The CHINA Pipa Classics

Posted By MiOd On Saturday, January 31, 2009 2 comments
Yang Wei & Zhou Tao

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The pipa is a plucked Chinese string instrument. Sometimes called the Chinese lute, the instrument has a pear-shaped wooden body. It has been played for nearly two thousand years in China, and belongs to the plucked category of instruments. Several related instruments in East and Southeast Asia are derived from the pipa; these include the Japanese biwa, the Vietnamese đàn tỳ bà, and the Korean bipa. The Korean instrument is the only one of the three that is no longer used. Attempts to revive the instrument have failed, although examples survive in museums.

(01) Flute And Drum At Sunset
(02) White Snow In Sunny Spring
(03) Great Waves Sweeping Away Sand
(04) The Lofty Moon
(05) Chu King Unarming
(06) Ambush on All Sides
(07) Yi Dance
(08) Frontier Song
(09) Song and Dance
(10) Five Heroes On The Wolf Teeth Mountain

320 kbps, sorry no scans

Part 1
Part 2

Chang Jing - Cheng Beauty

Posted By MiOd On Saturday, January 31, 2009 2 comments
Chang Jing - Cheng Beauty

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01. Rain Tree
02. Tuberose
03. Riding
04. Beauties
05. Subtle
06. Red Belt
07. Subtle Fragrance
08. Spent For The Media
09. Gone With The Wind
10. Empty

320 kbps including Covers

Part 1
Part 2

Unesco Collection [12]. Kudsi Erguner - The Turkish Ney

Posted By MiOd On Saturday, January 31, 2009 1 comments
The Turkish Ney
Kudsi Erguner
Naïve Unesco (Traditional Musics of Today)
The ney is the emblematic flute of the Turko-Arab-Persian world. It is a simple reed with no mouthpiece or pipe; an "oblique" flute, falling somewhere between the straight and transverse flute.

Kudsi Erguner is an heir to the Sufi tradition of the Mevlévi brotherhood, which is both classical and mystical. He is a faithful exponent of this music in the modern mode.
Recorded in 1990
Text by Slimane Nadour

Makam Ferahfeza
1. Taksim
2. Pesrev (Ismaïl Hakki bey)

Semai Ferahfeza
3. Taksim
4. Saz Semaï (Sherif Muhyiddin bey)

Makam Bayati
5. Pesrev (Emin dede)
6. Taksim

Makam Usshak
7. Saz Semaï (Salih dede)
8. Taksim

Makam Uzzal
9. Sirto (Suleyman Erguner)
10. Taksim

Makam Segah
11. Taksim

Percussion performers: Pascal Quesnel & Nourredine Agoumi (bendirs)

Playing time: 69'59"

Recording date: 1990

Composers are given parenthetically above.

One of many discs by Kudsi Erguner, but a nice one...

128 kbps sorry "normal quality &no scans"


Chinese Academy of Peking Opera - The World of Peking Opera

Posted By Admin On Friday, January 30, 2009 0 comments
Chinese Academy of Peking Opera
The World of Peking Opera. The Monkey King, 1986
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In the regions of China there are many different styles of drama which combine music and singing, dance, theater, and acrobatic movements. Each of these styles has its own characteristics. Because of their similarities with Western operas, they are being called operas. The most known and popular among these is the Peking Opera. It combines four main elements: songs, spoken lines in fixed rhythm, expression (with hands, eye and leg movement, costumes, makeup, etc.), and acrobatic movement (generally taken from Chinese martial arts). There exists more than 1,000 dramas about famous heroes and leaders. Although quite unusual for Western ears, Chinese opera is a high-quality form of drama.

1. The Monkey King Scenes 1-3
2. The Monkey King Scenes 6-11
3. Autumn River
4. The Parting of Bewang and the Princess

320 kbps including full scans


Raul Garcia Zarate - Guitarra

Posted By Admin On Friday, January 30, 2009 1 comments
Raul Garcia Zarate
Guitarra, 1988
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Raúl García Zárate - "Adios Pueblo de Ayacucho"

01. Jauja
02. Villancicos
03. Toril
04. Sueños
05. Suyallarkayki
06. Pariwana
07. Pucuysito
08. Semana Santa
09. Réir Llorando
10. Arriba los Pañuelos
11. Cálmate Corazón
12. Negra del Alma
13. Tuyaschay
14. Carnaval de Ayacucho
15. Mi Pajonal
16. Helme

320 kbps including full scans


Kapsamun - Mania Ballkanika

Posted By Admin On Friday, January 30, 2009 3 comments
Mania Ballkanike, 2008

Albanian folk music with fiery rhythms, wistful ballads from Kosova and breakneck odd beatsfrom the Middle East - this emotionally-played music is open to the new "world jazz" which leaves space for everything that shakes your legs and moves your heart. In the music of Kapsamun you can hear also influences from salsa, fusion, nu-jazz or drum'n'bass, giving our original compositions a broad range of inspirations, reviving the traditional music of Kosova with a new freshness - and sparking the enthusiasm of a broad audience.

We are pleased to celebrate the 10th anniversary of the group „Kapsamun“ with their second release for the brambus jazz family and their third cd in total. The repertoire of „Kapsamun“ is based on traditional Albanian folk dances from Kosova. The musical homesickness of the former kosovarian saxplayer Arsim Leka – who lives now in Switzerland – the musical wanderlust of his Swiss musicians are the fundamentals of the creative energy of this band.
„Kapsamun“ incorporates in their music as well and without fear of contact contemporary and modern influences of jazz and electronical dance music. This way arise multifarious self penned compositions, which give new freshness to the traditional music of Kosova.
Inspired by the title track of Arsim Leka, the kosovarian writer Vaxhid Xhelili wrote the poem „Mania Ballkanike“ (engl: Balkan delusion) for the booklet, which is about the difficult search of identity in a divided region. The title „Mania Ballkanike“ stands besides that for the Balkan temperament, for hilarious joie de vivre and for the borderline between tradition and innovation, between exile and home, in which the band is moving.
Their first two CDs „Mesnatë“ and „Prishtina“ found their way to a very versatile and enthusiastic audience, tours in Switzerland, Kosvoa and Macedonia, worldwide TV broadcasting via the kosovarian channel, concerts in France, Italy and Austria and appearing in film soundtracks („Bashkim“ and „Tout un hiver sans feu“) have resulted.
With their new CD in their bags, „Kapsamun“ starts in january 2008 again with intense concert activities throughout concert halls, small theaters and festival stages. w influences full of tradition, they added self penned compositions with very contemporary trends like nu-jazz and drum’n’bass. These influences have been enlarged by the addition of synthesizers in the band sound. The new album has been presented in Kosovo with big success during the month of September.
The music of “Kapsamun” lives strongly from the varied characters and musical backgrounds of the bandmembers, which reaches from the Kosovian saxplayer Arsim Leka over Swiss artists which have grown in jazz, blues, bluegrass, folk, experimental music and more, lining up Marcel Zimmermann (violin), Samuel Wettstein (piano, synth., darbuka), Florian Abt (standup bass) and Benjamin Brodbeck (drums and darbuka).

01. Mania Ballanike
02. Valle Tiranase
03. Gettin' High In Pristina
04. Delirium
05. Bukuria Jote, Emidag
06. P.GJ.GJ.P.M.
07. Princesha Ime
08. Në Zemrën Time Ndiej Sërish Dashuri
09. Post Dolorem
10. 5-6-3-3-2
11. Valle Treshe

320 kbps including full scans


Ile Maurice - Mauritius

Posted By Admin On Thursday, January 29, 2009 0 comments
Track Listings
(01). G. Bergicourt - La Riviere Taniers
(02). A. Permal - Tifayte
(03). J. Cantin - Content, Mo Ti Content Toi
(04). J. Lebout - Qui Cote, Qui Cote
(05). C. Labonne - Mo Jouer Mo Sega
(06). J. Cantin - Maman Bettina
(07). C. Labonne - Alouda Limonade
(08). J.K. Nelson - Missie Coutou
(09). A. Permal - Sega Bello
(10). A. Permal - Mam'zelle Mimi
(11). C. Labonne - Trouloulou Maconde
(12). J.K. Nelson - Z'enfant Msere
(13). C. Labonne - Nous Aller Liza
(14). J. Cantin - Noir, Noir
(15). C. Labonne - Capitaine Roundtree
(16). J. Cantin - Paul Ecque Virzinie
(17). J.K. Nelson - Touis le De

320 kbps including Covers


TOUCH THE SOUND - A Sound Journey With Evelyn Glennie (DVD)

Posted By Nada Brahma On Tuesday, January 27, 2009 22 comments

“Hearing is a sensation for which you need your whole body. And my whole life is about sound. It’s what makes me tick as a human being. There’s sound absolutely everywhere. You have to listen. That’s it really... I want to be open to absolutely everything that comes my way. I mean, this is the most interesting thing with a musician, this sound journey.”

Subtitled "A Sound Journey with Evelyn Glennie," German director Thomas Riedelsheimer's exquisite Touch the Sound is nominally a portrait of the Scottish musician known as "the first full-time solo percussionist." Glennie is certainly a fascinating subject. Profoundly deaf since childhood, she disdains the use of hearing aids and sign language, relying instead on lip reading and, more crucially, on the use of all of her senses, especially touch, to "hear" with her entire body. The film reveals Glennie's extraordinary skills in a variety of settings: playing a snare drum for bemused New Yorkers in cavernous Grand Central Station; improvising with guitarist Fred Frith in an empty warehouse in Cologne, Germany (their final vibes-guitar duet is one of the film's musical highlights); working with hearing-impaired students in her native Aberdeenshire; jamming with taiko drummers in Japan, and later delighting customers in a Tokyo bar with a spontaneous workout involving chopsticks, dishes, cans, and glassware (the woman can make music with virtually anything); or simply jamming on a rooftop wit Horacio "el negro" Hernandez. But Riedelsheimer, who was also the film's editor and cinematographer, has a broader agenda here--namely, to intensify our awareness of the sounds that surround us everywhere, in every moment. From the streets of New York to the beaches of Santa Cruz, from the rocky Scottish coastline to a tranquil Japanese rock garden, he links heightened audio, as clear and natural as the best ECM recordings, to a succession of gorgeous visual images to create a balance of complex detail and overall sparseness, resulting in a kind of Zen feast. Touch the Sound is easily one of the most rewarding documentaries in recent years.


Papa Rocon & Katanga - Marimba Magia

Posted By Admin On Tuesday, January 27, 2009 2 comments
Papá Roncon & Katanga
Marimba Magia, 2003

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Papa Roncon is a 70 year old living legend in his own country - the rain forests of Ecuador. He's a marimba player, singer, guitarist, dancer & instrument-maker. He is a story-teller who keeps the traditions of his people alive. Soulful, earthy Afro-Latin Indian music.

Im südamerikanischen Ecuador liegt der Regenwald von Esmeraldas, seit Jahrhunderten von Schwarzen bewohnt, die durch die Havarie eines Sklavenschiffes im Jahr 1533 hier gestrandet sind. Die CD "Marimba Magia" ist ein akustisches Zeugnis der Nachfahren dieser Menschen, die bis heute ihre Kultur erhalten und weiterentwickelt haben.In Borbon, einem kleinen Dorf in besagtem Regenwald, lebt Guillermo Ayovi Erazo, genannt "Papá Roncón". Der Siebzigjährige ist die herausragende Persönlich- keit in diesem kulturellen Mikrokosmos. Papá Roncón spielt Marimba und Gitarre, singt traditionelle Lieder, komponiert neue, ist Geschichtenerzähler und Instrumentenbauer, Lehrmeister und Wissens-quelle für die jüngere Generation. Seine Musik ist pulsierend, erdig, ursprünglich, in vollkommenem Einklang mit dem Ort ihres Entstehens. Die Alltags- und Naturgeräusche, die Tiere und die Mitb-ewohner von Borbon bilden auf der CD "Marimba Magia" mit den Musikern eine
akustische Einheit. Zusammen mit Catalina Mina Quintero und Rosa Huila Valencia hat "Papa Roncon" diese CD eingespielt. Die Stimme Catalinas ist voller Melancholie und Tiefgang. (Anspieltip: Amigo - Mi Amigo). "Marimba Magia" führt uns in eine Welt, deren Untergang bereits beschlossen ist. Noch einmal, vielleicht zum letzten Mal, können wir die Kraft und Magie dieser schwarzen Musik aus dem Regenwald von Esmeraldas erleben. Papa Roncon ist ihr Botschafter.

Wenn Papá Roncón in seiner Hängematte schaukelt, dann erzählt er Geschichten: Vom ‚Duende', einer Art Rumpelstilzchen, das ihm eines Nachts das Gitarrenspiel beibrachte, oder von seinem verstorbenen Opa, der ihm gemeinsam mit zwei Engeln das Marimbaspiel lehrte. Und irgendwie glaubt man ihm das. Guillermo Erazo alias Papá Roncón ist ein Nachfahre afrikanischer Sklaven, die sich im Jahre 1533 nach einem Schiffbruch an die Küste Ecuadors retteten und die freie Republik Esmeraldas gründeten. Heute fühlt man sich hier, mitten im Regenwald, wie in Afrika.
In seinem Heimatdorf Borbon ist der 70-jährige Papá Roncón eine Legende. Er singt, tanzt, spielt Marimba und Gitarre und baut auch Instrumente. Er ist stolz auf seine Kultur und ein Freund der Chachi-Indianer, die wie er gegen die Zerstörung des Urwalds kämpfen. In seinem bescheidenen Haus treffen sich Kinder und Jugendliche aus der Nachbarschaft, und er bringt ihnen nicht nur das Singen und Tanzen bei, sondern auch den Respekt vor der Natur. Diese Atmosphäre fängt das Album Marimba Magia ein. Die raue Stimme des warmherzigen Alten geht unter die Haut, Kinder und Nachbarinnen singen ebenfalls mit und natürlich sind alle Instrumente von Papa Roncón persönlich geschnitzt. Und worum geht es in den überlieferten Weisen? Man feiert, erschreckt den Teufel oder sucht das verlorene Kind im Wald. Und ganz nebenbei hört man im Hintergrund auch noch die Tiere der Umgebung mitwirken. - Suzanne Cords

01. Agua Larga
02. Oyeya
03. Caramba
04. Bambuco
05. Amigo-Mi Amigo
06. Abuela Santana
07. Fafirena
08. Caderona
09. San Juanito Negro
10. Torbellino
11. Flor De Verona
12. Ese Golpecito No Se Oye
13. Andarele
14. Papá Roncón Y Su Marimba

320 kbps including full scans


Thomas Mapfumo & The Blacks Unlimited - Rise Up

Posted By Admin On Tuesday, January 27, 2009 0 comments
Thomas Mapfumo & The Blacks Unlimited
Rise Up, 2006

Thomas Mapfumo was born in 1945 in Marondera, a small town south of the Rhodesian capital, Salisbury . He spent his first ten years living in the countryside with his grandparents, tending cattle herds, and waking up long before sunrise to do chores before school. Though was moving inexorably toward racial civil war, Mapfumo was living an old-fashioned, traditional life, mostly removed from the bitterness building in the cities and townships. One of his greatest pleasures back then was the music of his people, the Shona, music he experienced in family and clan gatherings not unlike those his ancestors had been holding for centuries. Traditional children's tunes, songs of celebration accompanied by the drums called ngoma, and especially, the sacred music of the metal-pronged mbira, an instrument whose beautiful, cycling melodies could summon the presence of ancestor spirits--these things formed the basis of Mapfumo's musical personality, a force that continues to shape the history and spiritual life of his country.

When Mapfumo was ten, he moved to Mbare, the poorest and toughest black township of Salisbury . Life was different in the urban home of Mapfumo's mother, stepfather, two brothers and two sisters. Mbare was a center of black protest against the Rhodesian regime, and a scene of random police actions designed to intimidate would-be rebels. Mapfumo's stepfather was active both in the Christian church and in Shona traditional religious circles. He taught his children a highly moral worldview that saw no contradiction between the guidance of an almighty Christian God, and that of Shona ancestor spirits. In Mbare, Mapfumo also heard radio for the first time, and he was wowed by African jazz from Johannesburg and Bulawayo, classic big band Rumba from the , and especially, R&B and soul from and .
Mapfumo began to sing, and in high school, he joined his first band, the Zutu Brothers. For the next ten years, while the liberation war that would eventually transform into roiled though the country, Mapfumo made his way as an itinerant singer. Both in the Cosmic Four Dots, the band where he learned basic musical skills, and in the far more successful Springfields, Mapfumo was the rock 'n' roll singer, the man charged with reproducing vocal performances by the likes of Elvis Presley, Bobby Darrin, Wilson Picket, and Mick Jagger. (To this day, Mapfumo is a walking juke box of hits from the 1960s.) His identity as a singer made him something of a happy rebel. When the police came through his neighborhood one day demanding that everyone line up outside their houses, Mapfumo turned up in the shiny, silver jacket he wore on-stage. This playful show of disrespect nearly landed Mapfumo in jail, where he'd have been lucky to escape with a beating. But a cop who was a Springfields fan stepped in and let him go. In 1972, Mapfumo moved to a mining town and started a band called the Hallelujah Chicken Run Band. The band got paid for entertaining the miners, but had to work day jobs as well, including tending chickens in a "chicken run," hence the name. It was here, working with guitarist Joshua Dube, that Mapfumo first adapted songs from the ancient mbira repertoire and worked them into the band's Afro-rock repertoire. To sing in Shona was unusual, and in the context of the escalating war, automatically political. So as Mapfumo continued to develop as a songwriter, his devotion to traditional music inevitably politicized him. As Mapfumo moved on to work first with the Acid Band, and then with the Blacks Unlimited, everything came together. He developed his mbira pop sound with guitarists Jonah Sithole and Leonard "Picket" Chiyangwa, bassist Charles Makokova, and other innovative young players. Mapfumo's lyrics reflected the concerns of the people around him--hardships in the rural areas, young men heading into the bush to fight, and a rising sense of indignation at white rulers who had systematically devalued Shona culture for four generations. The guerilla fighters had taken the name chimurenga, Shona for struggle, and Mapfumo decided to call his new sound "chimurenga music." Mapfumo means "spears" in Shona, and Mapfumo's early chimurenga singles, including "Mothers, Send Your Children to War" and "Trouble in the Communal Lands," lived up to his combative name. "People were being killed by soldiers," recalls Mapfumo. "They were running from their homes, and coming to live in town like squatters. Many used to cry when they listened to the lyrics of these songs." Mapfumo's chimurenga singles captured the imagination of blacks nation wide. Near the end of war, the out-maneuvered Rhodesians arrested Mapfumo briefly and attempted to use him to rally support for a last desperate attempt to hold onto some vestige of power. But the tide of history had turned, and in 1980, Robert Mugabe was elected president of a new nation. That year, Thomas Mapfumo and the Blacks Unlimited shared the stage in Salisbury (now called Harare ) with Bob Marley and the Wailers. As took its first hopeful steps, Mapfumo sang rallying songs for the new leaders. But if they imagined him their stooge, they soon learned otherwise. For though Mapfumo had become a national hero by singing theme songs for a revolution, his deeper message was really about culture, not politics. Zimbabweans had been brainwashed by the Rhodesians, tricked into abandoning their ancestral ways. Black rule was only a first step toward the cultural renaissance Mapfumo envisioned. When leaders began to reveal themselves as venal and corrupt, they found themselves targets of chimurenga music. In 1989, Mapfumo decried sleaze and graft in the song "Corruption." The next year, in the song "Jojo," he warned young people not to let themselves be used by dirty politicians. The music also evolved. In the late '80s, Mapfumo introduced first one, then two, then three mbiras to the band lineup, and he came to think of them as core of the Blacks Unlimited sound. He challenged his guitarists, horn players and keyboard players to accommodate themselves to the mbiras, and he challenged his mbira players to learn the African jazz, and "jit" songs that were also key elements in the chimurenga sound. The band began to tour internationally, and made landmark recordings for Chris Blackwell's Mango Records, Corruption (1989) and Chamunorwa (1990). In the '90s, Mapfumo faced a choice between devoting himself to an international career and keeping the home fires burning. For him, this was no choice at all. He toured and released his music abroad when possible, but he kept his energies focused on , releasing a cassette of new songs every year, and playing as often as five nights a week during peak season. A Blacks Unlimited concert in during this period was an extraordinary communal experience. It began at 8:00 in the evening, and could last until daylight. It included deep mbira anthems, rollicking township dance grooves, and refracted glimmers of reggae, R&B, and African jazz. The songs decried alcoholism, AIDS, domestic violence, and people's devotion to foreign things--all prices that Mapfumo felt Zimbabweans had paid for abandoning their ancient culture. In the late '90s, Mapfumo increasingly focused his ire on the country's leaders, who he felt had failed the people. 's state radio briefly refused to play critical songs from his 1999 album, Chimurenga Explosion, notably "Disaster," which stated the country's predicament in no uncertain terms. In April 2000, the government received an electoral setback with the election of a substantial number of opposition candidates to the parliament. Among their reactions to this were threats against Mapfumo, and trumped up charges that he had bought stolen cars. A few months later, Mapfumo quietly moved his family out of the country to Oregon , where they have based their lives ever since. Mapfumo continues to record incendiary music, to have it banned, and until recently, to return to and play for his loyal fans, risking arrest and harassment each time. In 2005, Thomas concluded it was no longer safe to go to . But although in exile, he remains engaged, and passionately creative. His 2005 release, Rise Up (due out on Real World Records in 2006), is a tour de force musically, and full of enough political barbs that it has, once again, earned the honor of being banned on Zimbabwean state radio. For all the darkness that surrounds him, Mapfumo remains peaceful, buoyant personality, in love with life, laughter, and music. He owns a soccer team, the Sporting Lions, all boys from Mbare, and scrappy on the field. Mapfumo has lost many great musicians to AIDS and other calamities, but his band remains as strong as ever, forever replenished with young musicians eager to contribute to the legend. Zimbabweans affectionately call him "Mukanya," a reference to his family totem, the baboon, and even as they are seduced by the latest hip-hop and ragga, they remain attuned to Mukanya's latest word. Few bandleaders in Africa , or anywhere, have been so consistently relevant to the lives of their people as Thomas Mapfumo.- Banning Eyre

THOMAS: The CD is called "Rise Up."
BANNING: Before we go to the songs Thomas, this CD has had quite a history. As I understand, you recorded the songs twice already in Zimbabwe, and the tapes went missing. Tell us the story.
THOMAS: Well, this one is a different one, because the other won that actually got involved with what happened in the studio last time, was a different thing, and the music was something different from what we here. We have only two songs from that other CD included on this one. It's new. This is something new. We have one old song that we re-recorded. "Mukadzi Wangu." I think you still remember the song. [SINGS.] We played that some time ago, and he we recorded in a long time ago, and we decided to re-record it. It was going to sound something new, rather than the old style. "Mukadzi Wangu" means "My Wife." This one is about a man who leaves his family to go abroad and work for his family because there's no work back home, and you cannot afford to look after his family because he is not working and so he decides, "Well, I'm leaving this country. I'm going to go out there and look for a job. I'm going to go there and work for my family and come back after some time. I'm leaving my wife and children. That's the story.
BANNING: He's making a big sacrifice, a familiar story for Zimbabweans today.
THOMAS: That's true. The first song we have there is "Kova Rira Mukati."
[BE: Song is sweet, melancholy, soulful, wearily resigned, gentle.]
THOMAS: "Some People Don't Talk." They keep quiet, whilst things are going wrong, like the situation back in Zimbabwe where people are not even talking, and yet there are problems within the country where poor people are suffering. Somebody is holding onto the power for all that long. He has been there for over 23 years now, and he wants to complete maybe 30 years, holding onto power, clinging onto power. And we are saying, "It's up to you, the people. You have to make a decision. Do you want this guy to destroy the country, or do you want to do something about it?." So we are saying, "It is up to you, the people, to make sure you're going to stop this man from whenever he is doing. He's not doing anyone good. He has been there for a long time, and he doesn't want to let go of the power. He doesn't want to listen to anyone. We're having too many conflicts in that country, so it's up to us the people to make a decision."
BANNING: Can you quote me some of the actual lines of the song?
THOMAS: SHONA. It means, "It is up to you, mothers, up to you fathers, up to you boys and girls. Look at the situation that we are in today. To make the situation right, it is up to us, to stand up and say something. We must rise up and fight back. We need to fight back."
[BE: Fast jit, led by girls singing.]
THOMAS: That's "Dogura Masango." It means, "I'm Going Away." "I'm running away from problems. So I'm going to go away. I don't know where I'm going. But I'm just going away. I'm running away. I'm getting out of this country because there are a lot of problems, and I cannot wait for these problems to destroy my life, so I need to go somewhere where I will do something about myself. I don't look for me. I'll be gone. I might be coming back sometime, but I don't know when." It's a song about the people who are leading that country, and going to live in some other countries like England, America, all over the world. They are running away from the situation back home, so they can't take it. The songs about them.
BANNING: Sango is like the forest.
THOMAS: Yes, the forest. "Mukadzi Wangu." This is the one we just talked about. It was on Ngangariro, along with "Nyoka Musango." It's one of the oldest songs. "Musandi Wenge."
BANNING: Let's do this one, number six. "Zvakuana."
THOMAS: Yeah, this one is about young girls who are careless with their lives, like when they go out there to clubs, and they hook up to some guys, and sometimes they go out there to sleep with the guys, and then end up being pregnant, and comeback now crying, because the baby has no father. No one claims to be the father of that baby, and now she is saying. The father of the girl is saying, "It's your fault. I have always been telling you not to go out there, and not to hook up with men. You better look after yourself. Look now, you come back pregnant. You're going to have a baby without a father, and it's going to be your fault. I've always want you, and this is why I've been warning you. See where you are now?" Zvakuana means "You Have Made Problems for Yourself." "The problems that you have now are problems of your own making. You brought those problems to yourself, so don't cry."
BANNING: Okay, here's number seven, "Dodya Marasha." This is the one you were practicing at my house. This is one that uses this keyboard player. Who is that?
THOMAS: He's a white guy who lives in Oregon. In Eugene. I don't remember his name now. We hired him to play the keyboard. He did very well. Yeah, he did very well. "Dodya Marasha" is like a, here we are in America. We are in New York. It's like a paradise. People don't think one day the world is going to come to an end. It's not the world that comes to an end, it's when you die. That's the end of your world. You understand? So some people don't realize where they're coming from or where they're going. They just think every day as Christmas. They don't even recognize God, and they don't live by the rules of God. I've seen so many people you're moving in the streets. They just don't care who they are, what they're doing. There are those kind of people who we see, who just don't care whether they die or not, where they are, where they're going to sleep, what they're going to do the next day. They don't care about that. This song is warning all those kind of people that the world will come to an end, so you better realize, you better know that there is the Almighty God, and you've really got to expect him. Live by the rules of God, and do what God says. "Dodya Marashsa" is like "I'm Eating Fire." It's a way of saying things, "When I'm eating fire, I'm going to spit fire, say of what I want to say." This is what the song is saying.
BANNING: There was something about charcoal.
THOMAS: Charcoal, that's right. When you eat charcoal, its fire. You can't eat charcoal. It's fire that we're talking about. "Now I'm going to eat charcoal and I'm going to say what I want to say. I'm not going to hide anything. I'm going to say what I want to say, and I'm what does that everything."
BANNING: Can you give me a few lines from the song?
THOMAS: "This world is not my home. We're all passersby. We're passing through, and no one owns the land. We have to realize that we're the children of God, and in the end, the world is going to come to an end. Where you are going, you will never know where you're going, but still, you've got to live by the rules of God. You've got to abide by the rules of God, and observe the rules of God." And that's the meaning of the rest of the song.
BANNING: It has this musical change, and then this chorus in the second part.
THOMAS: [SINGS] That's a nice chorus. I'm saying, "I finished. I've said all I wanted to say, and I finished, and I'm saying. So I leave it up to you. You make your decision."
BANNING: Hears number four, "Musandi Wenge (Don't Hate Me)."
THOMAS: Yeah, this song is about, you know when you tell someone the truth, and they hate you for telling the truth. In this song I'm saying, "I'm still one of you. I'm criticizing the way you do things, but don't forget I'm still one of you. I'm still your brother. But I want to see the situation corrected. We want the right thing to be done, the right things to be done for the people. So don't hate me for that. And don't forget that I'm still one of you. I'm not committing you, but I'm trying to help you, so that you will know I love you as a brother. I'm only advising you to do good things. I don't hate you, but I hate the things that you do to the people."
BANNING: That's a good message. I hope they take it to heart. [WE LAUGH] Here's number five, "Marudzi Nemarudzi." [Sweet, melodious melody. Rather like a gospel song. Folksy. Warm. Reassuring.]
THOMAS: Well, this is a song about the rest of the world. "We differ in our colors. We are black. You were white. Some are yellow. Some are what. You know? But still, we are the same people. We breathe the same air. We do the same things, but we differ when it comes to language, our skins, the color of our skins. But in the eyes of God, we are the same. We die the same way. Whatever happens, we are just the same people." We don't have to segregate, or to say I am black, I'm better than you. Or you are white, and you want to say you are better than me. Nobody is better than the other. We are all the same people, and in the eyes of God, we are the children of God, so people must stop thinking maybe the other way, that if I have money, if I'm doing well, I'm somebody else. No, you're not somebody else. You're just a person. You are just like me. You could be rich, or you could be richer. You could have millions, but still, you are like me. When you die, you go 6 feet under, and nobody will recognize your millions, because you are dead. So when you go, everything that you leave, you leave those things for the living. Isn't it? Those who are still living will inherit your millions. You can't go there with millions. You can't go down to the grave with millions. You have to leave everything.
BANNING: That's a classic. There's the blues song that used to talk about that very same thing. What's the title?
THOMAS: "Marudzi Nemarudzi" "People of All Walks of Life."
BANNING: Here's number eight, "Hande Baba." [Driving beat, minor key. Energized, urgent feel. Thomas has to listen for awhile to remember the song.]
THOMAS: "Hande Baba" "Let's Move Ahead." Let's go on with our daily lives. We know what is happening in this world. We are not as free as we thought we could be. We are very poor. Some people deny us freedom of speech, freedom of movement, but still, we are the living ones, so let's carry on living. You cannot be down hearted, or say, "Well, if I don't have money, what am I going to do? I'm going to hang myself, because I'm not having this and that." No, you don't have to do that. You don't have to think like that. Fight on. Let's go. Keep on fighting. Maybe, one day you're going to win, so let's carry on. Some people, they get down hearted when they're in a situation, like when people are oppressed. They say, "What I might want to do now? What's going to happen to me?." No, you don't have to think like that. You have to stand up and fight. Keep on, carry on fighting.
BANNING: So it's interesting, in the first song you're telling people that they have to get up and fight. Don't just accept it. And here you are saying, don't be depressed. Don't take it lying down.
THOMAS: That's right.
BANNING: Then number nine, "Varwere (The Sick)."
THOMAS: There are a lot of patients in this world. People are suffering from a lot of diseases, like the AIDS virus, some other diseases, cancer. You know what I'm talking about. So, it's like there are so many of them today. We need the worldto help the people who are suffering from AIDS and from other diseases. We don't have to just look at them and maybe laugh at them. It's not their wish to be associated with the sort of disease. It's something, maybe from God. Who knows? Nobody knows. But we need to help one another. We need to put our money to good use. We must help these people. We use this money to help these people. We see a lot of rich people, they go round, by cars, and the live in nice houses. They have big houses with so many rooms. When you come out here in the streets, you see a lot of people sleeping in the streets. Who is caring for them? You hear a lot of people like Bush and Mugabe, every world leader. They say we are looking after the people, when we see a lot of people suffering. Is there no money to care for these people? There is a lot of money, but people don't want to do that. Why? We need to realize that we need to help these people because they have no way, no one to look after them, nowhere to go. So who's gonna care for them? It's you, the people at the top who have to realize that these people need to be helped, and you need to help them. We're talking of the world leaders. They look at the situation. It's going from bad to worse every day, and they claim to be looking after the people, when I don't look after the people. "There are too many sick people in this world today." Can you play a little for me? Started from where those girls start. "People are dying and thousands every day. What are we going to do about these people? People are dying every day because of this certain disease that we hear about, and no one is doing nothing about it, so what are we going to do? Are we going to help these people? We have the resources, but someone up their doesn't want to do that."
BANNING: Like Bush with his $15 billion. Here's number 10, "Musawuraye Wadiki." [Kind of a fast reggae feel. Minor brass line. The funky thing. Trumpet player Brooks takes a nice, free solo.] Gilbert sounds nice. He has a laid-back touch.
THOMAS: Yeah, yeah. He's a good guitarist. Here, we are talking about the youth of the world. A lot of our youth are dying for nothing. They're being set out there to war, like we have you dying in Iraq, we have you dying in Palestine, you dying all over the world. Even in Zimbabwe, the youth are being used. They die for nothing. Actually, we are supposed to be protecting the youth, since there the leaders of tomorrow. "You are very old. You are old. Then you have to quit. Let the youth takeover. Let the new blood takeover, and we have to protect the youth, because they're the leaders of tomorrow." We don't have to kill the youth. If we kill the youth, what sort of country regards to have? Are going to have future leaders? That's not going to happen if we keep sending these youth to useless wars. Do I remember now what was the title?[LISTENS]
BANNING: Can you just translate some of these lines as they go by?
THOMAS: Let the background come. "Let's looked after the young ones. Don't destroy the youth."
BANNING: This seems like a continuation of "Jojo" and "Vechi Diki." [THOMAS CHUCKLES.] Here's the last one, "Pasi Ari Gute." [Dark, minor, traditional beat. This is the stuff that made Mapfumo. Rich vocal work. Ooo-oo-oo-oo-oo-oo-oo.]
THOMAS: This one is "Pasi Ari Gute." "The Earth is Hungry." "So many people have died here on earth, and we don't stop dying. The earth doesn't get enough of us. It still wants us to die. There is enough land for our graves. So do not cry for him. You know what happened to him. It's not an unusual thing. People die. So you must realize that it's an ongoing process. We will always die. Some are being born, and some are dying. Some are sick in hospitals, waiting to die. So this is an ongoing process. It will never stop. Don't cry for him. He has gone. He has been taken by the earth. I will be the next one, and you are going to be the next one too. Don't be surprised." That's the story. You must accept that.
BANNING: Wow, this is strong stuff. So this album will probably come out soon in Zimbabwe.
THOMAS: Very soon.
BANNING: I read about what happened when the live album came out. There was trouble in some markets, and the producers father was beaten up. There were a couple songs on this album that seemed to hit a nerve.
THOMAS: The song that actually started everything was "Masoldier ne Mapurisa." "The Soldiers and the Police." When people revolt, the leaders always call on the soldiers and police to go and beat up the people, to try and shut up the people. This is the situation. So in this song, we were just saying, "What you going to do when they come after you?" And this man was answering. He said, "I will call on the soldiers and the police to go and beat up the people." And we said, "Well, some of these people are the relatives of the soldiers and the police. So maybe one day the soldiers and the police will say no. We don't want to go out there and beat up the people for nothing. Then what you going to do?" Then he was saying, "Well, I'm going to run away into exile." So we were trying to say things like, "You know what happened to Amin? You know what happened to Mobutu? Are you going to end up doing the same thing?"
BANNING: You actually named those guys in the lyrics of the song?
THOMAS: Yeah, I did, and Hitler also. I think that angered them so much that somebody organized the youth to go and beat up the people in the flea market, because of that song. It's a song that I've always sung on the stage. People like it. I wasn't even mentioning any names. So that song, that's the song that made them very, very angry, but we were not mentioning names. We were just trying to give advice, to say to some people, "Look what happened to Amin. Look what happened to Mobutu. They ended up in foreign countries, running away from their own people, the same people they claimed yesterday that supported that. But look what happened to them? Are you going to do the same thing?" So that was it.
BANNING: Do you think there's anything in this album, "Rise Up", that might make them that angry?
THOMAS: No, I don't think so. I don't think so, because every album of mine has a meeting. They know it. They know it very well. There are songs that will actually disturb their minds, but we are not mentioning names. We are just playing the music, and this is music for our fans. For those who don't want to listen to a music, they can just stop buying our records. They don't play our music on the radio. They don't do it so they can't complain.
BANNING: That's a big difference. From before. But you know that this song "Masoldier ne Mapurisa" was going to get such a reaction?
THOMAS: I was there during Christmas, and I was singing this song, but nobody ever approached me about it. [LAUGHS HEARTILY.] Everybody used to like the song. But when it came out on a record, they started saying a lot of things about it. It's some certain individuals. Those people were organized, they were paid up, and they were just street thugs paid up to do that dirty work.
BANNING: It seems like the kind of thing where if you go back, and back, and back, you will find out that our friends Jonathan Moyo was behind it all.
THOMAS: He was behind it.
BANNING: But I hear he is in trouble. Didn't you want to be in line to replace Mugabe? He would not be good replacement.
THOMAS: But Mugabe he is someone else. He is very tricky. The vice president now is a woman, Joyce Mujuru.
BANNING: That sent a message to Jonathan Moyo. [True.] And another passing some new law. They're getting so sensitive about anyone who would criticize them. About what people say, and journalists write. Do you feel that it's getting even a little hotter even then it was a year ago.
THOMAS: Even if it gets hotter, I will keep on singing. I will keep on singing. I won't stop.

1. Suffer In Silence
2. Hitting The Road
3. My Wife
4. I'm Not Afraid
5. Differnt Races
6. It's Payback Time
7. I'm Mad As Hell
8. Let's Go, Father
9. Diseases
10. What Are They Dying For?
11. The Earth's Hunger Is Insatiable

320 kbps including full scans


Carlos Saura - Iberia (DVD)

Posted By Nada Brahma On Sunday, January 25, 2009 12 comments

Inspired by the work of the spanish composer Isaac Albéniz (1860 - 1909), Iberia is a movie which integrates all the composants of a musical. Clasical ballet, contemporary ballet, spanish dance and flamenco: all entwined to create a masterpiece.

Saura’s cine camara is like an artist in wing who observes the preparation, the rehearsal; the wholee process of creation. Iberia is like a re-creation and a re-invention of musicals with an impressive cast which includes famous artists of dance and music as Chano Domínguez, Manolo Sanlucar, Jorge Pardo, Gerardo Núñez, Enrique Morente and Estrella Morente, Sara Baras, Antonio Canales, José Antonio, Patrick De Bana, Rosa Torres Pardo, Miguel Ángel Berna, Marta Carrasco, and María Fernández.

"Iberia" is Carlos Saura's latest work, inspired by the musical suite whose name it shares and which was composed by Isaac Albéniz (1860-1909), a Spanish pianist and composer, and the creator of what he himself referred to as "a Spanish music with a universal accent".

The great Flamenco artists that re-interpret (different parts of this suite, which are dedicated to emblematic cities of Spain) Isaac Albeniz's Iberia also team up with some of the greatest Flamenco dancers today, such as Sara Baras or Antonio Canales. They offer in more than 15 pieces, each one with different settings, choreographies costumes and stories, today's most sunctuous and sensual vision of Flamenco.

Carlos Saura's "Iberia" stands out as a result of the quality of its performers: Sara Baras, the most prestigious bailaora (flamenco dancer) at an international level, Manolo Sanlúcar, a twentieth-century guitar revolutionary, Antonio Canales, a sober bailaor, Aída Gómez, Enrique Morente, an innovator of the flamenco singing forms, Estrella Morente, Chano Domínguez (pianist), Rosa Torres Pardo (pianist), José Antonio (dancer), Jorge Pardo, the star of flamenco jazz, and Roque Baños.

Saura was also responsible for the artistic design achieving a great dramatic impact thanks to the set decoration, which manages to be minimalist at the same time as it profits fromthe richness provided by the details.

According to the director himself, the set is a living space that, "through the use of panels, can change in volume depending on the moment, the dancing or the musicians who take part in the work". A particularly outstanding feature is the blend of live video projections alongside creative cinematographic work which has photographs mixed into it.

Get it ENJOY!

Abdel Aziz El Mubarak

Posted By Admin On Saturday, January 24, 2009 0 comments
Abdel Aziz El Mubarak
Abdel Aziz El Mubarak, 1987

Abdel Aziz El Mubarak (born in Wad Madani in 1951) is a popular Sudanese singer. He is known for leading a large band whose music is based on traditional Arab music but also is influenced by reggae and American rhythm and blues. In addition to releasing many cassette recordings in Sudan and playing many weddings and other gigs in Sudan, he and his band have also recorded several CDs for the European and American market and have toured internationally. He also sometimes performs solo accompanying himself on the oud.

With his apparent fondness for spangled jackets and polished love songs for the ladies, Abdel Aziz el-Mubarak sometimes comes across as the Bryan Ferry of Sudanese music, albeit with a better voice. One of Sudan's great international stars - and unlike others, a shrewd businessman - Abdel Aziz comes from a family of musicians and was trained at Khartoum's famous Institute of Music and Drama in the early 1970s. After successes on the radio and television as early as 1975 he went on to become one of the country's best known bandleaders.
CD Abdel Aziz el Mubarak (GlobeStyle, UK) and Straight from the Heart (World Circuit, UK).
Mr Tuxedo does his Arab nightclub stuff to great effect on both these CDs, showcasing the lush and ornamented sound of a Khartoum big band. The live album Straight from the Heart features the Ethiopian hit Na-Nu Na-Nu, always a crowd-pleaser.

Abdel Aziz was almost fated to become a performer: the child of a musical family who lived in an area noted for its music (Medani), he got an early start on the ladder of fame, as an angel-voiced school boy. He began singing for Sudanese radio in the early '70s and in 1975 enjoyed his first big hit with "Laih Ya Galbi Laih" (Why, My Heart, Why?). Abdel Aziz plays oud and sings, as do many Sudanese musicians, but he is anything but constricted by local sounds, happily blending traditional and Western musical forms. He toured England in 1987-1988 to great acclaim. - Leon Jackson

1. Tahrimni Minnak
2. Ahla Eyyoun
3. Ah'laa Jarah
4. Tarig Ash Shoag
5. Bitgooli La

320 kbps including full scans


Kotoja - Freedom Is What Everybody Wants

Posted By Admin On Saturday, January 24, 2009 1 comments

If one notices some similarity between Kotoja and African superstar King Sunny Ade, it's no coincidence. The 12-member Kotoja is led by Ken Okulolo, a singer, composer, guitarist and bassist who was a member of Ade's African Beats. And another Kotoja member, trumpeter/composer Babatunde Williams, spent more than a few years with the late Nigerian innovator Fela Anikulapo-Kuti. But the bottom line is that this band has a striking personality of its own. Combining African pop with Afro-American soul and funk as well as Afro-Caribbean music, Kotoja sounds quite fresh and inspired on "Semi Jeje," "Atide" and "Freedom." A variety of R&B styles have influenced this outfit -- many songs contain arrangements recalling '70s soul, while "Oberi, Oberi" brings to mind doo wop's harmonic ideas. Some of the lyrics are in Nigeria's Yoruba language, but many of the songs are in English; either way, this disc is consistently impressive.

1. Freedom
2. Atide
3. Semi Jeje
4. You Are The One
5. Stay On Me
6. Come Back Home
7. Oberi Oberi
8. Freedom (Dub Mix)
9. Stay On Me (Dance Mix)

320 kbps including full scans


A Hand-Full of Namibians

Posted By Admin On Saturday, January 24, 2009 0 comments
A Hand-Full of Namibians
College of the Arts Namibia, 2004

Nourish your ears with the first compilation ever of young Namibian artists. A wealthy and varied musical trip that mixes ballads, afro-reggae, soul-jazz, traditional music and hip-hop. The new generation brings fresh flavours and different musical cultures together. Created by Alpha Blondi's producer and guitarist, it features Ras Sheehama, N'Gata, Sharon van Rool, Emmanuel Karumazondo and Dunieon, renowned guest star Papa Wembs also sings on two tracks.

01. Ras Sheehama - Shohela Oshaile Shaya
02. Trisha - Afrika Tsela
03. Axue - !Uri Piris
04. Ngatu - Glorified
05. Yellow< - Hanada Ka Ha Io
06. Emmanuel Karumazondo - Nhamo
07. Ngatu - Telela
08. Sharon / Papa Wemba - Mina Kupenda
09. Yellow - Goasa
10. Ngatu - Efenge
11. Dungeon Family - Unity
12. Emmanuel Karumazondo - Nyama Ye Ku Gocha
13. Axue - Gai !Gomi Ge
14. Tiger - Bounce To This
15. Boli Mootseng - Kasumba Kasamba
16. Jackson Kauieua - Africa

320 kbps including full scans


Leif Sorbye - Springdans. Songs & Dances from Norway

Posted By Admin On Saturday, January 24, 2009 0 comments
Lief Sørbye
Springdans. Songs & Dances from Norway, 1987

Track Listings
01. Jenta Gar Pa Gulvet - Tater Polka
02. Jeg Lagde Meg Sa Silde
03. Syndebukken
04. Vi Skal Ikkje Sove Bort Somarnatta
05. Hansen's Polka - Alborg Polka
06. Det Star Ein Friar Uti Gare
07. Kjerringa Pa Seter'n
08. Danse, Ikke Grate Na
09. Haugebonden
10. Springdans: Brekke Enkja - Margit Og Torgeir
11. Kjerringa Med Stavennder
12. Reinlender - Rull

320 kbps including full scans


Sabicas - Flamenco Fiesta Gitana

Posted By Admin On Saturday, January 24, 2009 1 comments
Flamenco Fiesta Gitana, 2000

The Art of the Guitar, Flamenco, Flamenco on Fire*, Studio 102 Essentials, Flamenco Fiesta Gitana, Sabicas and Classical Guitar(!) are all the same album under different titles, so check which version is cheapest before you buy! "Art" is the original LP title, and the CD has the same photo on the cover. 8 of the 10 tracks also appear on Flamenco Highlights from Spain, for what it's worth.

This album is from late in Sabicas's career, without the fire of his earlier recordings but with perhaps more variety and attention to beautiful melodies: "Ritmos del Paraguay" (triple-tracked) is a version of the old Trio Los Paraguayos harp favourite, "Bell Bird" ("Pájaro campano"). Oyanguren's "Fantasía Inca" has an introduction that's not in the version Sabicas recorded for Elektra on Sabicas Vol. 2 (reissued on La Guitarra Flamenca).

It's a beautiful album even if if you just love the Spanish guitar and aren't particularly into Flamenco.

The sheet music of "Damasco" has been published (along with five other Danzas Moras) in Danzas Arabes, capably transcribed by Alain Faucher (Affedis Publications). "Fantasía Inca" is in Volume IV of Gendai Guitar's Flamenco anthologies.

*"on Fire" reportedly has a tendency to skate, so perhaps it's best to avoid that one.

01. Guajira - Cana De Azucar
02. Ritmos Del Paraguay
03. Danza Arabe - Damasco
04. Fantasia Inca
05. Farruca - Con Salero Y Garbo
06. Fantasia Militar - El Sitio De Zaragoza
07. Veriales - Puerto De Malaga
08. Sevillanas
09. Carcelera - Reflejo Andaluz
10. Castella - Nostalgia Castellana
11. Cana De Azucar
12. Con Garbo Y Salero
13. Reflejo Andaluz
14. Puerto De Malaga
15. Damasco

320 kbps including full scans


Orig. Wiener Schrammelmusik - Malat Schrammeln

Posted By Admin On Saturday, January 24, 2009 1 comments
Malat Schrammeln
Orig. Wiener Schrammelmusik, 2002

Track Listings
01. Echt wienerisch
02. Spaziergang durch Wien
03. Sperl Polka
04. Tanzkönigin
05. Packerl Marsch
06. Pester Polka
07. Traum Melodie
08. Fiaker Hetz Marsch
09. Wo die Zitronen blüh'n
10. Weinberln und zibeben
11. A süasse Geig'n
12. Annen Polka
13. Eljen a Stefanie

320 kbps including full scans


Cumbia Cumbia - Cumbias de Oro de Colombia

Posted By Admin On Saturday, January 24, 2009 1 comments
Cumbia Cumbia. Cumbias de oro de Colombia, 1989

Track Listings
01. Rodolfo Y Su Tipica RA 7 - La Colegiala
02. Gabriel Romero - La Subienda
03. Armand Hernandez - La Zenaida
04. Adolfo Echeverria - Amanciendo
05. Pedro Laza - Navidad Negra
06. Conjunto Tipico Vallenato - Cumbia Cienaguera
07. Rodolfo Y Su Tipica RA 7 - Tabaco Y Ron
08. Gabriel Romero - La Piragua
09. Los Immortales - La Pollera Colora
10. La Sonora Dinamita - Se Me Perdio La Cadenita
11. Los Warahuaco - El Pescuador De Baru
12. Conjunto Tipico Vallenato - Cumbia Sampuesina

320 kbps including full scans



Posted By julio sotomayor On Friday, January 23, 2009 3 comments
Disco 1
01. A que tanto me consientes - Don Antonio Chacón
02. Se visten de soleas - La Paquera de Jerez
03. Bulería gitanas - Camarón de la Isla
04. Va diciendo tu mare - El Turronero
05. La noche de mi amor - Lola Flores
06. La niña de fuego - Manolo Caracol
07. Igual que los claveles - Manolo El Malagueño
08. A mi mare abandoné - Niña de los Peines
09. La mía compañera - Pepe Pinto
10. Mi Carmela - Juanito Valderrama
11. Alegrías - Chato de Malaga
12. El dinero que me importa - Pepe Nuñez
13. Estan doblando las campanas - Principe Gitano
14. Dame tu corazón - Gitana de Bronce
15. La baña el sol cuando sale - Canalejas de Puerto Real

Disco 2
01. Fandangos de Huelva y Verdiales - Antoñita Peñuela
02. Mi Salamanca - Rafael Farina
03. Yo tengo un clavel moreno - La Marelu
04. Toro nevao - Pepe Mairena
05. Campanilleros - La Niña de la Puebla
06. Contigo salgo soñando - Pepe Marchena
07. Aunque murmure la gente - El Agujetas
08. Bulerías - Porrina de Badajoz
09. La Feria de Graná - Enrique Montoya
10. Los piconeros - El Niño de Murcia
11. Soy - Pepe León
12. Herrero del sacromonte - El Sevillano
13. Llanto de moro - Canalejas De Jerez
14. Por fiesta en cabra - Principe Gitano
15. Fandangos de Huelva - Hermanos Toranjo

CD1Download HERE
CD2Download HERE

Africa - World Music Atlas

Posted By Admin On Friday, January 23, 2009 2 comments
Africa. World Music Atlas, 1997
Alt text
Track Listings
CD 1 - Voices of Africa
01. Mustapha Tettey Addy (Ghana)
02. Cabdullahi Qarshi-Cumar Dhule (Somalia)
03. Africa Jolé (Guinea)
04. Gabin Dabiré - Baga Baga (Burkina Faso)
05. Traditional Orchestra of the Comore Islands
06. La Famille Dembelé - Ibi Kelena (Burkina Faso)
07. El Mouahidya (Algeria)
08. Arafan Koyate (Mali)
09. Amampondo (South Africa)
10. Hausa-Ibo-Yoruba Ensemble (Nigeria)
11. La Famille Dembelé (Burkina Faso)
12. Cabdullahi Qarshi-Cumar Dhule (Somalia)
13. Sonia Laaraisi (Tunisia)
14. Music of Nande (Zaire)
15. Florida Uwera (Rwanda)

CD 2 - Winds & Strings of Africa
01. Groupe Kodia (Congo)
02. Groupe Kodia (Congo)
03. Musicians of the Nile (Egypt)
04. Gabin Dabiré - Amadou (Burkina Faso)
05. Gabin Dabiré - Kalé (Burkina Faso)
06. Musicians of the Nile (Egypt)
07. Arafan Koyate (Mali)
08. Arafan Koyate (Mali)
09. Agoromma Ensemble (Ghana)
10. El Mouahidya (Algeria)
11. Sarah Carrere (Senegal)
12. Solo Razafindrakoto - Tiralila (Madagascar)

CD 3 - Drums of Africa
01. Africa Jolé (Guinea)
02. Hausa-Ibo-Yoruba Ensemble (Nigeria)
03. Groupe Kodia (Congo)
04. Gabin Dabiré - Kjima (Burkina Faso)
05. Gabin Dabiré - Mamidi (Burkina Faso)
06. Drummers of Burundi
07. Aja Addy (Ghana)
08. Senufo-Fodonon (Ivory Coast)
09. Groupe Kodia (Congo)
10. Groupe Kodia (Congo)
11. Gabin Dabiré - Guidiga (Burkina Faso)
12. Musicians of the Nile (Egypt)
13. Amampondo (South Africa)

Edited by Leonardo D'Amico & Francesco Mizzau

This is the full pack of three CDs, one CD-ROM and a 196-page book (English/German).

320 kbps CDs and full 196-page book

Part 1 | Part 2 | Part 3

Mamadou Diabate/Shujaat Hussain khan/Lalgudi Krishnan - Strings Tradition

Posted By Nada Brahma On Thursday, January 22, 2009 3 comments

Binding the ancient but still thriving string tradition of the kora (a 21-string West African harp), the Northern Indian Hindustani tradition of the sitar and the Southern Indian Carnatic tradition of the violin is really a brilliant idea. the debut release of Strings Tradition brings together five versatile and resourceful musicians who, rather than just finding a common musical language, possess a true timbral affinity and intimacy. New-York-based Malian kora master Mamadou Diabate comes from a griot's family. His father, Djelimory Diabate, played the kora and he is related to another great kora player, Toumani Diabate. He has collaborated with diverse musicians including jazz bassist Ben Allison, blues guitarist Eric Bibb, Beninese singer Angelique Kidjo and Irish folk singer Susan McKewon. Sitarist Shujaat Husain Khan, son and a pupil of one of the greatest sitarist ever, Ustad Vilayat Khan, is a specialist of the singing style of the sitar, gayaki ang, and a close collaborator with Persian kamancheh master Kayhan Kalhor. The inventive Southern India violinist Lalgudi G.J.R. Krishnan also comes from a musical family, his father, Lalgudi G Jayaraman, also a renowned violinist. Tablaist Gourishankar and ghatam player Muraly Trichy round out the quintet. Diabate's "Nyanafi" ("I miss you" in Manding language) opens Strings Tradition, and from the first seconds its organic flow and the ease of the gentle interplay between the kora, sitar and violin are palpable as they explore and articulate beautifully on the romantic theme. Diabate states a simple circular line on the kora, Khan extends and expands it soulfully on the sitar and Krishnan adds the right dose of pathos to the recurrent theme. Krishnan 's "Birds First Flight" transforms the classical Indian form of jugalbandhi—a playful competition that often ensues between the soloists at the ecstatic climax of the raga—for some high-voltage and amazing improvisations by Diabate, Khan and Krishnan, as they exchange joyfully rapid cadenzas. Khan's "Himalayan Rain" leads the ensemble into much more meditative and introspective terrain. The composition is based on the popular folk song, "Tere bina saajana, jaan me jaan aye na" (without you my love, my heart is not a complete...), used on countless Bollywood films. Khan gently recites the romantic lyrics while the ensemble patiently explores this touching melody. Diabate's kora sound so natural and obvious, as he articulates the theme, that it's easy to confuse the origin of this song to the West African Mandinka. Gourishankar and Trichy get the chance for a virtuosic and nuanced percussion duet before the ensemble returns to explore the theme. Diabate's short and optimistic "Sigui Dyarra" concludes a unique collaboration that transcends boundaries, language and cultures, and demonstrate that music can suggest an intimate and trustworthy means for human interaction.

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Keyvan Chemirani - Le Rythme de la Parole II (DVD)

Posted By Nada Brahma On Thursday, January 22, 2009 12 comments
With this double album, plus DVD, Keyvan Chemirani proves his compositional vision has gone that notch further. The player of daf, zarb, bender, udu and cajon offers us a delightful exchange with nine other musicians from different yet – as he proves – complementary music continents. Two years after the first in these conversations with singers Sudha Ragunathan and Nahawa Doumbia, Chemirani underlines the seemingly endless pool of exchange and harmonisation he has tapped in to. More than ever, he places his percussions at the heart of the prosodic relationships between their voices and the instrumental ornamentations they inspire. Half the battle is already won thanks to the judicious choice of Keyvan’s collaborators. Sudha Ragunathan has proven her pedigree through her collaborations with Titi Robin. This adept of sacred music from southern India refuses the constraints of the nigh-scientific dimension in Carnatic music and proves the high degree of flexibility this millennium style offers. “I understood that sound has no barrier,” she explains in the excellent sleeve notes by France Culture producer Caroline Bourgine, “And even when you work with voices you don’t know you can still manage to integrate with them.” The voices are those of Iranian Ali Reza Ghorbani and Nahawa Doumbia, the rough diamond from the Wassoulou region of Mali. The latter is backed by the exquisite kora of Ballaké Sissoko, and both Malians represent the improvised and unbridled energy of the double-album. “Her coarse, grating voice fills with raw matter very simple melodies based on pentatonic scales,” explains Chemirani when evoking Doumbia’s singing, “… (They) harmonise wonderfully with each other.” Arguably one of the finest examples is “Terik’e” where Cherimani constructs a complex bridge between the Didadi music from Wassoulou and his Persian modal arrangements. Didadi is a style based on ceremonies around the sowing and harvesting periods and Doumbia excels in these vocal jousts. The ney of Eshagh Chegini provides an unusual resonance to her voice, and the smoothness of their harmonisation is once again a tribute to Chemirani’s arrangements. Behind this project one recognises the research of Martina Catella. This ethnomusicologist was the initiator of the first opus two years ago and her ability to popularise these complex music styles appear to have had a deep influence on the approach by Keyvan. Each song is a gem that is a culmination of a rigorous process of experimentation. The entire experience is beautifully brought to life in the accompanying DVD, where Chemirani explains the challenges the ten musicians successfully overcame to bring out this silky recording.

Debashish Bhattacharya - Calcutta Slide Guitar (DVD)

Posted By Nada Brahma On Thursday, January 22, 2009 4 comments

1. Aanandam 6:29
2. Prema Chakor 9:20
3. Nata Raaj 13:42
4. Usha 11:46
5. Prabha 15:31
6. Maha Shakti 18:04

Born into a musical family on January 12th 1963, Debashish Bhattacharya proved to be something of a child prodigy. He first performed on national All India Radio at the age of four, wielding his Hawaiian lap guitar with astonishing dexterity. The Calcutta-born innovator has since adapted classic Indian ragas to a variety of guitars he designed himself. His vision and ability have allowed him to break ground in a 1,000 year-old tradition without shocking purists of India’s raga heritage.

The modesty with which Debashish Bhattacharya presents the trinity of guitars he has designed is inversely proportional to the breathtaking ability he has in bringing out all the nuances in these instruments. His towering performance in November 2005 at his WOMEX showcase was one of the highlights of this demanding event. Overcoming a power cut that deprived him of the electrical amplification his guitars enjoy, Bhattacharya moved through his slide-guitar repertory as if it were as old as the ragas he was interpreting.

The effortless build-ups we enjoyed that autumn afternoon were a reflection of the depth and richness of the six tracks on this album. These are songs that one critic rightfully described as “opening out like a flower”. He was picking up on Bhattacharya’s own imagery as the Indian describes his music with the following words: “Each phrase builds upon the next, like the lacing of a garland of flowers.”

The composer from Kolkata (or Calcutta as we call it) invested years of demanding apprenticeship at the side of his guru Pandit Brij Bhushan Kabra (the founder of the raga slide-guitar in India). The result is first heard in “Aanandam” or joy, as a conversation begins between Bhattacharya’s string instruments and the tablas of his brother Subhasis. ). Bhattacharya opens the album playing on his ukulele-inspired anandi -"Anaandam"-, and a variety of emotions seep through this raga as the guitar works with the six-beat rhythm the tabla imposes. “The small instrument brings a sound of innocence and purity,” claims its creator. “It’s like holding a baby.”

From the vibrant opener Bhattacharya moves to his 14-string candharvi, for a moving raga called “Prema Chakor” (Lover’s eyes). The sounds of flamenco, classical and saz string instruments conjugate into one unique instrument. The 42-year-old sweeps us through further emotions in his slow and meticulous manner. These are brought to a crescendo when Bhattacharya turns to the third guitar in his trinity, the chaturangui. The beautifully enamelled 22-string instrument has four additional tones allowing the musician to create an orchestra-like range best captured here in “Nata Raaj” (“Dance of Shiva”). Tellingly, the song brings together traditions from the Hindustani north and the Karnatic south of India. “The subtle melodic movements represent the mudraas – hand and eye movements the dancer uses.”

With this latest release Bhattacharya has reached the very heart of Indian classical music. He presents his three ragas with a lightness and unbridled pleasure that should touch the many amongst us who are uninitiated to this 1000-year tradition. Bhattacharya has a rare ability to improvise during even the most complex rhythmic cycles (such as the closing “Maha Shakti” which features a 16-beat cycle). In this album he adds previously unknown textures to these raga, proving that the slide-guitar has found a home in India’s music heritage, an assertion few would have thought possible a century ago.


Conjunto Bernal - Mi Unico Camino

Posted By Admin On Wednesday, January 21, 2009 1 comments
Conjunto Bernal
Mi Unico Camino, 1992

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Contains 24 tracks recorded between 1954 and 1960, featuring Paulino Bernal on vocals and accordion, one of the superstars of conjunto music.

These are the purest ranchera sounds you'll hear, setting a standard that is still held by today's artiststhese early recordings have a wide variety of accordion licks as well as simplicity and earnest charm.

Just as the conjunto genre was entering its second golden age in the mid-'50s, El Conjunto Bernal arose with their distinctive sound incorporating twin accordions and beautiful two- and three-part vocal harmonies. The Bernal brothers--Eloy on bajo sexto and Paulino on accordion--pushed the boundaries of conjunto music, which was previously considered only unsophisticated barroom music. One need only listen to the gorgeous vocal harmonies on the title track about a relationship gone south. What make the song work are the blues-drenched lyrics of finding the light in a dark tunnel. Similar themes are explored in the bolero "Desprecio" and in "Mujer Paseada." But these songs are not all brooding tales of broken hearts. Hope and inspiring love are covered in "Sera Imposible" and the sweet "Maria Bonita," a classic bolero by one of Mexico's best-known composers--Agustin Lara.

01. Mi Unico Camino - (ranchera)
02. Neto's Polka - (polka)
03. Las Palabras del Amor - (bolero)
04. Loretta Polka - (polka)
05. Sera Imposible - (ranchera)
06. Mi Borrachera - (ranchera)
07. Ballroom Polka
08. Destino Cruel - (ranchera)
09. Al Fin Mujer - (ranchera)
10. Pa' que Me Hago Ilusiones - (ranchera)
11. Si Acaso Vuelves - (ranchera)
12. Hoy No es Ayer - (polka)
13. Desprecio - (bolero)
14. Mujer Paseada - (ranchera)
15. Fidel Castro - (polka)
16. Melodias Mexicanas - (potpourri)
17. Quien Te lo Dijo - (ranchera)
18. Azul Cielo - (shotis)
19. Caminito de Rieles - (ranchera)
20. Connie - (polka)
21. Maria Bonita - (polka)
22. Al Regresar - (bolero)
23. Sentimiento y Rencor - (ranchera)
24. La Chuparrasa - (polka)

Paulino Bernal - vocals, accordion
Eloy Bernal - vocals, bajo sexto
Ruben Perez - vocals

320 kbps including full scans


Cajun Vol.1. Abbeville Breakdown 1929-1939

Posted By Admin On Wednesday, January 21, 2009 0 comments
Cajun Vol.1. Abbeville Breakdown 1929-1939
CBS 467250 2, 1990

A collection of ancient recordings of Cajun music by musicians from the Abbeville area of Louisiana. These songs were all recorded between 1929 and 1939, and are split essentially into two groups. The Breaux Fréres (and brother-in-law Joseph Falcon) provide the earlier half of the works, with an early mastery of the basic Cajun lineup that would become standard -- accordion, fiddle, and guitar. Falcon proves himself a worthy accordionist, paving the way for much of the later music to come from the genre (and simultaneously standing as the first recorded Cajun accordion player). Cleoma Breaux Falcon (his wife) is an able guitarist, and the Breaux Fréres do well on fiddle and accordion, as needed. The second half of the album is dominated by the Alley Boys of Abbeville, an accordion-less group of youngsters who recorded once for Vocalion and were recorded again on various compilations. The recording quality on the album is admittedly sub-par, and
seemingly not remastered completely. Nonetheless, it's an enjoyable album for those looking for the roots of Cajun music, though the rare recordings of Amédé Ardoin would be recommended beforehand, as the branching point for both Cajun and Zydeco forms. - Adam Greenberg

01. Amedée Breaux with Cleoma Breaux & Ophy Breaux - Vas y Carrement (Step It Fast)
02. Joe Falcon with Cleoma Breaux & Ophy Breaux - Poche Town
03. Cleoma Breaux with Joe Falcon & Ophy Breaux - Prenez Courage (Take Courage)
04. Cleoma Breaux - Quand Je Suit Partis Pour le Texas (When I Left for Texas)
05. Joe Falcon - Aimer et Perdre
06. Breaux Freres - Egan One-Step - Breaux Brothers
07. Breaux Freres - T'As Vol Mon Chapeau (You Have Stolen My Hat)
08. Breaux Freres - Home Sweet Home - Amedée
09. Breaux Freres - Le One Step a Martin
10. Breaux Freres - La Valse du Bayou Plaquemine
11. The Alley Boys of Abbeville - Abbeville Breakdown - Anon
12. The Alley Boys of Abbeville - Te a Pas Raison (You Have No Reason)
13. The Alley Boys of Abbeville - Se Toute Sain Comme Moi Ma Saine (I Wonder If You Feel the Way That)
14. The Alley Boys of Abbeville - Jolie Petite Fille (Pretty Little Girl)
15. The Alley Boys of Abbeville - Quel Espoire (What's the Use)
16. The Alley Boys of Abbeville - Moi et Ma Belle (Me and My Pretty One)
17. The Alley Boys of Abbeville - Je Vous T'Aime Lessair Pleurer (I'll Never Let You Cry)
18. The Alley Boys of Abbeville - Es Ce Que Tu Pense Jamais a Moi (Do You Ever Think of Me)
19. The Alley Boys of Abbeville - Tu Ma Quite Seul (Prisoner's Song)
20. The Alley Boys of Abbeville - Jolie Petite Blonde (Small Pretty Blond)
21. The Alley Boys of Abbeville - Apres Jengles a Toi
22. The Alley Boys of Abbeville - Te Bonne Pour Moi Estere (I Don't Care What You Used to Be)

320 kbps including full scans


Qawwali-Flamenco - Extras

Posted By Nada Brahma On Wednesday, January 21, 2009 1 comments
This post contains the extras of this marvellous DVD. It includes a making-of type of documentary with nice interviews, rehearsals and good insights on both the Qawwali and Flamenco traditions as well as on their fortunate encounter. This short documentary offers a privileged view of this amazing meeting of two at the same close and distant musical traditions, which led to this amazing music and inspiration. An obligatory feature for serious Qawwali fans who praise the heritage of the great Nusrat fateh Ali Khan, in whose pathFaiz Ali Faiz truly walks. P1 P2 P3 P4 ENJOY!

White Nights Brass - Soviet Retro

Posted By Admin On Tuesday, January 20, 2009 0 comments
White Nights Brass
Soviet Retro. Coffee House Music from Soviet Times, 2002

Track Listings
01. Rio-Rita (Pasodoble)
02. La Cumparsita (Tango)
03. The Amur's Waves (Waltz)
04. Chasseurs' March (Old Zurich March)
05. The Hills of Manchuria (Waltz)
06. A Little Birch (Waltz)
07. The Slavic Woman's Farewell (March)
08. Autumns Dream (Waltz)
09. Love Song
10. Merry Guys' March
11. The Wave
12. I Love (Your Portrait Bringing Back) (Tango)
13. Russian Lyric
14. Moon Rhapsody (Tango)
15. Paris Tango
16. Black Eyes

320 kbps including full scans


Klezola! - Fun moil zu moil

Posted By Admin On Tuesday, January 20, 2009 0 comments
Fun moil zu moil

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Oliver Grünwoldt completed a degree in classical music at the Musikhochschule Winterthur/Zürich majoring in piano and has been living in Berlin since 2002. He has gained experience in diverse ensembles and styles ranging from folk, jazz and pop through to free improvisation. His special interest in Yiddish music lies in, among other things, the connection between fixed traditional forms and improvisatory elements.
Lothar Samide learnt guitar while young and due to his enthusiasm for folk music now plays other instruments including banjo, hurdy-gurdy, bagpipes, diatonic accordion and dulcimer. He collects songs in their original languages and enjoys playing them together with friends in various ensembles. His technical abilities enable him to both produce attractive recordings as well as to achieve a pleasant stage sound. What interests him especially about Yiddish music - which connects him affectionately to the group - is the relationship between language and musical form as well as the improvisatory components contained therein.
Antje Barber completed a Bachelor of Music in Australia majoring in voice and performance. Since then she has given concerts in diverse styles of music from renaissance, Kurt Weill, French chanson to contemporary art music. In addition to this over the last few years she has frequently been involved in performances of the child-orientated opera productions of the Opernwerkstatt zu Berlin. She has had sympathy for Jewish culture and hebrew/yiddish music with their mixture of verve and melancholy since childhood and is happy to have found kindred spirits in Lothar and Oliver.

01. Dire gelt
02. Shaposhkelech
03. A maise
04. Majn rueplats
05. Di sun
06. Dajne oign senen sheyn
07. Margeritkes
08. Jomi, Jomi
09. Spil-she mir a lidele / Oj tate
10. Bulbess
11. Ich nem mir di fidele
12. Majn harc, majn harc
13. Bin ich mir a shnajderl
14. As der rebe Elimelechis geworn seyer freylech

320 kbps including full scans

Part 1
Part 2

Salamakannel - Väinön Paluu

Posted By Admin On Monday, January 19, 2009 0 comments
Väinön Paluu
Kansanmusiikkiinstituutti KICD 22, 1990

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01. Varilan kiirutta
02. Hevosmiesten marssi
03. Korpin marssi
04. Pirun polkka
05. Capri
06. Dagahm Dahm
07. Väinön paluu
08. Valamon kirkonkellot
09. Kantelesottiisi
10. Väinö Nyyrkoortin polkka
11. Eeli

320 kbps including full scans


Mazowsze - Ukochany kraj

Posted By Admin On Monday, January 19, 2009 3 comments
Ukochany Kraj, 1992

Track Listings
01. Kukuleczka (Little Cuckoo)
02. Dwa Serduszka (Two Hearts)
03. Pod Borem (Neat the Forest)
04. Cyt, Cyt (Hush, Hush)
05. To I Hola (The Guests Are Coming)
06. Furman (The Coachman)
07. Ej, Przelecial Ptaszek (A Little Bird Flew By)
08. Trudno (Too Bad)
09. Kawaliry (Suitors)
10. W Kadzidlanym Boru (In the Kadzidlo Forest)
11. Bandoska (The Farm Girl)
12. Cyraneczka (Little Wild Duck)
13. Polka Tramblanka (The Tramblanka Polka)
14. Wyszlabym Za Dziada (I'd Marry an Old Man)
15. Ukochany Kraj (My Beloved Country)
16. Lowiczanka (Lowicz Girl)
17. Dziura W Desce (A Hole in the Fence)
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320 kbps including full scans


Qawwali-Flamenco - Faiz Ali Faiz, Duquende, Miguel Poveda & Chicuelo (Main Movie)

Posted By Nada Brahma On Thursday, January 15, 2009 4 comments

In July 2004, Faiz Ali Faiz joined forces with leading flamenco artists Miguel Poveda, Duquende and virtuoso guitarist Chicuelo in an astounding concert in the French town of Arles. The convergence of Qawwali and Flamenco musical traditions finds its roots in the north Indian region of Rajastan.

Qawwali master Faiz Ali Faiz with his ensemble, and Flamenco singers Duquende and Miguel Poveda, accompanied by guitarist Chicuelo, have lent themselves to developments of the relationship of those two great vocal traditions.

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