2), is played in the ancient vocal style of dhrupad, starting from a very slow tempo gradually increasing in pace towards a crescendo. The intricate combinations of improvised passages played in a lively rhythmic style are typical of the Maihar style of presentation.

Basant Mukhari is also a morning melody which is a perfect blend of two other ragas, Bhairav and Bhairavi. It begins with a short alap, which serves to establish the flavour of the raga. The first composition (track 3) is set to teental, a slow rhythmic cycle of sixteen beats.

Tabla accompaniment is provided by the highly accomplished Yogesh Samsi, son of the renowned vocalist Dinkar Kaikini. Yogesh is a respected artist of the younger generation and one of the foremost disciples of the late tabla virtuoso Alla Rakha Khan. He has built a fine reputation on his ability to accompany instrumental soloists as well as vocalists, a rare quality in modern tabla players.

The final offering in this recording is a very sweet and melodious rendition based on Raga Mand. The composition is a light classical piece, set to Dadra, a rhythmic cycle of 6 beats. In light classical music the soloist is given more scope to take aesthetic liberties with the structure of the raga, a musical license that Tejendra exploits to great effect.
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Shahid Parvez & Kumar Bose - Raag Bageshri

Posted By Nada Brahma On Friday, November 14, 2008 5 comments
Unparalleled virtuosity, delicate sensitivity and deep humility show clearly why Shahid Parvez is one of the all time greats of the sitar in this wonderful duet with tabla maestro Kumar Bose.

Regarded as a child prodigy, Shahid Parvez gave his first professional performance in Calcutta at the age of eight. Today he is firmly established as one of the great Sitar players in the modern era of Indian Classical music.

He started his training with vocal music and tabla at the tender age of three. By the age of four his father had worked out for him a rigorous schedule of daily 'riyaz' (practice) on the Sitar. Throughout his childhood, he would sit with his Sitar through the night practicing from 10pm until 4 o' clock in the morning, before leaving home for school! Despite receiving the praise of critics at such a young age, his father was determined that fame should not go to his head, and instilled in his son the virtues of humility. These values lie at the heart of Shahid Parvez's music today. As he points out, 'if an artist can stay humble and focus only on his art, he rises way beyond his talent and his craft'.

Shahid Parvez hails from one of the most important Indian musical families in recent times. His uncle is the Sitar legend Vilayat Khan, a hard act to follow for any aspiring musician. Through a single-minded determination, guided by his father Ustad Aziz Khan, Shahid Parvez has been successful in creating a unique style of Sitar playing with universal appeal, successfully incorporating both gayaki ang (vocal style of playing) and tantrakari ang (instrumental style). Shahid Parvez has always believed that to play an instrument from your soul, then one should first learn to sing, 'you play an instrument with your hands, but the sounds really emanate from your heart'.

He is not afraid of innovation, but as far as classical music is concerned he is a purist and a perfectionist. He is not attracted to the fashion of creating new ragas, believing that the established ragas, composed over the centuries by great masters, hold within them enough capacity for unlimited scope for improvisation.

This performance was recorded live at the 2003 Saptak Festival in Gujarat, India, an annual festival which regularly invites Shahid Parvez to play alongside the best musicians of the Indian sub-continent.

Here he is joined by Kumar Bose, a leading exponent of the Benares style (or gharana) of tabla playing. Hailing from Calcutta, a centre of excellence for tabla playing, Kumar Bose first came to prominence through his extraordinary performances with Sitarist Ravi Shankar in the 1970's. Under the guidance of his guru, Pandit Kishan Maharaj, he has gone on to establish himself as one of the most influential tabla players of modern times, himself producing many renowned disciples who are well equipped to carry on this valuable tradition.

Although the tabla player's primary role is to provide rhythmic accompaniment to the soloist, there is a playful, and sometimes intense musical dialogue that carries on between the two artists throughout the performance, giving license for the tabla player to demonstrate the extent of his skills.

Raga Bageshri is a popular raga of the late night, which is meant to depict the emotion of a woman waiting for reunion with her lover. It is said to have been first sung by Mian Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century.

The recital begins with the traditional alap, a slow, introspective exposition of the raga, outlining key musical phrases which define the romantic mood of Raga Bageshri. Each raga has its own specific melodic shape which distinguishes it from other ragas which can use exactly the same notes, but have a completely different character. The Jod and Jhalla (track 2), are a development of the alap, with the important addition of a rhythmic pulse, outlined by the strumming of the chikari (drone) strings on the Sitar. During this section of the recital, the pace and intensity of the playing increases, and with the essence of the raga captured, the artist is free to express his virtuosity, at the same time careful not to sacrifice the essential character of the raga.

The first composition (track 3) sees the introduction of the tabla accompanist playing an eleven beat rhythmic cycle, known as Rudra taal. Kumar Bose introduces the tabla with a short solo which exhibits his mastery over the vast range of tones produced on the tabla. Kumar Bose often mimics the melodic phrases of the sitar on the tabla while taking care not to disturb the flow of the performance.

Two further compositions follow, first in a medium tempo twelve beat called Ektaal (track 4), and then in the faster paced teental of sixteen beats (track 5). As the recital draws to an exhilarating climax, the improvisations of the sitar and tabla become more intricate, both artists demonstrating the full extent of their mastery.

John Ball

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Ömer Faruk Tekbilek "Documentary"

Posted By MiOd On Thursday, November 13, 2008 3 comments

Ömer Faruk Tekbilek (born 1951, Adana, Turkey), also known as Omar Faruk Tekbilek, is a Turkish virtuoso flautist. He is known for his performances with the ney in a Sufi style.

Honored as a peacemaker and virtuoso, Omar Faruk Tekbilek is now one of the most sought-after musicians, whose work transcends political boundaries while maintaining traditional sensibilities in a way few artists can manage.

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Omar Faruk was a musical prodigy. He was born in Adana, Turkey to a musical family who nurtured his precocious talents. At the age of eight, he began his musical career by developing proficiency on the kaval, a small diatonic flute.

At the same time he studied religion with thoughts of becoming a cleric, or Imam. His musical interests were being nurtured by his older brother and by a sympathetic uncle who owned a music store and who provided lessons. “He had a music store, and he also had another job during the day. So he told me to come after school, open the store, and - in exchange - he gave me lessons.” While working in the store, Omar Faruk learned the intricate rhythms of Turkish music, how to read scales, and other rudiments. He was trained on and eventually mastered several instruments; ney (bamboo flute), zurna (double-reed oboe like instrument with buzzing tone), the baglama (long-necked lute), the oud (the classic lute), as well as percussion. By the age of twelve he began performing professionally at local hot spots.

In 1967, upon turning sixteen, he moved to Istanbul where he and his brother spent the following decade as in-demand session musicians. Omar Faruk stayed true to his folkloric roots, but during this period of frenetic session work in the metropolitan music scene, he explored Arabesque, Turkish, and Western styles and the compositional potential of the recording studio. In Istanbul he also met the Mevlevi Dervishes, the ancient Sufi order of Turkey. He did not join the order, but the head Neyzen (ney player), Aka Gunduz Kutbay, became another source of inspiration. Omar Faruk was profoundly influenced by their mystical approach and fusion of sound and spirit. During that time he was introduced to Hatha Yoga and eventually to Tai Chi and Chi Qong, which he continues to practice daily.

Omar Faruk’s skills in the studio blossomed in Istanbul playing with some of the leading Turkish musicians of the day including Orhan Gencebay, flute and saxophone player Ismet Siral, percussionist Burhan Tonguc and singers Ahmet Sezgin, Nuri Sesiguzel, Mine Kosan and Huri Sapan to name a few. After establishing himself as one of the top session musicians in Turkey, he began touring Europe and Australia. By 1971 at the age of 20, he made his first tour of the United States as a member of a Turkish classical/folk ensemble. It was while touring in the US that he met his future wife, Suzan, and in 1976 he relocated to upstate New York to marry her.

Omar Faruk found very few options for a Turkish musician in the US, so he formed a band called the Sultans with an Egyptian keyboardist, a Greek bouzouki player, and his brother-in-law on percussion. It started as a pop band but very quickly turned into a sort of Pan-Near Eastern ensemble. They began to attract some attention within the circle of Middle Eastern dance fans. They managed to record five albums during this time, but Omar Faruk was still unknown outside his local musical community.

This was all about to change with the fateful meeting with Brian Keane in 1988. In the following years, he and Keane would produce another six recordings together, launching Omar Faruk boldly into the world music scene.

Omar Faruk Tekbilek has since established himself as one of the world's foremost exponents of Middle Eastern music. A multi-instrumentalist par excellence, he has collaborated with a number of leading musicians of international repute such as jazz trumpeter Don Cherry, keyboard player Karl Berger, ex-Cream rock drummer Ginger Baker, Ofra Haza, Simon Shaheen, Hossam Ramzy, Glen Velez, Bill Laswell, Mike Mainieri, Peter Erskine, Trilok Gurtu, Jai Uttal and Steve Shehan among others. He has contributed to numerous film and TV scores and to many recordings including world sacred music albums, and has been touring extensively throughout the Middle East, Europe, Australia, North and South America.

Omar Faruk’s music is rooted in tradition, but has been influenced by contemporary sounds. He views his approach as “cosmic” and his commitment to music runs deep. The four corners of his creativity emanates mysticism, folklore, romance, and imagination. Like Omar Faruk himself, his music symbolizes diversity-in-unity.

Omar Faruk is the recipient of the "Best Artist of the Turkish Music Award 2003" from the "Turkish Writers Association".

He is a nominee for the BBC World Music Award 2003 in the category of the Middle East.

He is also the recipient of the US Golden Belly Musician-Of-The-Year-Award, for 1998 and again, for 1999.

External links

* Official site
* Short biography

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Length : 27 :58
Video size : 512 x 384
Video: XVID 512x384 25.00fps 677Kbps
Audio: MPEG Audio 48000Hz stereo 192Kbps
Size: 175MB

Part One
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Al-Andalus Collection [21]. Al Ála Al-Andalusíyya

Posted By MiOd On Thursday, November 13, 2008 9 comments
Al Ala al-Andalusiyya is the name given in Morocco to the music of the Arab-Andalusian Nubas. An "al ala" orchestra is one that is specialised in the classical Moroccan tradition of music from Moorish Andalusia - Al Andalus.
This brilliant recording by Omar Metioui and his group, released by PNEUMA in its "Al-Andalus Collection", represents a step forward in the diffusion of this exquisite and diverse court music.
Of particular note are the Twishya, instrumental introductions created in Medieval Islamic Spain and preserved with loving care in oral tradition until our times.

Al Ála Al-Andalusiyya
Música Andalusí
Núba (secular poetry from Medieval Islamic Spain)
Ensemble Omar Metioui - Omar Metioui, dir.
Conducted by Omar Metioui
Sufi-andalusi music
Al-Hiyáz Al-Mashriqí Nouba
'Iráq Al-'Ayam Nouba

    I. Núba Al-Hiyáz Al-Mashriqí

  1. Bugya Núba Al-Hiyáz Al-Mashriqí
  2. Twíshya 1 Al-Hiyáz Al-Mashriqí
  3. Inshád 1, Tawíl Ala Ya Nadíman
  4. Twíshya 2 Al-Hiyáz Al-Mashriqí
  5. Twíshya 3 Al-Hiyáz Al-Mashriqí
  6. Twíshya 4 Al-Hiyáz Al-Mashriqí
  7. Inshád 2, Inqiláb ar-Ramal Yá Gazálan bi-l-Himá
  8. Twíshya 5 Ál-Hiyáz Al-Mashriqí
  9. Twíshya 6 Al-Hiyáz Al-Mashriqí
  10. Inshád 3, Tawíl Alá Yá Munshida Hamdán
  11. Twíshya 7 Al-Hiyáz Al-Mashriqí
  12. II. Núba 'Iráq Al-'Ayam

  13. Bugya / Twíshya Núba 'Iráq Al-'Ayam
  14. Inshád 4, Mutaqárib Ra'aytu l-Hilála
    Mízán (Fase ritmica) Btáyhí
  15. San'a, Futintu Min Nazra
  16. Taqsím 'Úd ''Iráq Al-'Ayam
  17. San'a
    1. Ya Qawmí Hayarní
    2. Qalbí Man Yurídak
  18. Muwwál, Tih Dalálan (Altanerí muestra)
  19. San'a
    1. Sakirná Wa Táb Shurbuná
    2. Yá Warda z-Zawán
    3. Qadru 1-Kalám
Playing time: 61'34"

Performer: Ensemble Omar Metioui - Omar Metioui, dir.
[Omar Metioui (dir., Ud, voice), Ahmed al Gazi (rabab), Hajjaj Mohammed (Ud 'Arbi), Abdeslam Nayti (Quaun), Mohamed Agdour (Darbuga), Abedelhamid Al-Haddad (voice), Mohamed Aroussi (violin, voice), Abdeslam El Amrani Boukhobza (Tar, voice), Abderraja Aroussi (viola), Abdlouahid Acha (Nay), Hasan Ajyar (voice), Said Belcadi (voice)]

Ape (EAC Rip): 360 MB | MP3 - 320 kbs: 140 MB | Front Cover

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3

OR MP3 320 kbps

Classic Forever 1&2

Posted By MiOd On Thursday, November 13, 2008 6 comments

Classic Forever 1
| MP3 VBR Kbps | Incl. Covers | 99 MB | 2006 |


[01].Turkish March
[02].Fur Elise
[03].Moment Musical No 3 In F Minor
[05].Maidens Prayer
[06].Rhapsody On A Theme Of Paganini
[07].Minuet I G (A Lovers Concerto)
[08].Blue Danube
[09].Meditation From Thais
[10].Habanera From Carmen
[11].Paino Concerto No 1
[12].Lullaby (Cradle Song)
[14].Traumerei From Scenes Of Childhood
[15].Eine Kleine Nachtmusik (Allegro)
[16].Swan Lake
[17].A Song Of Joy (Symphony No 9 Choral)
[18].William Tel Overture
[19].Wedding March
[20].Happy Birthday

Part 1
Part 2

Classic Forever 2

| MP3 VBR Kbps | Incl. Covers | 99 MB | 2006 |


[01].Hugo Alfen - Swedish Rhapsody
[02].Wolfgang A. Mozart - Symphony No 40 In G Minor
[03].Tonic Huljic - Victory
[04].Traditional - Come September
[05].Edward Elgar - Salut D Amour
[06].P. Tchaikovsky - Waltz Of The Flowers
[07].F. Chopin - Nocturne No 2 In Eb Major
[08].Gabriel U. Faure - Sicilienne
[09].Solovyov Seday - Moscow Nights
[10].F. Chopin - Polonaise Militaire
[11].L. Boccherini - Minuet Frm Boccherini
[12].P. Tchaikovsky - Waltz From The Sleeping Beauty
[13].Russian Folk - Troika
[14].P. Tchaikovsky - Dance Of Thelittle Swans
[15].J. Haydn - Trumpet Concerto In Eb
[16].A. Vavaldi - Spring From The Four Seasons Allegro
[17].Traditional - Jamica Rumba
[18].G. Puccini - Madama Butterfly
[19].Montrose - On My Darling Clemetine
[20].Sarasate - Zigeunerweisen

Part 1
Part 2

PW : WeLove-music

Ludovico Einaudi & Ballake Sissoko - Diario Mali

Posted By Nada Brahma On Thursday, November 13, 2008 5 comments

Diario Mali is a studio recording of duets between the highly successful Italian classical-crossover pianist, Ludovico Einaudi, and Malian Kora player Ballake Sissoko - one of the greatest kora virtuosos of our time. This unexpected collaboration was recorded in February 2003, less than a month after they had appeared together at the now famous "Festival in the Desert".

Born in 1955, Einaudi was awarded a diploma in composition at the Milan Conservatory, and continued his studies with contemporary Italian composer Luciano Berio. He has also composed chamber and orchestral compositions, music for dance and the stage, and film soundtracks, as well as a variety of multimedia works.

Ludovico Einaudi: Piano
Ballake Sissoko: Kora

01. Laissez Moi En Paix 4:02
02. Entre Nous 9:32
03. Soutoukou 7:17
04. Chanson D'Amour 8:11
05. Chameaux 5:04
06. Ma Mere 6:03
07. A L'Ombre 8:24
08. Niger Blues 5:38
09. Mali Sajio 8:00
10. Dessert Dans Le Desert 5:49



Garcia-Fons, Renaud - Arcoluz

Posted By Nada Brahma On Monday, November 10, 2008 10 comments
Garcia-Fons, Renaud - Arcoluz

French bass virtuoso Renaud Garcia-Fons has grown into a living legend, both for his breathtaking technique and intonation as well as his talent as a composer. A dazzling performer on five strings, he uses his instrument's entire range, thus dominating the music and making the bowed double bass sound rather like a cello or a violin. When listening to his percussive speed pizzicato or his sweeping arco flageolets, the breadth of his capabilities becomes evident immediately. As a composer Garcia-Fons likes to take the listener on a gypsy's journey through the Mediterranean area, especially Andalusia, then Brittany, Latin America, India, the Arab world and even into European classical music of the past. Although incorporating influences from far and wide, his compositions are always focussed and efficient and keep to the spirit of charming chamber music. As Nils Jacobson wrote about Garcia-Fons' last album, "Entremundo": "Each piece contains its own detailed narrative. Elements of the music might seem familiar, but just palpably so, and never in an obvious way. Just let the music ebb and flow, carrying echoes of places distant and not so far away. A beautiful experience." "ArcoLuz", the first live album after six studio recordings on ENJA, powerfully captures the fire and emotionality of Renaud Garcia-Fons' vibrant concert performance. With the core trio of "Entremundo" -- including upcoming flamenco star-stringer "Kiko" Ruiz and drummer "Negrito" Trasante of Gipsy Kings-fame --, Garcia-Fons delivers seven of his thrilling Spanish-influenced pieces, four of them being brand new. His trio's highly inspired, forceful and expressive performance, caught at Germany's Schloss Elmau in summer 2005, is not only presented on a first-class CD recording but can also be seen on a 85-minute DVD video disc directed by Nicolas Dattilesi. With subtitles in four languages and bonus tracks included, the DVD is further proof for Renaud Garcia-Fons' and his trio's extraordinary musicianship and deep-felt emotions. He's in a position to unite nations of music lovers

Garcia-Fons, Renaud - Legendes

Posted By Nada Brahma On Monday, November 10, 2008 5 comments
Garcia-Fons, Renaud - Legendes

1. Funambule 02:56 | 2. Aube 04:03 | 3. Sesame 04:29 | 4. Inanga 05:41 | 5. Moreno 04:56 | 6. Like Someone In Love 06:05 | 7. Procession 01:47 | 8. Fille Des Sables 04:41 | 9. La Guitare A King Kong 04:05 | 10. Legendes 08:13 | 11. Elle 01:49 | 12. Mi Saeta 04:41




Renaud Garcia-Fons - Oriental Bass

Posted By Nada Brahma On Friday, November 07, 2008 8 comments

Renaud Garcia-Fons 5-string bass, hand clapping, percussion Jean-Louis Matinier accordion Yves Favre trombone Bruno Sansalone clarinet Chris Hayward flutes Vicente Pradal flamenco guitar, hand clapping Claire Antonini lute, théorbe Rabah Khalfa, J.-F. Roger, Sam Schlamminger, Anu Yerno oriental percussion & hand clapping A student of the legendary Syrian bass player François Rabbath, 5-string virtuoso Renaud Garcia-Fons is of Spanish and French descent splitting his time between both countries/cultures when he is not on the road throughout Europe. He is known as "a bassist with astonishing technique" whose con-arco playing has "a quality more reminiscent of the viola or the cello" (L.A. Times). Influenced not only by jazz and classical music but also by oriental, African and Spanish traditions, Renaud's unique artistry led to exciting and successful collaborations with such open-minded players as Rabih Abou-Khalil, Nguyen Lê, Gérard Marais, Pedro Soler, Jean-Louis Matinier and Michael Riessler. Following his solo recording "Légendes" and the quartet album "Alboreá" (both of which received highest ratings from critics all over the world), Renaud's east-western synthesis comes to a climax on "Oriental Bass". Says Renaud: "I had a dream about a bass - half Gypsy, half Mauretanian - that travelled from India to Andalusia passing by the Mediterranean north or south. The bass is neither a traditional nor an oriental instrument. But its range of sonorities and the ways it is played upon - both pizzicato and con arco - seem to make it feel comfortable in the neighbourhood of certain instruments at home in the oriental world. For several years now my work - composing and improvising - has been led by these relationships and by the love the bass brings to all of this music. This is how the idea for this album was born." Assisted by a wide variety of musicians and instruments from diverse ethnic background, Renaud's visionary masterwork Oriental Bass" is definitely a highlight of 1997's cross-cultural vintage. Garcia-Fons' music exists in a space of its own beyond jazz, world beat or any other category.

Gitanos de Cai - Flamenco Joven Vol 2

Posted By julio sotomayor On Tuesday, November 04, 2008 1 comments
Gitanos de Cai - Flamenco Joven Vol.2

Segunda entrega de "Gitanos de Cai", unos DVDs que capturan el ambiente de las genuinas juergas flamencas que tienen lugar alrededor del tablao de la finca 'La Doctora' (Cádiz). Todo el sabor de los tangos, las bulerías y los fandangos que tan queridos son en ese territorio que en la geografía del cante flamenco se denomina Cádiz y los Puertos. "Gitanos de Cai" sirve para introducir a los buenos aficionados a este arte a toda una nueva generación de intépretes llamados a protagonizar el futuro del flamenco gaditano. Grabación realizada en Cadíz en la finca "La Doctora"en Diciember del 2005. Guitarras:Pedro Palomo, Manuel Ripolet, Salvador Andrades, Raul Salcedo, Fco. Javier Cote y Fran Muñoz Cajon Flamenco: Jose el "siete", Raul Salcedo, Ignasio de Alvado, y Currito. Baile:David Lozano, Macarena y Cristina. Palmas y Jaleos: Luisa Andrades, Fco. Javier Martinez, Macarena, Juan de Alvaro, Cristina, Isablel Mari, David
01 Quinito - Bulerias
02 Lolo - Fandangos
03 Mara - Bulerias
04 Nani - Bulerias
05 Mara - Tangos
06 El Bronce - Bulerias
07 Lolito - Bulerias

| MP3, 192 kbps | 47 MB | 2007 | Flamenco |

Download HERE