NO blues - Farewell Shalabiye

Posted By MiOd On Sunday, January 31, 2010 0 comments
NO Blues is a project from Productiehuis Oost-Nederland (ON).
Ad Van Meurs, Haytham Safia and Anne-Maarten Van Heuvelen were invited for a three-day-session to explore the connections between two musical worlds.
Namely: folk-blues and traditional Arabic music. The unique results of this project may be best described as 'Arabicana'

1. The Clock (Instrumental)
Music By - NO Blues

2. Columbus Stockade
Arranged By [Traditional] - NO Blues

3. Farewell Shalabiye
Lyrics By [Except Traditional Lyrics] - Ad Van Meurs
Music By - NO Blues

4. Nobody's Fault But Mine
Arranged By [Traditional] - NO Blues

5. Longa Sakeez (Instrumental)
Arranged By [Traditional] - NO Blues

6. The Regular
Lyrics By - Anne-Maarten Van Heuvelen
Music By - NO Blues

7. Memphis
Lyrics By - Ad Van Meurs , Haytham Safia
Music By - NO Blues

8. Dancing Without Sound
Lyrics By - Anne-Maarten Van Heuvelen
Music By - NO Blues

9. Wayfaring Stranger
Arranged By [Traditional] - NO Blues

10. Farewell Shalabiye (Single Version)

Lyrics By [Except Traditional Lyrics] - Ad Van Meurs
Music By - NO Blues

Double Bass, Vocals - Anne-Maarten Van Heuvelen
Drums - Eric Van Der Lest*
Guitar, Omnichord [Q-chord], Guitar [Dobro], Guitar [Sputnik],
Vocals - Ad Van Meurs
Oud [U'd], Vocals - Haytham Safia
Percussion - Osama Maleegi

Vocals, Engineer [Music Production], Recorded By, Mixed By - Ankie Keultjes

Ape (EAC Rip): 220 MB | MP3 - 320 kbs: 100 MB | Covers

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Pandit Nikhil Banerjee - Raga Sudha Rasa

Posted By MiOd On Sunday, January 31, 2010 0 comments
When Nikhil Banerjee died in 1986, India didn't just lose one of its greatest sitar players, but one of its most influential classical musicians. A former child prodigy who won the All-Bengal sitar competition at the age of nine, Banerjee grew up to earn international acclaim as a highly skilled musician. According to The San Francisco Chronicle, Banerjee's "technique is a phenomenon, faster than cheetahs, more secure than the dollar." Music And Musicians observed that "his improvisations always sound completely natural and spontaneous.." In an obituary published after his death, The New York Times wrote "the extraordinary fluidity and assurance of his rhythmic ideas and phrasing set a standard that would have left the more international 'stars' of Indian music behind."

The son of an amateur musician, Banerjee was fascinated by his father's playing. Although he wanted to try his hand at an instrument as early as the age of four, he was discouraged by his father and grandfather. At the age of five, however, they relented and he acquired a small sitar. Banerjee took to the instrument immediately. In addition to winning the All-India sitar competition, he became the youngest musician employed by All-India Radio at the age of nine. He remained a featured radio performer for five years. One of 15 children, Banerjee was greatly influenced by Ustad Amir Khan, who would come to his family home to teach his older sister. Banerjee also studied with Mustaq Ali Khan for three months and Jnan Prakash Ghosh, who taught him to play tabla. His greatest teacher, however, was Baba (Allaudin Khan), with whom he apprenticed, along with Ravi Shankar, from 1947 until 1952. Following Khan's death, Banerjee went on to study with Khan's son, Ali Akbar Khan, for an additional five years. Banerjee subsequently performed an estimated 1,000 concerts in India as Khan's accompanist. Banerjee performed his first concerts outside of India in 1955 as a member of a cultural delegation sent by the Indian government to Poland, Russia, and China. He made his United States debut in 1967. For many years, Banerjee spent three months each summer teaching, performing, and lecturing/demonstrating at U. C. Berkeley.

In 1968, Banerjee was awarded the honorary title Padma Shri. The same year, he was named India's "outstanding musician of the year" by the Sangeet Nagat (music and dance) Academy. ~ Craig Harris, All Music Guide

(01). Maluha Kalayan
(02). Dhun

Credits to "Wildstrings"

FLAC (EAC Rip): 310 MB | MP3 - 320 kbs: 210 MB | Booklet Scans

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Mauricio Kagel - Solowerke für Akkordeon und Klavier

Posted By Admin On Sunday, January 31, 2010 0 comments
Mauricio Kagel
Solowerke für Akkordeon und Klavier, 1997
This side of the Atlantic we rarely encounter the Accordeon as a seriously proclaimed instrument, a timbral minefield,or a gold vein waiting to betapped/ sapped clean. Guy Kluvicek,avant-garde composer/performer of the Accordeon and Pauline Oliveros are the only two serious devotees to this wonderful,magical Wind Box that come to mind here.
Anzellotti has made this instrument his own, he can quite literally play anyting on it, Schoenberg I've heard,and he has a comparable disc on Erik Satie.He has a marvelous sense of beauty and sensitivity to what he plays enveloping timbres while holding chords arching nicely into nothingness.

Mauricio Kagel is a creative aesthetic goldmine all to himself. He emerged from the Post-War avant-garde from South America settling in Cologne, a city that almost bears his name whenever new music expression is mentioned. He has toyed,and scoured and experimented and played with just about every genre imaginable within the avant-garde,Renaissance instruments,cinema,but theatre,musical avant-garde-theatre and the cracks and crevices which that implies has been a fruitful land for Kagel.Extremly prolific and versed in them, I've seen him perform with a bare torso, at the piano,simple chords with some mechanical device for time keeping while some yellowed costumed trombonist gets his foot stuck in his slide. His music has the strong element of Dada-esque play to it, yet ever bit a serious as the angst and dread that has been part of the ideologic existential corridors in Europe.

This music here is playful "Rondena" a marvelously simple melody yet with dirty atonal chord thrown in at the ends of phrases to unsettle the festivities. Likewise "Rosalie",captures a disarming like melos,not quite predictable yet evocative. All the "rrrrrrrr" originally for organ is a nice post-modern way of thinking of collecting genres that springboard into sets of works,where the cohesive element is more imaginary than real.The transmogrification from the organ timbre lends itself quite nicely, nothing is sacrificed. In fact I prefer Kagel this way,more at street level,than in a cathedral. This is one of the more positive features of postmodernities modus operandi the ability to fly in between differing genres,gestures,gnomes,gesticulations,gods,golems,gigues,graves,without sacrificing content.

The "Metapiece" was from the early Sixties a point of the high avant-gardewhen the tyranny of serilized music was brokened,and here the pianist should rightfully be a entertainer,playing keys with his nose,like the opening hit. This piece utilizes graphic notation, meaning the performer is allowed some interpretive freedoms on tones and entrances. It is fun to play, Fun is also a strong post modern category we should look for.

Rrrrrrr.. . (4 Orgelstücke)
1. I. Rondena
2. II. Rosalina
3. III. Rossignols enrhumés
4. IV. Ragtime Waltz
5. Metapièce
6. A deux mains
7. Episoden, Figuren
8. Mm 51
9. Passé Composé

Teodoro Anzellotti - Akkordeon
Luk Vaes - Klavier

320 kbps including Covers


Lutz Kirchhof - Valentin Greff Bakfark - Lautenwerke

Posted By Admin On Sunday, January 31, 2010 0 comments
Lutz Kirchhof
Valentin Greff Bakfark - Lautenwerke
deutsche harmonia mundi HM/IOM 1008-2, 1991
Bakfark, Valentin (ou Balint; 1507 (Kronstadt, Transylvanie) - 15 août 1576 (Padoue))
Luthiste et compositeur hongrois, Valentin (Balint) Bakfark vécut en Pologne. Adopté par la famille Greff, il est parfois mentionné sous le nom de Barkfark-Greff. Il fut l'un des virtuoses les plus célèbres et les plus en vue de son temps, et exerça d'abord à Buda à la cour de Jean de Hongrie. A la mort de ce dernier, en 1540, il parcourut l'Italie, puis la France. Il fut quelque temps au service du cardinal François de Tournon, qui protégeait également Pierre Cadéac et Claudin de Sermisy. En 1547, il devint luthiste du roi Sigismond-Auguste de Pologne et le demeura jusqu'en 1566, tout en poursuivant ses voyages à travers l'Allemagne, l'Italie et la France. En 1565, il semble avoir trempé dans un complot politique, et dut quitter sa maison de Vilnius pillée par les soldats. Il s'enfuit alors à Vienne où il fut nommé luthiste de l'empereur. Il rentra deux ans plus tard dans son pays natal, où il fut comblé d'honneurs. A la mort, en
1571, du prince Jean-Sigismond, Bakfark se retira à Padoue où il succomba en 1576, victime de la peste. Sentant sa fin venir, il détruisit toute la partie de son oeuvre demeurée manuscrite, déclarant que lui seul était capable de l'exécuter d'une manière qui le satisfît. Il eut quelques élèves polonais, dont Adalbert Dlugorai, luthiste du roi Etienne Bathory.
Ses trois livres de musique pour luth (Liber primus, Lyon, Jacques Moderne, 1553 et dédié au cardinal de Tournon ; Paris, Adrian Le Roy et Robert Ballard, 1564 ; Cracovie, 1565) contiennent des fantaisies, des motets et des madrigaux en tablature, des chansons, des chants polonais et des danses. Ces oeuvres sont d'un style polyphonique en imitations très rigoureux et élaboré, et d'une profonde intensité expressive. Elles sont émaillées de difficultés techniques qui expliquent la diffusion limitée de ses ouvrages après la mort du compositeur. Quelques-unes de ses pièces furent rééditées dans le Thesaurus musicus de Pierre Phalèse le Jeune en 1574.
Parmi les auteurs transcrits par Valentin Bakfark figurent Josquin des Prés, Nicolas Gombert, Clément Janequin, Jacques Arcadelt, Clemens non Papa, Roger Pathie et Roland de Lassus.

01. Fantasie 1
02. Czarna krowa
03. Fantasie 2
04. Schöner deutscher Tanz
05. Fantasie 3
06. Qui habit in adjutorio
07. Fantasie 4
08. Non dite mai (Gagliarda)
09. Fantasie 5
10. Il ciel che rado
11. Fantasie 6
12. D'amours me plains
13. Fantasie 7

Lutz Kirchhof - renaissance-lute
Carol Schlaikjer - Soprano
Stephen Grant - Baritone
Sabine Dreier - Traverso
Susanne Heinrich - Viola da Gamba

320 kbps including full scans

Part One
Part Two

Lutz Kirchhof - Airs de Cour. French Court Music from the 17th Century

Posted By Admin On Sunday, January 31, 2010 0 comments
Lutz Kirchhof
Airs de Cour. French Court Music from the 17th Century
Sony Classical SK 48 250, 1992
In Airs de Cour: French Court Music of the XVII Century, you will hear Marie Claude Vallin and Max van Egmond singing the old songs of love requited and unrequited. Her voice is pure and unencumbered by vibrato, as these songs call for, but Egmond's baritone is sometimes a little heavy. For me, however, the interludes by lutanist Lutz Kirchhof are the most appealing aspect of this recording. The lute is a wonderfully eloquent instrument, and one that should be brought back. Kirchhof is an utter delight.

For fans of chamber music, classical guitar and/or lute music, this album should definitely be in your collection.
The Air de Cour - literally "courtly airs" - was a 17th century vocal artform popular throughout France. The songs here are distinct, catchy, and above all fun to listen to. Marie Claude Vallin and Max Van Egmond do every justice to this little-known style of singing. And fans of lute music will appreciate Lutz Kirchhoff's master touch on the accompaniment and various dance pieces that give added continuity to this album.
For any early music fan who has not had the pleasure of listening to the music of Pierre Guedron or Robert Ballard, this album might be a prime introduction to their outstanding compositions.

01. Anonymous - Patoureau m'ayme tu bien
02. Anthoine Francisque - Branle simple
03. Anonymous - Des maux si deplorables
04. Anonymous - Nos esprits libres and contents
05. Robert Ballard - Ballet des Chevaux
06. Anonymous - Quoi? Tu faignois Amour
07. Anonymous - Qui prestera la parole
08. Robert Ballard - Courante de la Reyne
09. Pierre Guedron - Aux plaisirs, aux delices bergeres
10. Gabriel Bataille - Un Satire cornu
11. Anonymous - Hola, hola Charon
12. Pierre Guedron - Vostre Heros n'est plus
13. Robert Ballard - Trois Ballets des Princes
14. Anonymous - Qu'avons nous commis
15. Anthoine Boësset - Cesses, o divine beaute
16. Robert Ballard - Volte
17. Etienne Moulinie - Enfin la beaute que j'adore
18. Anonymous - Mes yeux ou sont vos pleurs
19. Grand Rue - Lors que cours apres toy-mesme
20. Francois Richard - Ruisseau qui cours apres toy-mesme
21. Robert Ballard - Courante
22. Gabriel Bataille - Depuis que le flambeau du jour
23. Pierre Guedron - Puis qu'il faut desormais
24. Jean Boyer - Sus, sus reveiles vous

Airs by different authors, set in Lute tablature by Gabriel Bataille (1575 - 1630)

Lutz Kirchhof - Renaissance lute
Marie Claude Vallin - Soprano
Max van Egmond - Bass

320 kbps including full scans

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Paul O'Dette - Early Italian Renaissance Music. Lute Music Vol.2

Posted By Admin On Sunday, January 31, 2010 0 comments
Paul O'Dette
Early Italian Renaissance Music. Lute Music Vol.2
Harmonia Mundi HCX 3957043, 1994/2001
O'Dette's interpretation of this wonderful set of songs is amazing and delightful. Pieces such as Fantasia ( Castelfranco MS ), Pourquoy Allez-Vous Seullette, La Tradittora - only to quote a few-, are simply unbelievable experiences of the refined and high sense of art which emanates from O'Dette's ability to touch his instrument.

O'Dette's interpretation of this set of carefully chosen pieces is quite amazing and delightful. Piece's such the virtuoso Fantasia - Castelfranco MS, Pourquoy Allez-Vous Seullette and La Tradittora - among others-, are only a few examples of the "clearest case of genius ever to touch his instrument ", as O'Dette is known among the specialized musicians of the highest level of technique and feeling.
This true opus must be listened in a wide room, with the lights turned off. Just light a stick of opium incense, taste a hot cup of mint tea, and you'll travel in time. To that time when music wasn't played loud, 'cause it's essence relied upon it's delicacy and sweetness.

Few instrumentalists establish themselves with such firm authority as Paul O'Dette has on the lute. In fact, one writer described him as "the clearest case of genius ever to touch his instrument." In fact, O'Dette helped define the technical and stylistic standards to which twenty-first century performers of early music aspire. In doing so, he helped infuse the performance practice movement with a perfect combination of historical awareness, idiomatic accuracy, and ambitious self-expression. "I remember when I first started playing the lute," O'Dette once recalled, "the common perception of Renaissance music was that it was kind of pre-expression -- that people didn't use dynamics, they didn't use tone colors.... [But] the more we've learned, we've realized that in fact all of these expressive devices were being used throughout the sixteenth century." O'Dette deserves much of the credit for bringing this aspect of early music to the fore of performance
O'Dette's musical career can be traced at least back to high school, during which time he played electric guitar in a rock band. Frustrated with the lack of pedagogical consensus within the rock guitar world, and seeking a higher level of technical rigor and discipline, O'Dette took a friend's advice and sought out instruction from a classical guitar teacher in order to improve his rock playing. His first assignment under his new teacher was to learn some Renaissance lute pieces arranged for guitar. He was immediately transfixed by the sonorities of the Renaissance, and sought out recordings of the music on authentic instruments. Also, as luck would have it, his teacher had a kit-made lute that he had never learned to play, which he sold to his student. Over the next few decades, O'Dette's collection expanded to include over 20 instruments, including a lute, an archlute, a chittarone, and a Baroque guitar.
The expansion of his collection paralleled the development of his career as the world's foremost lutenist. In 1976, O'Dette became Director of Early Music at the Eastman School of Music. He has subsequently appeared on over 100 recordings, both as a featured performer and with such prestigious company as Nigel Rogers, Christopher Hogwood, Jordi Savall, Trevor Pinnock, and Gustav Leonhardt. Among his accolades are several nominations for "Record of the Year" for his highly-respected 1995 recording of John Dowland's complete works for lute; the next year his CD of Purcell songs, a collaboration with Sylvia McNair, won a Grammy.
Perhaps O'Dette's style can be described as deeply human. Crucial to his sound is his awareness of the ethnic and dance topics that figure into the music. The dance gestures that correspond-- albeit sometimes in only a stylized way -- to the musical figures, find expression in the contour and phrasing of O'Dette's lines. He makes another enlightening comparison as well, one based on writings contemporaneous to the music: "All of the sixteenth century sources say that the best instrumentalists are those who can make you believe you are listening to words -- that the best instrumental playing strives to imitate the voice in every way possible." This appealing (and historically informed) philosophy of performance and O'Dette's impeccable technique, have made his performance of early music a creative, rather than a curatorial, endeavor. ~ Jeremy Grimshaw

Francesco Canova da Milano
01. Fantasia (Castelfranco MS) 3:58
02. Ricercare for lute No 13 1:35
03. Fantasia No 83 1:43
04. Pourquoy Allez-Voux Seullette 1:55
05. Fantasia No. 26 1:37
Pietro Paulo Borrono
06. Pavana chiamata la Desperata 3:04
07. (Unspecified Saltarello) 1:11
08. Tocha tocha la canella 1:52
Marco dall'Aquila
09. Ricercar 3:35
10. Il est Bel et Bon 2:06
11. Ricervar Lautre Jour, No 101 3:34
12. Nous Bergiers 1:53
13. La Traditora, No 3 2:20
Francesco Canova da Milano
14. Fantasia No. 39 1:44
15. Fantasia No. 8 in G 2:14
16. Fantasia dolcissima et amorosa 2:19
17. Fantasia No 56 2:00
Alberto da Ripa
18. Fantasia No. 22, for lute 4:56
19. L'Eccho (Gentian), for lute 3:18
20. Fantasia VIII 3:09
Marco dall'Aquila
21. Ricercar for lute (No 16) 0:59
22. La Traditora, No 2 2:04
23. La Battaglia (after Janequin) 3:28
24. Ricercar No. 33, for lute 2:57
Pietro Paulo Borrono
25. Fantasia 1:00
26. Pavana la Gombertina 3:10
27. (Unspecfied Salterello) 2:04
28. Saltarello chiamato el Mazolo 1:23

320 kbps, including full booklet scans

Part One
Part Two

Greatest Ever Smooth - The Definitive Collection

Posted By White Rose On Saturday, January 30, 2010 0 comments

Track List
CD 1
1. Bill Withers - Lovely Day
2. The Isley Brothers - Summer Breeze
3. Billy Ocean - Suddenly
4. Mica Paris - My One Temptation
5. Dina Carroll - The Perfect Year
6. Smokey Robinson - Being With You
7. Gladys Knight & The Pips - Midnight Train To Georgia
8. Commodores - Nightshift
9. Marvin Gaye - I Want You
10.Will Downing - A Love Supreme
11.Earth, Wind & Fire - After The Love Has Gone
12.Atlantic Starr - Secret Lovers
13.Bobby Womack - California Dreamin'
14.Curtis Mayfield - Trippin' Out
15.The Temptations - Just My Imagination (Running Away With Me)
16.The Delfonics - Think It Over
17.Rick James - Glow
CD 2
1. Barry White - Just The Way You Are
2. Lionel Richie - Stuck On You
3. Dusty Springfield - Son Of A Preacher Man
4. Billy Paul - Me & Mrs. Jones
5. Aaron Neville - Tell It Like It Is
6. Diana Ross - Touch Me In The Morning
7. Jermaine Jackson - Do What You Do
8. The Love Unlimited Orchestra - Love's Theme
9. The Emotions - Best Of My Love
10.Womack & Womack - Teardrops
11.The Pointer Sisters - Slow Hand
12.Stephanie Mills - Never Knew Love Like This Before
13.The Dells - Oh What A Night
14.The Three Degrees - When Will I See You Again
15.Kool & The Gang - Joanna
16.Vanessa Williams - Save The Best For Last
17.First Choice - Armed And Extremely Dangerous
18.The Delfonics - Can't Go On Living
CD 3
1. R. Kelly - I Believe I Can Fly
2. Usher - You Make Me Wanna
3. Aaliyah - Back & Forth
4. Toni Braxton - Un-Break My Heart
5. K-Ci & Jojo - All My Life
6. Des'ree - I'm Kissing You
7. Macy Gray - I Try
8. Incognito - Don't You Worry 'bout A Thing
9. Martine Girault - Revival
10.Roy Ayers - Everybody Loves The Sunshine
11.Omar - There's Nothing Like This
12.Mica Paris & Will Downing - Where Is The Love
13.Terence Trent D'arby - Sign Your Name
14.Oleta Adams - Get Here
15.Ruby Turner - I'd Rather Go Blind
16.Brenda Russell - Piano In The Dark
17.The Pasadenas - I'm Doing Fine Now

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Souad Massi - Acoustic: The Best of Souad Massi

Posted By MiOd On Friday, January 29, 2010 0 comments
Any written dispatch on Souad Massi is apt to turn up the words "Algerian singer/songwriter" before the reader can grasp that cultural strings have little to do with her appeal. That's unfair, given the lengths to which the self-serious but lithe-voiced performer has gone to establish herself as a citizen of the world. Born into a poor Muslim household in 1972, Massi spent her formative years in Bab el-Oued, a suburb of Algiers, as one of seven siblings. She absorbed a love of music from her piano-playing brother who, despite protestations from their father, convinced their less traditional-minded mother that the guitar lessons she yearned for were worth the investment. By 1992, with Algeria in a brutal civil war and a 7 p.m. curfew in place nationwide, Massi's dreams of mastering her instrument seemed dashed; attending lessons was all but impossible, especially given her sex and Muslim-unfriendly jeans-and-sneakers style. But life as a semi-shut-in had its advantages for Massi. Instead of stifling her creative instincts, it magnified them. The artist, like many introspective prisoners, dug deep, and through careful attention to American cowboy movies -- The Good, the Bad, and the Ugly, for example -- Massi amassed a collection of favorite sounds. Soundtrack-derived country and folk songs delivered her to the radio dial, where she sought out American roots music. And strumming along eventually turned her proficient enough to join her first band, a flamenco outfit with which she quickly grew bored. Abandoning that watered-down group would lead to a life-altering musical choice: Massi signed on to front Atakor, a heavy-rock band with political leanings. Her seven years with Atakor earned her a troublemaker's reputation in fundamentalist Algeria, where she quickly became the target of spitting and general scorn. And as the band called more attention to itself with what some considered inflammatory lyrics, danger encroached -- Atakor's equipment was routinely snatched at false road blocks, and Massi, who had disguised herself by cutting off her hair and camouflaging her body with boys' clothes, nevertheless became the target of death threats after the release of a late-'90s Atakor cassette. By 2000, Massi fled to Paris. Though she took part in that city's "Femmes d'Algerie" concert as a new arrival, she was contemplating a life outside music at the time; a quick-acting Island Records executive who extended a contract changed her mind. In 2001, Massi's solo debut, Raoui, was released on the U.K.'s Wrasse Records label. Like its follow-up, 2003's Deb, also on Wrasse, it concerned itself with the personal rather than the political. Melancholy ballads sung in Arabic, French, and English typically melted into rock, folk, flamenco, and classical backdrops. Those sensitive-minded reflections on love and loss, set to achingly pretty sounds that stray far from North Africa's traditional, pounding rai rhythms, also light up Mesk Elil (Wrasse), Massi's 2006 release. If Massi's personal transformation and her mastery of genre-jumbling is impressive, her voice is no less so on all three of her discs: the flavors of Merita Halili, Karla Bonoff, and Basia that float through are as universally appealing as the story of her struggle to secure artistic freedom. ~ Tammy La Gorce, All Music Guide


[01]. Denya Wezmen [That's Life]
[02]. Hayati (My Life)
[03]. Yemma [Mummy I Lie to You]
[04]. Bladi [My Country]
[05]. Matebkiche (Don't Cry)
[06]. Raoui [Storyteller]
[07]. Dar Djedi [My Grandfather's House]
[08]. Hagda Wala Akter [There's Worse]
[09]. Amessa [A Day Will Come]
[10]. Ghir Enta [I Only Love You]
[11]. Ech Edani [I Shouldn't Have Fallen in Love with You]
[12]. Ya Kelbi [Oh! My Heart]

Souad Massi (Vocals), Souad Massi (Guitar), Jean-Francois Gael (Guitar), Djaffar Kellner (Guitar), Bruno Dejarnac (Mixing), Rabah Oukrine (Percussion)

FLAC (EAC Rip): 450 MB | MP3 - 320 kbs: 140 MB | Covers

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Part 1 | Part 2

Lutz Kirchhof - Lute Music for Witches and Alchemists

Posted By Admin On Friday, January 29, 2010 0 comments
Lutz Kirchhof
Lute Music for Witches and Alchemists
Sony Vivarte SK 60767, 2000
From the booklet: "In order not to distort the naturally delicate character of the lute tone, the listening volume should not be set too high."

The time the music on 'Lute Music for Witches and Alchemists' was written was one of mysticism and wonder. The era of alchemists and witches tapped into the dark recesses of human understanding, during a time before scientific inquiry and rationalism. The dances, preludes and fantasias on this recording were intended to appeal to this older sensibility more than a rational or analytical one.
Lutz Kirchhof plays lute, vihuela and theorbo on this eclectic program of music from the renaissance and baroque. Each section of the recording is comprised of music inspired by witches with powers to heal and alchemists who quested for hidden knowledge. Kirchhof's choice of repertoire is eclectic. He plays Anthony Holborne's "The Fairy Round" with a jaunty swagger that's irresistible. The "Tarantella" by Athanasius Kircher is equally colorful, it's a musical remedy against the venomous bite of the tarantula. Kirchhof also plays with melancholy eloquence on the gentle "Fantasia" by Luys de Milan. The lutenist also displays some exuberant flair in Nicolas Vallet's "Battaille." This is a fascinating recording that resurrects some treasures from the lute repertoire framed in a clever programming concept.

The delicate lute tone charmed 16th- and 17th-century listeners by its simple acoustic beauty. The gentle plucked notes could affect the mood, altering one's emotional state. Kirchhof suggests that such potential made music invaluable to witches and alchemists, who were held in high regard in the irrational centuries before the Age of Enlightenment. This theory enables Kirchhof to make an eclectic selection of 30 short pieces covering 200 years and four different lutes--renaissance lute, vihuela, baroque lute, and theorbo. He does not claim that any of the items were actually put to any alchemical or satanic use, but he does not need to. The Presto and Galanterie by S. L. Weiss speak for themselves. Dufaut's Suite in A minor might not otherwise have reached the public; Hagen's Sonata in C minor would have remained obscure; and Holborne's The Fairy Round Galliard waited in vain for the revival of alchemy as a science. An eccentric disc all-round. - Rick

01. Anthony Holborne - Galliard no 3 "Fairy Round"
02. Johann Daniel Mylius - Courante I
03. Johann Daniel Mylius - Courante II
04. Johann Daniel Mylius - Volte
05. Nicolas Vallet - Secretum musarum: Battaille
06. Matthäus Reymann - Noctes musicae: Chorea 1
07. Athanasius Kircher - Tarantella
08. Luys de Milan - Fantasia
09. Luis de Narváez - Mille regretz "La Canción del Emperador"
10. Luis de Narváez - Baxa de contrapunto
11. Luis de Narváez - Cancion del primer Tono
12. Luis de Narváez - Diferencias sobre "Guárdame las vacas"
13. Anthony Holborne - Muy Linda (Galliard)
François Dufaut - Suite for Lute in A minor
14. Prélude Amila
15. Allemande
16. Courante
17. Sarabande
18. Courante
Esaias Reusner - Suite no 1 in D minor
19. Praeludium
20. Paduan
21. Sarabanda
22. Gigue
23. Gavotte
24. Michael Maier - Atalanta fugiens: Fugue no 10
Joachim Bernhard Hagen - Sonata for Lute in C minor
25. Andante
26. Allegro
27. Allegretto
28. Silvius Leopold Weiss - Galanterie pièce
29. Silvius Leopold Weiss - Presto in B-flat major
30. Adam Falckenhagen - Variations for Lute on "Nun sich der Tag geendet hat"

Lutz Kirchhof - Renaissance lute, Vihuela, Baroque lute, Theorbolute

320 kbps mp3, including full booklet scans

Part One
Part Two

Nigel North - John Dowland - Lute Lessons 1. Fantasies, Pavuins, Galliards, Almaines, Corantoes...

Posted By Admin On Friday, January 29, 2010 0 comments
Nigel North
John Dowland - Lute Lessons 1. Fantasies, Pavuins, Galliards, Almaines, Corantoes...
Arcana A 36, 1996
Nigel North - perhaps the leading English solo performer and teacher of the lute - performs John Dowland’s Lute Lessons.
Playing on a ten string lute of Ray Nurse, North is a great English performer playing the works of a great English composer in a classic recording.

01. Preludium
02. The Most Sacred Queen Elizabeth, Her Galliard
03. Go From My Window
04. The Frog Galliard
05. Galliard: Can She Excuse
06. Mrs. Vaux's Jig
07. My Lord Willoughby's Welcome Home
08. Mrs. Winter's Jump
09. Fortune
10. Robin
11. The Battle Galliard
12. Piper's Pavan
13. Galliard To Piper's Pavan
14. Walsingham
15. Galliard 'Mignarda'
16. Semper Dowland, Semper Dolens
17. Forlorn Hope Fancy
18. Sir John Smith, his Almain
19. The Shoemaker's Wife. A Toy
20. Melancholy Galliard
21. My Lady Hudson's Almain
22. Lachrimae Pavan
23. Galliard To Lachrimae
24. Fantasie

320 kbps mp3, including full booklet scans

Part One
Part Two

Rolf Lislevand - La belle homicide. Manuscrit Barbe

Posted By Admin On Friday, January 29, 2010 0 comments
Rolf Lislevand
La belle homicide. Manuscrit Barbe, 2003
Award wining soloist Rolf Lislevand using a eleven-course baroque lute gives a revelatory recital of unaccompanied seventeenth century French lute music on the Astrée Naïve label. Lislevand states in the booklet notes that probably never since the period when this lute music was written has such beautiful music been performed by so few people. His sentiments are pretty accurate and I cannot understand why such wonderful music has been ignored for so long.
The popularity of the lute began to fade as the popularity of the violin increased and the lute became virtually obsolete with the advent of the pianoforte. The last great lute composers were J.S. Bach who significantly composed several lute suites and Handel who was utilising lute parts in his last opera Deidamia in 1741.
These compositions are successfully written for the most part in the style of short dances and grouped together in sets or suites. The characteristic fashion of the time of labelling each piece with a poetic or descriptive designation is used although the titles bear little or no resemblance to their character and expression. ‘La Belle Homicide’ the title of this Astrée Naïve release uses the name given by composer Denis Gaultier ‘de Paris’ to one of his works which was one of the most popular of the period.
Lislevand uses the manuscript of lute works from seven different French composers compiled by Barbe which is in itself a guarantee of the quality of the selected works. They are not arranged in any particular manner other than their common mode and tonality. Barbe was not afraid to join several of the pieces together by different composers into a more continuous work. To me, a non lute player, the seven French composers sound remarkably similar in style and owing, I guess, to the way that they are phrased I observed that it was virtually impossible for me to sense what notes were coming next.
If the listener has not read the explanation in the booklet notes it can come as a shock to hear several seconds of animal, bird and reptile calls at the beginning of three of the pieces. We are informed by the soloist that the recording sessions were undertaken in Maguelone Abbey in France at night and the nature sounds were left to provide atmosphere to the proceedings. Furthermore, for reasons of spontaneity and realism, some of Lislevand’s instrumental tuning and experimentation made during the recording sessions have not been edited out as can be heard on track 11 between points 1:44-1:52.
In the informative yet rather high-brow booklet notes lutenist Lislevand discusses how he finds the term ‘historical authentic performance practice’ now to be burnt-out and states that a new term ‘historical perception practice’ has arisen from the ashes, which explains what a performer desires to attain, subscribing to a specific attitude and belief. Somehow this all seems rather pretentious! I must say just how much I love the packaging of this Astrée Naïve release, in particularly the imaginative art work.
The lute playing is exceptionally fluent and the phrasing is perfectly judged with a sense of real involvement and empathy for the works. Through Rolf Lislevand’s amazing playing of these excellent compositions and near perfect acoustics this release was a revelation to me and touched my emotions in a most unique way leaving me with a remarkable sense of spirituality that I have never previously experienced with any recording.
The sound quality is in demonstration class and I could easily imagine being alongside the lutenist during the actual night recording session. I urge listeners who wouldn’t normally purchase a recital of lute works to hear this superlative recording. - Michael Cookson

Ennemond Gaultier
01. Prelude for lute in D minor
02. Canaris in D minor (from Piéces de Luth en Musique, 1680)
03. L'immortelle du Vieux Gaultier Courante in D minor (from Piéces de Luth en Musique, 1680)
04. Carillon
Rene Mesangeau
05. Sarabande for lute in D minor
Francois Dufaut
06. La Superbe, for lute in D minor
Ennemond Gaultier
07. La Poste, for lute
Jacques Gallot
08. La Montespan, for lute in A minor
Ennemond Gaultier
09. Prélude for lute in A minor
Denis Gaultier
10. Courante for lute "La belle homicide"
Jacques Gallot
11. La Psyché, for lute in A minor
12. Les castagnettes, for lute in A minor
Charles Mouton
13. La Princesse, sarabande for lute
Various composers
14. Chaconne in C minor (Charles Boquet) / Dialogue in C minor (Jacques Gallot) / Sarabande in C (Nicolas Dubut), for lute
Charles Mouton
15. La Mallassis, sarabande for lute
Jacques Gallot
16. La Lucrece, for lute in F sharp minor
Charles Mouton
17. Gavotte for lute in F sharp minor
18. Le Mouton, for lute in F sharp minor
Ennemond Gaultier
19. Tombeau de Mezangeau, for lute in D minor
Various composers
20. Chaconne in G major (Charles Mouton) / Le Perier in G minor (Charles Mouton) / La douce in E minor (Ennemond Gaultier), for lute
Charles Mouton
21. Depart/double, for lute in F sharp minor

320 kbps including full booklet scans


Fretwork - J.S. Bach - The Art of Fugue

Posted By Admin On Friday, January 29, 2010 0 comments
J.S. Bach - The Art of Fugue
harmonia mundi HMU 907296, 2002
Bach never specified what instrument or instruments he wanted The Art of Fugue played on; nor did he finish it. Fretwork, a group of six superb viol players, leave the work incomplete, stopping in mid-phrase--the effect is persuasive rather than unsatisfying. The sound of the six different-sized viols is just right for listening to the way Bach intermingles the multiple lines through and around one another--we can learn what counterpoint is just by listening to this CD. Some find the work severe and difficult, and played on a single instrument, like a harpsichord, it can be. But Fretwork manage to vary their tones sufficiently to turn the work into entertainment, albeit intellectual entertainment. You may not come away humming, but you'll be fascinated. - Robert Levine

More old music made new appears on Harmonia Mundi HMU 907296 when those wizards of the viols, Fretwork, tackle Bach's mighty Art of Fugue. Musical acrostic puzzle? Last will and testament? The mysteries never end. Nor does the debate about the best means of performance (keyboard or instrumental group?). A viol consort proves a brilliant solution. Viols offer unity of tone (dark brown; great for minor-key melancholy). At the same time lines emerge clearly, evenly weighted: crucial for this monument to Bach's second God, counterpoint, built out of fugal variations on a theme turned upside down, inside out, back to front.
Bach and Fretwork ensure that every track offers some tangible delight: the swung dotted rhythms in Contrapunctus 2, say, or the merrily scampering Canon alla Ottava, or the piquant sonorities of the viol duet in Canon alla Duodecima. This is not music that sits easily on performers’ fingers, but the six members of Fretwork make it appear so. Buy this CD now; cherish it forever. - Geoff Brown

A viol consort offers an excellent medium for conveying clearly the contrapunctal intricacies of Bach's 'The Art of Fugue'. The members of Fretwork offer a refreshing and musically satisfying alternative to the myriad keyboard versions available on disc.
Highlights for me include the overdotted French-overture style of Contrapunctus 6, the predominantly chromatic three-voiced Contrapunctus 8, the wonderful four-part triple fugue of Contrapunctus 11, the clear communication of the subtleties of the canons and, of course, the unfinished Contrapunctus 14 on three new themes, including B-A-C-H, which Fretwork considers the most plausible climax of Bach's developing polyphonic masterpiece. This is responsive and spirited music making, full of expressive detail, yet sounding fresh and spontaneous. The recorded sound is exemplary. - Robin Stowell

Fretwork's decidedly retro approach to Bach's much-arranged and incessantly fiddled-with unfinished 'last' opus is among the simplest and therefore most effective renditions on disc. This renowned ensemble takes on Bach's somewhat ambiguously scored and variously configured collection of fugues (contrapuncti) and canons and performs them on combinations of viols (six in all). Although the evidence points most strongly to this work being intended for keyboard performance - and indeed it nearly always comes off best when realised this way - Fretwork's viol-consort settings preserve important linear and harmonic balances inherent in a single-instrument rendition while imbuing each movement with the viols' naturally warm, complexly-coloured, reedy timbres. While the more densely-textured movements can lose some definition in places - where the resonance of the lower-register instruments dominates - these performances are more coherent and cohesive and
clearly articulated than any of the available versions scored for assortments of wind and strings. Although invariably interesting as exercises and often sonically exciting, these latter 'deconstructive' transcriptions/arrangements have a distracting effect on the listener, calling attention to individual lines rather than to the well-formed unity of the whole.
Fretwork's players deliver nothing less than polished, involving and faithful-to-the-score performances (albeit with their own ordering of movements), ever vigilant to balances and nuances of phrasing. And their trueness to Bach remains constant to the end, where they choose the honoured practice of performing the final 'Fuga a 3 Soggetti' unfinished, leaving the listener in mid-sentence, to abrupt, unsettling silence. The whole effort is supported by full-bodied, vibrant sound with excellent spatial definition among and between instruments. If you want to get to know this intriguing and endlessly fascinating work, this is a perfect place to start; if you're a Bach fan and you don’t have it, get it. - David Vernier

I am an avid collector of performances of Bach's Art of Fugue. Among my favorites are the version by the Emerson Quartet, the Canadian Brass, and the version for string orchestra by Bernard Labadie and the Violons du Roy. But this recording by Fretwork, which features a performance of the Art of Fugue for viol consort is probably my favorite; it's certainly the one that I listen to the most. In my opinion, the haunting, ethereal, and rather 'open' sound of the viol is the perfect medium to convey the true character of Bach's final masterpiece.
Yes, I am aware that performing the Art of Fugue on viols is not historically accurate, but unless one absolutely has to have a period instrument performance, what does it matter? Actually, I find the 'inauthenticity' of the performance rather unique in that most 'historicaly inaccurate' baroque performances use instruments that came into use after the baroque period (e.g, piano). But the viol's popularity reached its height during the century before Bach and had already gone out of fashion by the time of Bach's birth, the last work of real significance written specifically for viols being Henry Purcell's brilliant series of Fantasias from 1680 (I would recommend Jordi Savall/Hesperion XX's recording of these pieces). So, this recording of Bach's Art of Fugue for viol consort achieves a rather different kind of musical anachronism than what most are accustomed to: it uses instruments from the period before the piece being performed was written. I find
this very intriguing and would be interested in hearing how this would work with other, perhaps later music. I could imagine that Schubert's fourteenth string quartet, the 'Death and the Maiden' Quartet, would sound very interesting performed on viol consort!
In any event, the performance on this CD strikes me as basically flawless and thus fit for listening on headphones, which make the experience even more haunting and intimate.

Fretwork is a consort of viols based in England, United Kingdom. Formed in 1986, the group consists of six players and is considered to be one of the finest groups performing music for viol consort. Its repertoire consists primarily of music of the Renaissance period, in particular that of Elizabethan England, and the Baroque period, including arrangements of the music of J.S. Bach.
The group has toured all over the world, with tours of Japan & USA, and three visits to Russia, the first when it was still the Soviet Union in 1989. They initiated a series of courses for voices and viols on the Greek island of Evvia with Michael Chance, and have also been invited twice to teach on the annual Conclave of the Viola da Gamba Society of America.
In addition to its performances of early music, Fretwork has been active in commissioning new works for viol consort. Its 1997 recording Sit Fast includes new works by such composers as Gavin Bryars, Tan Dun, and Elvis Costello. It has also commissioned music from Sir John Tavener, Alexander Goehr, George Benjamin, Duncan Druce, Fabrice Fitch, Gavin Bryars, Barry Guy, Poul Ruders, Simon Bainbridge, Ivan Moody, John Woolrich, Thea Musgrave, Peter Sculthorpe, Sally Beamish, Andrew Keeling and Orlando Gough.
Fretwork has recorded a series of discs for Virgin Classics and currently records for Harmonia Mundi USA. Recent discs include 'Alio Modo' (arrangements of keyboard music by Bach), Chansons by Alexander Agricola and Fabrice Fitch and a disc of consort songs with Emma Kirkby.
Fretwork was recently featured on the soundtracks of two Jim Jarmusch movies, Coffee and Cigarettes (2003) and Broken Flowers (2005). Other filmtracks include The Da Vinci Code, Kingdom of Heaven, The Crucible, La Fille d'Artagnant and many others. It has also recorded for Robbie Williams (Supreme) and Loreena McKennitt (for the album An Ancient Muse).

Johann Sebastian Bach - Art of the Fugue, BWV 1080
01. Contrapunctus 1 3:09
02. Contrapunctus 3 2:48
03. Contrapunctus 2 2:39
04. Contrapunctus 4 3:42
05. Canon alla Ottava 4:30
06. Contrapunctus 5 3:31
07. Contrapunctus 6 3:47
08. Contrapunctus 7 3:27
09. Canon alla Duodecima in Contrapunto alla Quinta 4:51
10. Contrapunctus 9 2:25
11. Contrapunctus 10 4:01
12. Canon alla decima [in] Contrapunto alla Terza 4:38
13. Contrapunctus 8 5:30
14. Contrapunctus 11 5:53
15. Contrapunctus 12 - rectus 1:57
16. Contrapunctus 12 - inversus 2:03
17. Contrapunctus [13] - rectus 2:23
18. Contrapunctus [13] - inversus 2:22
19. Canon per Augmentationem in Contrario Motu 3:58
20. Fuga a 3 Soggeti 8:28

Richard Boothby
Richard Campbell
Wendy Gillespie
Julia Hodgson
William Hunt
Susanna Pell

320 kbps including full booklet scans


David Lively - Johann Sebastian Bach - Die Kunst der Fuge

Posted By Admin On Thursday, January 28, 2010 0 comments
David Lively
Johann Sebastian Bach - Die Kunst der Fuge
BNL Productions BNL 112729, 1988
01. Four-part Mirror Fugue (Rectus)
02. Three-part Mirror Fugue (Rectus)
03. Two-part Canon, at the Twelfth
04. Two-part Canon, at the Octave
05. Two-part Canon, by Augmentation and Contrary Motion
06. Two-part Canon, at the Tenth
07. Three-part Mirror Fugue (Inversus)
08. Four-part Mirror Fugue (Inversus)
09. Simple Fugue
10. Simple Fugue
11. Simple Fugue
12. Simple Fugue
13. Counter-Fugue
14. Counter-Fugue
15. Counter-Fugue
16. Double Fugue
17. Double Fugue
18. Double Fugue with Counter-Subject
19. Double Fugue with Counter-Subject
20. Triple Fugue, unfinished

320 kbps mp3, including full booklet scans

Part One
Part Two

Manitas de Plata - Flamenco on Fire

Posted By Admin On Thursday, January 28, 2010 0 comments
Manitas de Plata
Flamenco on Fire. An Essential Collection of Passion & Soul, 2000
Track Listings
(01). Soleares
(02). El No-No
(03). Por Alegrias
(04). Danse de Manitas
(05). Una Torentas
(06). Guitarra de Camarque
(07). Rumbas Gitanas
(08). Boulerias
(09). Ay Que Te Quiero
(10). Castagna
(11). Rumba D'Espana

320 kbps; including full cover scans


Cheikha Remitti - Aux sources du Rai / The Sources of Rai

Posted By Admin On Thursday, January 28, 2010 0 comments
Cheikha Remitti
Aux sources du Rai / The Sources of Rai
Institut du Monde Arabe 321008, 1999
Early life

Cheikha Rimitti was born in Tessala, a small village in western Algeria in 1923, and named Saadia, meaning joyful. This name did not match the reality of her early life, however as she had been orphaned as a child and began to live rough, earning a few francs working in the fields and doing other menial jobs.

Early musical career

At 15 she joined a troupe of traditional Algerian musicians and learnt to sing and dance. In 1943 she moved to the rural town of Relizane and began writing her own songs. Her songs described the tough life endured by the Algerian poor, focusing on everyday struggle of living, pleasures of sex, love, alcohol and friendship and the realities of war.

Traditionally, songs of lust had been sung privately by Algerian women at rural wedding celebrations but were considered crude and unfit to be heard in polite society. Rimitti was one of the first to sing them in public and did so in the earthy language of the street, using a rich blend of slang and patois. She eventually composed more than 200 songs but remained illiterate all her life.

Recognition across Algeria

Her fame spread by word of mouth across Algeria during the Second World War until she was taken under the patronage of a well-known Algerian musician of the time, Cheikh Mohammed Ould Ennems, who took her to Algiers where she made her first radio broadcasts. Soon after, she adopted the name Cheikha Rimitti.

She made her first record in 1952, a three-track on Pathé Records under the name Cheikha Remettez Reliziana, which included the famous Er-Raï Er-Raï. This was not to be the record that launched her career, however. That came two years later when Rimitti caused a sensation with the release of Charrak Gattà a daring hit record, which encouraged young women to lose their virginity and which scandalised Muslim orthodoxy. Her outlook and songs did not endear her to the nationalist forces fighting for freedom from French rule during the Algerian War of Independence who denounced her for singing folklore perverted by colonialism.

When Algeria won its independence in 1962, the Government banned her from radio and television for playing on them under French control during the independence struggle. Her songs remained hugely popular with the working-class poor and she continued to sing privately at weddings and feasts.

Recognition outside Algeria and by other artists

By the 1970s she was performing mostly for the Algerian immigrant community in France. Briefly returning to Algeria in 1971, she was badly hurt in a car crash (being in a coma for three weeks) in which three of her musicians were killed.

Four years later she went on a hadj to Mecca, after which her lifestyle (though not her songs or subject matter) changed. She stopped smoking and drinking, but continued her singing and dancing, and by the mid-80s, when Rai was becoming established as the rousing dance music of angry young Algerians, Rimitti was being hailed as la mamie du Rai, the grandmother of the style.

In the 1980s, Cheikha Rimitti moved to Paris, loosening her ties with the Algerian authorities but never cutting herself off from the Algerian people, her first fans.

Later life & death

Her music crossed over to the West and she undertook prestigious concerts in big cities and worldwide capitals as well as collaborating with Robert Fripp and Flea from the Red Hot Chili Peppers on the "Sidi Mansour" LP in 1994, inaugurating a new electric form of raï.

Her back catalogue was rediscovered by a new generation raï successors including Khaled who has covered "The Camel". Many singers of the new generation venerated her as "The Mother Of The Genre" and Rachid Taha dedicated a song to her, "Rimitti".

Her most recent album N’ta Goudami, released in 2006, was a lustful combination of traditional Algerian and modern rock sounds sung in a deep voice of booming energy that belied her 83 years and garnered enthusiastic reviews [2]. For someone who had been officially banned in Algeria, Rimitti marked rai history by taking the defiant step of recording her last album at the Boussif Studios in Oran, the city where rai music was born over a century ago.

She continued performing until the end — two days before she died she was rapturously received by an audience of 4,500 at the Zénith in Paris.

She died in a Paris from a heart attack on 15 May 2006, aged 83, and is survived by 4 children, all of whom live in Algeria.

01. Hiyya Bghat Es-Sahra - Elle Aime Le Sahara
02. Sidi Taleb
03. Dana Wa Dana
04. Sidi Abed
05. La Camel
06. Ya L'hmam, Ya L'imam - Pigeons Et Colombes
07. Debri, Debri - Debrouille-Toi
08. Djat Thawwes - La Touriste
09. Charrag Gattaa - Dechire, Lacere
10. Fatma, Fatma
11. Win Rak Tergoud - Ou Dors-Tu ?
12. Ya Lemmima - La Mere
13. Bakhta

320 kbps mp3; including full booklet scans

Part One
Part Two

Harem II (Time of Rhythm)

Posted By MiOd On Thursday, January 28, 2010 0 comments
Harem is definitely *not* your stereotypical Middle Eastern percussion band. They openly experiment with blending Middle Eastern music and Western, and the results are nothing short of stupendous!

The instruments and rhythms are familiar, but are used in new and creative ways. Add to this the fact that the musicians are all first-rate, and you have music with an energy that's been missing from Middle Eastern music.

I like the fact the group has incorporated a couple of "straight traditional" pieces in the CD, and am constantly impressed by their musical ability. Fantastic!

Those who attempt to dance to this music are going to find it requires being able to think "outside the box" - Way beyond the reach of the average belly dancer. Not because the instruments and the rhythms are unfamiliar, but because the music is so innovative, so *fresh*!

(01) Dub-The-Buka (Dub Mix)
(02) Fudunkar (Trance Mix)
(03) Legendary (House Mix)
(04) Orientmatic (Club Mix)
(05) Habbeza (Trance Mix)
(06) Anatolian Delux (Ethnic Mix)
(07) The End Legendary (Trance Mix)
(08) Dub-The-Buka (Club Mix)
(09) Authenticstyle (Hipop Mix)
(10) Nilvana - Buyamin & Suat (Rhythm Solo)
(11) Sultana (Keman Solo)
(12) Sehzard (Buyamin Olguncan) (Rhythm Solo)
(13) Balkan Dreams (Keman Solo)
(14) Firtina - Almanyalt Suat (Rhytem Solo)
(15) Huzun (Klarnet Solo)
(16) Uskudar (Trompot Slo)

APE (EAC Rip): 480 MB | MP3 - 320 kbs: 180 MB

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3 | Part 4

OR MP3 320 kbps
Part 1 | Part 2

Ingvill Marit Buen Garnas & Jon Anders Halvorsen - Gatesong

Posted By Admin On Wednesday, January 27, 2010 0 comments
Ingvill Marit Buen Garnas & Jon Anders Halvorsen
Etnisk Musikklubb 7 041885 301823, 2005

01. Kvi Ror Du So Fort
02. Arvelodd
03. Eld Og Vatn
04. Lykjilen Synge
05. Sven Svanes Gater
06. Hosse Stend Det Te
07. Lauvet Og Brura
08. Draumane
09. Sulla Rulla Liten Tull
10. Brodermordaren
11. Den Bakvende Visa
12. Dei Munnlause Song
13. Min Taviltott Min Tiltomtei
14. Svend Vonved
15. Mannen Og Drykken
16. Der Stend Ei Bjoerk
17. Stevleik
18. Andelaus Tale
19. Sululi Godt Ban
20. Ynskjande Moey
21. Sven Svane
22. Gjev Eg Var Der
23. Livet Og Dauden
24. To Draumevers

192kbps mp3 with full booklet scans


George Michel - Melodies of the Oud

Posted By Admin On Wednesday, January 27, 2010 0 comments
George Michel
Melodies of the Oud
Global Village CD829
This is a good quality recording of one of the great masters of Egyptian-style oud. Some beautiful taqasim and duets with percussion make this an essential CD to add to the collection.

01. El Mawkeb 3:41
02. Taksim Rast 4:21
03. Taksim Ajam 1:32
04. Taksim Hijaz Kar 3:24
05. Taksim Nahawand 2:50
06. Taksim Seygah 1:39
07. 'Ataba on the Oud' 9:06
08. Longa Hijaz Kar Kurdi 2:48
09. Taksim Hijaz Kar Kurdi 3:10
10. Taksim Rast 2:23

Recorded Cairo, 1970.

Plus some more of his music from unknown sources (some in even lower bitrates, but the music makes up for that, I promise!):

11. Afrah Al Sharq
12. Kurdili Hijazkar
13. Takassim 1
14. Takassim 2
15. Taqasim Nahawand
16. Taqsim live

George Michel was born in Cairo, Egypt. He studied Arab music at the Cairo Music Conservatory, where he later became a professor.


Fawzi Sayeb - Improvisations Taqsims on the Lute 'Ud

Posted By Admin On Wednesday, January 27, 2010 0 comments
Fawzi Sayeb
Improvisations Taqsims on the Lute 'Ud
Byblos BLCD 1005, 1997
Fawzi Sayeb is of Tunisian origin. He began his career as an agricultural engineer, before devoting himself to the oud full time. He is entirely self-taught.

Fawzi Sayeb presents taqasim on a number of maqamat in an excellent showcase of classical Arab oud. Sayeb's background is evident from the style of the taqasim. The CD notes give good biographical details and information about the structure of each maqam.

1. Taqsim en maqam nahawand 6:50
2. Taqsim en maqam bayyat 4:10
3. Taqsim en maqam hijaz 6:35
4. Taqsim en maqam huzam 4:43
5. Taqsim en maqam rast 6:34
6. Taqsim en maqam nawa 'athar 5:15
7. Taqsim en maqam jaharkah 6:44
8. Taqsim en maqam saba
9. Taqsim en maqam sekah baladi 5:25

320kbps including Front - Back Cover
Download HERE

Jazz Lounge

Posted By Jazzmen On Tuesday, January 26, 2010 0 comments
The best part of a jazz compilation is the tasting of different delectable selections from a dinner table, eating and carrying on a good conversation. And occasionally tapping your foot or grooving to the every slight music in the background. This doesn't happen very often, but when it does "Jazz Lounge 2", twenty eight chilled nu-skool jazz by today's coolest artists on the circuit today. A journey into oblivion with several layers of eclectic Jazz, Funk and blends of electro instrumentals rich with underground vibes. Rare cues are "ANGELS", featuring Norah Jones with Wax Poetic a perfect matchup ~ "SUMMER SUN" has Koop featuring Yukimi Nagano you always smile with clouds in the sky ~ "EIGHTY-EIGHT" with Camiel haunting instrumental with bosa nova arrangements ... ~ "INTRASPETTRO" opening latin beat with Les Hommes is intoxicating ~ "GUIMAR", Aim takes syncopation to another level into the world of funk ~ "CHOK A BLOK AVENUE", with the Big Band sound of Bario Jazz Gang ~ "VIA BEATO ANGELICO" did someone notify the Italian Secret Service ~ "STREET SCENE" features my favorite of all St. Germain, with a steady and groovy funky mix with room to spare.

Definitely upping the standards of seamlessly, ingeniously and amazing variety of styles and moods in this upbeat happy release. The smooth flow of all the tracks makes this a worthwhile venture into the hip, down with it cool and magical atmosphere that Jazz Lounge creates with new grooves, gotta love it!

Disc: 1
01. Angels - Norah Jones, Wax Poetic
02. Happiness - De-Phazz
03. Summer Sun - Koop, Yukimi Nagano
04. Eighty-Eight
05. Valley of the Sausages - Mr. Scruff
06. This Isn't Maybe - Chet Baker, Waldeck
07. I Feel Like a Child - Urban Chill
08. I Should Forget - Dynamic 4
09. Hide Abstract Jazz [Kruder and Dorfmeister Remix] - Count Basic
10. Intraspettro - Les Hommes
11. Orson - Nuspirit Helsinki
12. Sofisticata [Nicola Conte Soft Samba Strings Remix] - Montefiori Cocktail
13. Kidnapped - At Jazz
14. Little Alien - Lemongrass
15. Guimar - Aim

Disc: 2
01. Makes You Extatic - The Tao of Groove
02. Vai Viver a Vida (Truant's Little Witch Pass) - Tania Maria,
03. Bas - Sternklang
04. Chok a Blok Avenue
05. Tell Me What U Wanna Do
06. Via Beato Angelico - Italian Secret Service
07. Street Scene - St. Germain
08. C.O.C.A.N.
09. Look of Love - Patti Austin
10. Girl from Serrano - Gregor Salto
11. Sky [Blue Remix] - Courtney Pine, Soul Bossa Trio
12. South - Bugge Wesseltoft
13. Trumpet Trekking

MP3 320 kbps including full scans


Hossam Ramzy & Rafa El Tachuela - Flamenco Arabe

Posted By MiOd On Tuesday, January 26, 2010 0 comments
An interesting fusion between Arabic music and flamenco. Though it's been done before (by Al Tall and Muluk el-Hwa), it's an enticing sort of fusion to listen to again. Some of the pieces are most straightforward flamenco with some additional Egyptian percussion, thanks to Hossam Ramzy. In other parts, it reverts to a straightforward Egyptian dance rhythm with some careful Spanish guitar in the background. It's when the two mesh that the sound is something worth hearing. Despite the relative obscurity of Rafa Tachuela (actually a German flamenco artist, hence the obscurity), the skill is certainly present to power the music forward. There is some able help from Said Kamal and Mohamed Naiem, providing the Egyptian sounds beyond Ramzy's percussion, and in the end, some help from the Sabri brothers (sons of Sabri Khan, not to be confused with the qawwal duo of the same name) in the addition of a touch of Indian music, as the artists attempt to explore the roots of flamenco through Egyptian music and the roots of Egyptian music through its Indian forebearers. Given that the rise of flamenco came after the Iberian peninsula had been taken over by the Moors, the links between North African music and flamenco are somewhat expected. When the two forms are brought back together to play in tandem, though, something more than the sum of its parts emerges. An excellent addition to the collection of any world music fusionist. ~ Adam Greenberg, All Music Guide

Flamenco Arabe traces back to the old silk and spice routes to find the origins of Arabian, North African and Flamenco Music. It reaches deep into history to find the incredible journey of these Nomadic Tribes that caused the conception and birth of such magnificent styles of musical compostion. Today, Arabian Music has many influences that stamped their expressions upon its forehead, caused by the numerous invasions and colonisations. Flamenco music has experienced similar changes to it's original routes. A special dance piece created for this album incorporates the above styles. Track # 10 The Silk Route Suite will take you through many dance forms such as Indian Kathak, Egyptian Classical to the famous Flamenco Siguerias. It finally ends in a big Jam session where all the artists from the various nations add thier influence and colour. This is a perfect piece for a performance of these dance styles.


[01]. Al Quantara (The Bridge)
[02]. Ahlam Ghernatah (Memories of Old Granada)
[03]. Al Vuelo (Flying) [Bulerias for Taranto]
[04]. Rumbapa ("Father of Rumba")
[05]. Ráfaga de Viento (Gust of Wind)
[06]. Kebrieaa Samet (Silent Pride) [Masmoudi]
[07]. Amor Perdido (Lost Love)
[08]. Men el Belad (From Our Country) [Saidi]
[09]. Zambra Por Nadejda (Zambra for Nadejda)
[10]. Silk Route Suite: Kathak
[11]. Silk Route Suite: Egyptian
[12]. Silk Route Suite: Sol y Sal (Sun and Salt) [Siguiriya]
[13]. Silk Route Suite: Juntos (Together)

Musicians :
Rafa El Tachuela (flamenco guitar and oud) ,
Hossam Ramzy (Egyptian and world percussion) ,
Saied Kamal on Egyptian violin,
Mohammed Naiem on Nay and kawala flutes,
Maged Serour on qanun,
Ossama El Hendy on keyboards,
Ghoulam Sarwar Sabri on Indian tabla,
Ismail Sabri on sarangi,
Featuring Danny Thompson and Duddley Phillips on Double Bass.

FLAC tracks(EAC Rip): 430 MB | MP3 - 320 kbs: 180 MB | Scans

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3 | Part 4

OR MP3 320 kbps
Part 1 | Part 2

The Musical Tradition of the Jewish Reform Congregation in Berlin

Posted By Admin On Tuesday, January 26, 2010 0 comments
Die Musiktradition der jüdischen Reformgemeinde zu Berlin / The Musical Tradition of the Jewish Reform Congregation in Berlin
Beth Hatefutsoth BTR 9702, 1997
This anthology of music was originally recorded in Berlin between 1928 and 1930 and can be considered one of the last musical achievements of a free German Jewish community. Sponsored by publisher Hans Lachmann-Mosse (1885-1944) and led by its Music Director, Dr. Hermann Schildberger (1898-1974), the Berlin Jewish Reform Community wanted to provide German Jewry with easily accessible music for the Jewish year. For the purposes of this recording project, the Congregation assembled a choir of more than a hundred voices and a group of Berlin’s finest soloists (Joseph Schmidt and Paula Lindberg, among others). The double CD was recorded using the master discs brought by Dr. Schildberger to Australia in 1939 when he escaped Nazi Germany.
Musical works by Lewandowski, Sulzer and Stern are sung in German. Also incorporated into the service are musical pieces by Schubert, Beethoven, Handel and other composers, which were deemed to be appropriate.

CD 1
- Show quoted text -
01. Heiligung (Sanctification) (Louis Lewandowski)
02. Schön ist's (It is a good thing) (Louis Lewandowski)
03. Begrüsst (O welcome) (Robert Schumann freely adapted by Hermann Schildberger)
04. Dies ist mein Bund (This is my covenant) (Ludwig van Beethoven)
05. Wie schön (How goodly) (Louis Lewandowski)
06. Als die Schöpfung (When the Creation) (Arranged by Moritz Henle)
07. Einst in ferner Zeiten Tagen (It shall come to pass) (Louis Lewandowski after Carl Friedrich Zelter)
08. Nun lasst (Now let us praise) (Louis Lewandowski)
09. Heiligung (Sanctification) (Solomon Sulzer)
10. Hoch erhaben (There is none like unto You) (Solomon Sulzer)
11. Preist den Herrn (Praised be the Lord) (Louis Lewandowski; Solomon Sulzer)
12. Dein, o Herr (To You, o Lord) (Louis Lewandowski)
13. O höret das Wort (And this is the Law) (Louis Lewandowski)
14. Führ' uns zurück (Lead us back) (Louis Lewandowski)
15. Der Welten Herr (He is the Lord of all) (Louis Lewandowski)
16. Ja fürwahr (Yes, indeed) (Louis Lewandowski)
17. Singet und jubelt (Sing and rejoice) (Arranged by Hermann Schildberger)
18. So preisen wir (O praise the Lord) (Louis Lewandowski)
19. Heilig bist Du (You are Holy) (Louis Lewandowski)
20. SchMA JISRAEL (Hear O Israel) (Arranged by Solomon Sulzer and Stern)
21. Vor Dir, o Gott (Before You, O God) (Louis Lewandowski; Georg Neumark)

CD 2
01. Aus der Tiefe (Out of the depths) (Arranged by Louis Lewandowski)
02. Gott ist's (God is the light) (Louis Lewandowski)
03. Sieh, es schläft und schlummert nicht (Lo, He neither sleeps nor slumbers) (Louis Lewandowski)
04. Gib Frieden (Grant us peace) (L.Lewandowski, arrnaged by Hermann Schildberger)
05. ADONAJ ADONAJ (Adonay Adonay) (Arranged by Stern)
06. Gott ist mein Lied (God is my song) (Ludwig van Beethoven)
07. Du meine Zuflucht (You are my refuge) (Emil Breslaur)
08. WENISLACh (And it shall be forgiven) (Louis Lewandowski)
09. WAJOMER ADONAJ SsALAChTI (And the Lord said: I have pardoned) (Louis Lewandowski)
10. KI WAJOM HASE (For on this day) (Louis Lewandowsky)
11. Heilig heilig (Holy, Holy) (Franz Schubert)
12. Deinem Namen (Your name is God) (Louis Lewandowski)
13. Ich danke Dir, Herr (I thank You, O Lord) (Arranged by Louis Lewandowski)
14. Die Seele (The soul) (J. Stern)
15. SchMA JISRAEL (Hear O Israel) (Arranged by J. Stern; Louis Lewandowski)
16. Es wird nicht untergehen (Neither the sun nor the moon) (Louis Lewandowski)
17. Herr der Welt (Lord of the world) (George Friedrich Handel, arranged by Louis Lewandowski)
18. MAOS ZUR (arranged by Louis Lewandowski)
19. Jubelt dem Ewigen (Shout unto the Lord) (arranged by Louis Lewandowski)
20. AMEN

Gertrud Baumann - soprano
Paula Lindberg - alto
Joseph Schmidt - tenor
Frederick Lechner - baritone
Hermann Schey - baritone
Paul Mania - organ

320 kbps including cover scans - no booklet, sorry!

Part 1
Part 2
Part 3

Sélim s'évade - Deli Boys

Posted By Admin On Tuesday, January 26, 2010 0 comments
Sélim s'évade
Deli Boys
Al Sur ALCD 203, 1997
01. Deli Boys
02. Planan
03. Davul Nihavend Taksim
04. Davul Nihavend
05. Jardin
06. Street Layf
07. A perte de vue
08. Néo Géo
09. Muhayyer
10. Zeybek de l'Acacia
11. La lumière noire
12. Le 13

Gilles Andrieux - saz, tanbur, yaili tanbur
Grégoire Baboukhian - saz, darbouka
Dominique Collignon-Maurin - ney
Jeff Sicard - bass clarinet (06)
Arach Khalatbari - tombak (07)
Patrick Chesnai - drums (09)

320 kbps mp3; including full booklet scans

Part One
Part Two

Ensemble Albaycin - Nawba dans le mode sika "Tarab Arabo-Andalou"

Posted By Admin On Tuesday, January 26, 2010 0 comments
Ensemble Albaycin dirigé par Maître Rachid Guerba
Nawba dans le mode sika. Tarab Arabo-Andalou 2, 1999
Track Listings
(01). Msalya
(02). Tusiyya
(03). Msaddar - ya sultan algizlan
(04). Msaddar - Ya nas ama tazdiruni
(05). Btayhi - hibbi alladi rani nazsaqu
(06). Btayhi - ya mahla kisan arrah
(07). Darj - qad himtu ma bayna alhalayaq
(08). Darj - sultan arrabiz aqbal
(09). Insiraf - nadrat gazali
(10). Insiraf - ya lawna alzasal & Didla - wayn ansibkum
(11). Insiraf - ya sabih day alhilal
(12). Xlas - ya man dara man azsaqu
(13). Xlas - dir alzuqar
(14). Xlas - laytaka tadri

320 kbps including full scans


Les Maîtres du Guembri - La Suite du Blanc. Gnaoua Lila Vol.2,3,4 &5

Posted By Admin On Tuesday, January 26, 2010 0 comments
Les Maîtres du Guembri
La Suite du Blanc. Gnaoua Lila Vol.2
Al Sur ALCD 145, 1995
01. A'ada
Miftah Errabah (La clé du bonheur)
02. Rabi Moulay
03. Ba' Bilali Rijallah
04. Nabina Nabi Allah
05. La'afou yah Moulana
06. Rasoullah yah Nabina
07. Salla 'Aala Nabina
08. Meccaoui
09. Allah yah Nabina Rasoullah
10. La'afou
11. Hammadi
Bel Byad (Le Seigneur du Blanc)
12. Salatou Annabi
13. Jilala
14. Bou Alam
15. Jilali daoui hali
16. Moulay 'Abdelqader
17. Bou Derbala
18. Bou Hali
19. La ilaha illa Allah

320 kbps including full booklet scans

Part One
Part Two

Les Maîtres du Guembri
Les Suites du Bleu. Gnaoua Lila Vol.3
Al Sur ALCD 146, 1995
01. Sallou ’aala nabina
02. Sidi mousa
03. Rasoul Allah sidi
04. Makeinbass
05. Baba mousa bala
06. Koubaïni bala
07. Mousa khali bari
08. Ayah bala
09. La ilaha illa Allah Mousa
10. Allah Allah Bala
11. Alfa banya
12. Bouri yah bouri
13. Jabari
14. Boussou
15. Bou yandi
16. Sidi sma
17. Allah bou yandi samaoui

320 kbps including full booklet scans

Part One
Part Two

Les Maîtres du Guembri
Les Suites du Rouge & du Vert. Gnaoua Lila Vol.4
Al Sur ALCD 147, 1995
Bel Ahmar
01. Salla oua Nabina Moulay
02. Salla oua Nabina Mahammadi
03. Banya
04. Sidi Hammou
05. Hammouda
06. Sidi Hammou derb ou keddèm
07. Baba Koummy
08. Marhaba Moulay Koummy
Khder Chorfa
09. L’Haydya
10. Baba Yourky l’Hady
11. Sidna ’Ali
12. Moulay L’aarbi
13. Baba L’aarbi
14. Bou Chama
15. Meccaoui
16. Ammara Douya ’Abdallah
17. Moulay ’Abdallah
18. Moulay ’Brahim

320 kbps including full booklet scans

Part One
Part Two

Les Maîtres du Guembri
Les Suites du Noir & du Jaune. Gnaoua Lila Vol.5
Al Sur ALCD 148, 1995
Bel Akhal
01. Lalla mimouna 3:58
02. Sidi mimoun ghmami 5:31
03. Marhaba 3:34
04. Gnaoui baba Mimoun 5:26
05. Mbirkiriya 1:54
06. Fofo din ba 3:29
07. Baba yourky mabani 3:47
08. Rabi yah moulay 3:35
09. Sandy kaina 1:48
10. Serkou balaji 1:18
11. Landou 0:57
12. Sidi bou ganga 1:35
13. Salam aala Mohammed Sidi 2:47
14. Koubaini mama 1:09
15. Mamariou 3:36
16. Sangarie 1:14
17. Shaba kourya 1:01
18. Allal yah allal 2:29
19. Foulani 2:36
20. Sandy 3:38
Bel Afsar
21. Lalla malika 1:27
22. Lalla mira 2:14
23. Lalla aicha soudania 1:13
24. Lalla rqiya 1:11
25. Lalla houa 1:13
26. Lalla maryam chelha 0:48
27. Moulati fathma 1:22
28. Aicha qandicha 2:28

320 kbps including full booklet scans

Part One
Part Two

Avempace avec Faycal Benkrisi - Musique classique algérienne

Posted By Admin On Monday, January 25, 2010 0 comments
Avempace avec Faycal Benkrisi
Musique classique algérienne
Al Sur ALCD 196, 1996
1ère partie: extrait de la Nouba Raml Maya
01. Inqilab Raml Maya
02. Istikhbar Raml Maya
03. Darj Raml Maya
04. Insiraf Raml Maya
05. Khlac Raml Maya (1)
06. Khlac Raml Maya (2)
07. Khlac Raml Maya (3)
08. Inqilab Aroubi Ya Raoud Rani
09. Insiraf Aroubi ily snine adida
2ème partie: Hawzi de Mohamed Ben Msayeb
10. Ya ouchak zine
3ème partie: Hawzi de Mohamed Ben Msayeb
11. Mal hbibi malou

Faycal Benkrisi - Kanun, alto, violin, vocals
Fodil Benkrizi - Alto, conductor
Medjber Maria - Kouitra
Omar Berber - 'Ud
Slamani - Derbouka
Yahia Benbernou - Tar
Mohamed Hamaidia - Banjo, mandoline, alto
Rezia Adda - Cello

320 kbps mp3; including full booklet scans

Part One
Part Two

Ravi Shankar - Jazz et Ragas (2005)

Posted By sublimit On Monday, January 25, 2010 0 comments

Personnel: Ravi Shankar (sitar); N.C. Mullik (tamboura); Kanai Dutta (tabla); Prodyot Sen (tamboura); Alla Rakha (tabla). Audio Remasterer: Andrew Thompson.

1 - Improvisations - 3:55;
2 - Improvisations - 3:08;
3 - Improvisations - 3:16;
4 - Improvisations - 2:45;
5 - Rupak Tal - 5:13;
6 - Raga Madhu Kaune - 9:56;
7 - Raga Jogi Ya - 12:28;
8 - Raga Hamsdhwani - 9:15;
9 - Dhun Kafi - 12:36;
10 - Raga Ramkali - 3:17;
11 - Yaman Manj - 3:08;
12 - Desi - 3:14;
13 - Sudh Sarang - 2:51;
14 - Dhun - 3:07.

MP3 160 kbps | 88 MB | No scans |

Ravi Shankar - Raga Tala (1997)

Posted By sublimit On Monday, January 25, 2010 0 comments

1 - Tala Farodast - 6:46;
2 - Raga Gara/Alap Gat 1/Gat II/Gat III - 17:31;
3 - Raga Hameer/Alap Gat I/Gatii/Taal Tintal - 24:10.

MP3 128 kbps | 44 MB | No scans |

Orquestra Os Jóvens do Prenda - Berlin Festa!

Posted By Admin On Saturday, January 23, 2010 0 comments
Angolas Top Band - die Jungs von Prenda - verwandeln die vier Hände zweier Xylophonspieler in vier elektronische Gitarren (Bass eingeschlossen). Es gibt nicht nur eine Lead- und eine Rhythmusgitarre, sondern auch eine Gegen-Leadgitarre, die alle Solostellen in transponierter Harmonie begleitet. Man füge hinzu eine fünfköpfige Percussion Section und die besten Sänger des Landes und man erhält eine unwiderstehlich groovige Show.

Transform Angola Top Band - the guys from Prenda - the four hands of two xylophone players in four electronic guitars (bass included). There is not only a lead and rhythm guitar, but also a counter-lead guitar, all accompanied solo passages in transposed harmony. It would add a five-piece percussion section and the best singers in the country and gives an irresistibly groovy show.

1. Nzenze
2. Manuela
3. Mukila We
4. Jienda Ja Anami
5. Campones
6. Harmonizacao y Amnistia
8. Nova Cooperacao

320 kbps including full scans


Ouganda / Uganda - Ensembles villageois du Busoga / Village Ensembles of Busoga

Posted By Admin On Saturday, January 23, 2010 0 comments
Ouganda / Uganda - Ensembles villageois du Busoga / Village Ensembles of Busoga
VDE-Gallo VDE-925, 1997

01. Otabona Bukaire Nanvu
02. Mboine Kirabu
03. Osete Tainyuma
04. Mperekera Omugeni Owomulembe
05. Waiswa Mpola, Mpola
06. Dinu/ Mwena Mwena Mudhuge Lero
07. Babalema
08. Agebaale
09. Piririya
10. Olumbe LW' Amaani
11. Okusamira [Extraits/ Excerpt]
12. Mary Yange Guma Omwoyo
13. Baliranie I
14. Baliranie II

320 kbps mp3, including full booklet scans

Part One
Part Two

Orchestra Marrabenta Star de Mocambique - Independance. A Luta Continua!

Posted By Admin On Saturday, January 23, 2010 0 comments
Orchestra Marrabenta Star de Mocambique
Independance. A Luta Continua!
Piranha pir15, 1989
Wazimbo started his musical career in 1964 with the Silverstars (1969) and continued as a singer with the Geiziers, performing a colonial mix of international pop music with a Brazilian tinge in Mocambique´s capital, Maputo. Maputo's relationship with South Africa was comparable to Havana's reputation as a "casino hotspot" for the inhabitants of Miami before the Cuban Revolution.
After the independence of Mocambique from Portugal in 1975 Wazimbo worked with the big band of the national radio station, "Radio Mocambique". He became the lead vocalist of "Orchestra Marrabenta Star De Mocambique" in 1979 and worked with various members from the the big band of RM.
"Orchestra Marrabenta Star de Mocambique was a talented group made up of the best musicians, singers and dancers from the south of the country. They were one of the few groups that flourished during this period due to their close relationship with the only national radio station at this time "Radio Mocambique". They were the main band for the radio station as well as favorites of the ruling political party "Frelimo". Led by the main vocalist Wazimbo, "Orchestra Marrabenta Star de Mocambique" developed a full and funky style of marrabenta featuring electric guitars, powerful horn lines and soulful vocals.
In 1988 Wazimbo recorded with "Orchestra Marrabenta Star de Mocambique" the popular "Harare Sessions" in Simbabwe as Mocambique did not offer any music industry. During a recording brake Wazimbo played his legendary "Nwahulwana ballad" while the tape machine was still running, discovered later in London when the mixing took place. What a magical birth of a song. Later used by Microsoft for a commercial and the Soundtrack for the American film "The Pledge" in 2001, directed by Sean Penn.
After becoming extremely popular at home in Mocambique, they toured in Europe and released two CD's on Germany's "Piranha label". Both showcased a varied mix of dance styles plus the occasional, strikingly soulful ballad. The 90´s saw a return to peace in Mozambique, but by then there were no recording studios or music venues and the group finally disbanded in 1995. Marrabenta was the rough-edged, urban dance music of Mozambique which emerged in the 50´s. It included a fast folkloristic rhythm called "Majika" as well as a kind of "Calypso" and Angolan "Merengue" and emerged as an energetic dance-music. It became strongly associated with the struggle for independence and was almost completely wiped out (along with Mozambique's music industry) by the bitter civil war, which raged throughout the country during the 80´s. Accompanied by the controversial social vocals sung in "Ronga" and "Shangana", "Marrabenta" was played on self constructed guitars from
fuel canisters and fishing wire, often struck so hard the strings snapped. Thus "Marrabenta" got its name: "arrabentar", which is Ronga and means "breaking".

1. Elisa Comara Saia
2. Nhimba Ya 'Dota
3. Parabens
4. Marozana
5. Valha
6. Sapateiro
7. Alirandzo
8. Tsiketa Kuni Barassara
9. Nwahulwana (Unfinished)

320 kbps mp3; including full booklet scans

Part One
Part Two

Mikidache - Kauli / Words. The Comoro Islands

Posted By Admin On Saturday, January 23, 2010 0 comments
Kauli / Words. The Comoro Islands
Long Distance WAG 331, 1998
The Comoros are a group four islands lying in the Indian Ocean between Madagascar and continental Africa. Though they have their own distinct language and culture, like all small isolated places, the influence of their larger neighbours is clear, most obviously in the music. The most popular style in this poor but picturesque country is the decidedly Arabian flavoured twarab, closely related to Zanzibar’s taarab. But Mikidache’s songs more closely show the influence of the Madagascan sounds also heard in Comorian music. Take for instance, his way of playing the acoustic guitar, which is strongly reminiscent of the Madagascan marovany (box zither).
“I try to approach the sound of this traditional instrument in the way I play and tune the guitar,” explains the 33-year-old guitarist, singer and song writer. “For me, Madagascan music is ‘complete’ in terms of its harmonies and rhythms.”
Mikidache was only thirteen when he started to teach himself the guitar twenty years ago, despite opposition from his family. After all, who could make a living from music in the îles de la lune? Soon though, he was playing with a group of young musicians called Ylang Ylang. To the surprise of everyone, a successful two month tour of the archipelago showed they might make a go of it, and in 1986, the group flew to Paris. They stayed there for the next three years, attracting attention from the French media with a 12’ single and support gigs for high profile African and Caribbean artists.
Mikidache eventually returned to his worried parents in the Comoros, but was soon back in France to complete his education. After three years of studying, he decided to follow his instinct and return to music, although he also had to work at McDonalds restaurants in Marseille, Nice and then Paris just to make ends meet! It was during this time that he met two of the musicians featured on Hima. With Jules Bikoko (bass) Pascal Pallisco (accordion) a drummer and sound engineer, he finally managed to record his first solo album, Kauli, which to their joyful astonishment won the coveted prix Découvertes RFI in 1999.

01. Usishange (Song of Fidelity)
02. Nifanye Dje? (What Should I Do?)
03. Muana Oyi (Lost Childhood)
04. Mwandzani (My Friend My Brother)
05. Eba Rambe
06. Afrika
07. Esheleva (Don't Forget That You're Only a Human)
08. Nakotsaha (I Would Love)
09. Mauwa (My Rose)
10. Ngoma
11. Usikitisha (Sadness)
12. Usilale (Wake Up)
13. Bweni (Woman)
14. Nyinyi (You over There)

320 kbps mp3; including full booklet scans

Part One
Part Two