Tango Dancing Music

Posted By White Rose On Saturday, July 31, 2010 0 comments

Track List

01. I kiss Your Little Hand,Madame
02. Blauer Himmel
03. Tango Delle Rose
04. Perlenfischer Tango
05. Amagura
06. Rosita
07. Two Guitars
08. Memory
09. Mona Lisa
10. The Way We Were
11. Hymne A L'amour
12. Blue Tango
13. Tango Erotique
14. Adios, Pampa Mia
15. You Are My Destiny
16. Sherry
17. Like I Do.
18. Zwei Gitarren
19. Hernando's Hidea Way
20. Jalousie

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James Last - 20 Classic Recording

Posted By White Rose On Saturday, July 31, 2010 0 comments

Track List
01.Soul March
02.I Can't Move No Mountains
03.Theme From Prisoner Of Second Avenue
05.One Fine Morning
06.It's Going To Take Some Time
07.Was Ich Dir Sagen Will
08.Face In A Crowd
09.For Better, For Worse
12.Where Do I Go
13.Lover's Dream
14.Inner City Blues
15.Fahrt Ans Meer
16.MacArthur Park
17.Becky Und Peter
19.Happy Heart

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Julian & Roman Wasserfuhr - Upgraded in Gothenburg

Posted By Admin On Saturday, July 31, 2010 1 comments
Julian & Roman Wasserfuhr
Upgraded in Gothenburg, 2009
You could imagine you were listening to the long-evaporated trumpet sound of Chet Baker, occasionally the more full-bodied lyricism of the British brass players Henry Lowther or Ian Carr, even the boppish energy of an Art Blakey band. Then comes the Balkan dance on one track and you realise this is a contemporary set, albeit with very strong straight-jazz roots. The Wasserfuhrs are two young German brothers, 20-year-old trumpeter Julian and 22-year-old pianist Roman, who balance past and present here with their mentor Nils Landgren (the ACT label's celebrated Swedish trombonist), bass virtuoso Lars Danielsson, singer Ida Sand and other German and Scandinavian luminaries. Julian Wasserfuhr's warm sound curls over his brother's understated chording early on, and the Blue Note horn choruses on Geno the Shoeshine sustain the straight-jazzy mood. But the wraithlike trumpet and Landgren's trombone bring a fragile eloquence to Traveller's Defense, and Julian Wasserfuhr even seems to have lent an ear to the abstract exhalations of Arve Henriksen on Song for E. It's all beautifully played, though in the end the declared preoccupation with an elusive distillation of purity perhaps dampens its spirit. - John Fordham

Twenty year old trumpet prodigy Julian Wasserfuhr is considered to be one of the brightest young stars on the German jazz scene. In 2006 the then teenage Julian and his pianist brother Roman (now twenty two) produced an acclaimed début CD for ACT “Remember Chet”, a homage to the late, great Chet Baker. The album attracted considerable critical acclaim and also came to the attention of ACT stalwart Nils Landgren. The Swedish trombonist invited them to record with him at his studio in Gothenburg and also arranged for the music to again be released on ACT thus bringing the talented brothers to the attention of the international jazz audience.
For the project producer Landgren called on some of the leading figures in European jazz, several of them members of the ACT roster. Forming a core quartet with the brothers are bassist/cellist Lars Danielsson and drummer Anders Kjellberg. Guest appearances come from Landgren himself on trombone, Magnus Lindgren on tenor sax and flute plus two vocal contributions from singer Ida Sand. The music is mainly comprised of material composed by the musicians involved alongside a couple of jazz standards plus a song by Austrian singer/songwriter Herbert Gronemeyer. It’s an interesting mix combining the traditional jazz virtues of Julian’s hero Baker with more contemporary and folk influences.
The album begins with the core quartet on the brothers’ “Fade A Little”. It’s pretty in Baker-ish fashion and features the warmly burnished tones of Julian’s trumpet, Danielsson’s rich bass undertow and Kjellberg’s delicately understated drumming. Roman is mainly content to remain in the background but reveals his talent with a lyrical piano solo in the middle of the piece.
Also by the brothers “Geno The Shoeshine” at a little under three minutes is like a truncated slice of an old Blue Note record. Here Julian sounds more like Freddie Hubbard and Roman responds in kind with some swinging piano. It’s all tantalisingly brief and it would have been nice to have heard more of the brothers in this mode. However this would sit at odds with the stated aim of the album to “purge the music and reveal the inner purity at it’s core” or “richness through reduction” as it has been described. Next time for the hard bop record perhaps?
However nowhere is this “less is more” approach better demonstrated than on Danielsson’s beautiful melody “Traveller’s Defense”, a piece that originally appeared on the bassist’s masterful solo album “Tarantella” (also ACT), a recording reviewed elsewhere on this site. This version rivals the original for beauty and features delightfully controlled performances from the core quartet plus Landgren on amazingly lyrical trombone.
Gronemeyer’s “Airplains In My Head” is a powerful song, given a soulful reading by vocalist Ida Sand. The main jazz input here is Julian’s breathy, idiosyncratic trumpet reminiscent now perhaps of another artist sometimes associated with ACT, the Norwegian Mathias Eick. The younger Wasserfuhr seems to have absorbed virtually every development of the jazz trumpet from bebop to the present.
“Ninni’s Dance” by the brothers has an attractive melody and features the Wasserfuhrs dovetailing beautifully. There’s also warm tenor sax from Lindgren making his first appearance.
Lindgren is also prominent, this time on flute, on his own tune “Dalodrum”. The piece has a folk tinge, reminiscent perhaps of the Middle East or the Balkans. Lindgren is the main instrumentalist here but there are lyrical contributions from both brothers.
The folk influence continues into the brothers’ “Dusan”, another piece with a Balkan feel. Danielsson unveils his quiet virtuosity here on an exquisitely articulated bass solo. Julian’s trumpet lines are nimble but understated, the whole thing underpinned by Kjellberg’s sympathetic hand drumming.
Sand’s “Not Strong Enough” is the second vocal item, a pretty, yearning pop song addressing the theme of lost love. It’s pleasantly sung by Sand and Julian takes a sparing, haunting solo using the mute. It’s all impeccably sung and played but ultimately rather slight.
The Wasserfuhrs’ “Trainwalk” is a return to the territory hinted at in “Geno” with both brothers taking powerful solos on one of the album’s more exuberant pieces.
“Love”, written by the brothers is the kind of pretty ballad the title suggests with Julian again sounding quite Baker-ish. Roman contributes one of his most lyrical solos of the set sympathetically supported by Danielsson and Kjellberg. The drummer’s playing is a model of taste and restraint throughout the album. His delicacy of touch is a major factor in the recording achieving it’s stated objectives. Danielsson, is of course, superb as usual and adds a typically tasteful solo here.
Danielsson’s “Song for E” pushes into more minimalistic territory with Julian again sounding a little like Eick (Danielsson’s collaborator on “Tarantella”) or even Arve Henriksen.
An unusual version of Jerome Kern’s “Smoke Gets In Your Eyes” is taken at an exaggeratedly slow tempo and features beautifully mournful horns from Julian on trumpet and Nils Landgren on trombone. It’s superbly executed and ultimately wholly enjoyable.
The closing “Toccata” by Lalo Schifrin ends the album on an energetic note. All three horns are featured with Lindgren appearing on both tenor and flute. Roman’s insistent piano vamp underpins the piece and he also gets to solo alongside the horns.
“Upgraded In Gothenburg” covers an impressive range of musical territory although it’s very diversity leaves it sounding a little unfocussed at times. It’s all beautifully played and produced and there’s no doubting the potential of the Wasserfuhr brothers, particularly Julian who has the ability to become one of Europe’s leading trumpeters. The brothers from Huckeswagen near Cologne will have learnt much from working with experienced musicians such as Landgren and Danielsson. There is surely much more excellent music to come from them but this profile raising offering will do them no harm at all. - Ian Mann

Die Geschichte von Julian und Roman Wasserfuhr gleicht einem Märchen: Wird nach den talentiertesten jungen Musikern im ganzen Land gefragt, dann schallt es oft aus der Provinz Hückeswagen bei Köln zurück: Hinter den Bergen umrahmt von Wald im Niemandsland, da leben zwei Jazz-Brüder, die spielen „verblüffend ungewöhnlich“ (Die Zeit), „vom Feinsten“ (Jazzpodium) und mit einem „magischen Ton“ (Süddeutsche Zeitung). Mit Remember Chet (ACT 9654-2), einer Hommage an Chet Baker, feierten sie 2006 ein „umwerfendes Debüt“ (Süddeutsche Zeitung).
Das Können der jungen Musiker ist auch Nils Landgren im fernen Schweden zu Ohren gekommen. Kurzerhand entschied er sich, die beiden Shooting Stars zu produzieren und lud die Wasserfuhrs in das Göteborger Nilento Studio ein - in jene berühmte Soundküche, wo seine erfolgreichen Alben entstehen. Für Landgren eine Herzensangelegenheit: „Julians Talent ist unglaublich. Und mit seinem Bruder Roman ergänzt er sich nahtlos.“ Da der weltberühmte Posaunist keine halben Sachen macht, bat er noch handverlesene schwedische Musiker zur Session: Lars Danielsson, Anders Kjellberg, Magnus Lindgren und Ida Sand. „Wir haben Julian und Roman aber keine neue Spielweise beigebracht, sondern nur entlockt, was bereits in ihnen steckte“, beschreibt Landgren die schwedische Entwicklungshilfe. Bei einigen Stücken greift er sogar selbst zur Posaune. Sein butterweicher, lyrischer Ton und außerordentlicher Spürsinn für den richtigen musikalischen Moment gibt Upgraded in Gothenburg den letzten Schliff.

01. Fade A Little - 04:24 (Wasserfuhr, Julian / Wasserfuhr, Roman)
02. Geno The Shoeshine - 02:49 (Wasserfuhr, Julian / Wasserfuhr, Roman)
03. Traveller's Defense - 04:13 (Danielsson, Lars)
04. Airplanes In My Head - 04:12 (Grönemeyer, Herbert)
05. Ninni's Dance - 03:21 (Wasserfuhr, Julian / Wasserfuhr, Roman)
06. Dalodrum - 03:39 (Lindgren, Magnus)
07. Dusan - 03:58 (Wasserfuhr, Julian / Wasserfuhr, Roman)
08. Not Strong Enough - 03:45 (Sand, Ida / Sand, Ida)
09. Trainwalk - 03:10 (Wasserfuhr, Julian / Wasserfuhr, Roman)
10. Love - 04:44 (Wasserfuhr, Julian / Wasserfuhr, Roman)
11. Song For E. - 04:42 (Danielsson, Lars)
12. Smoke Gets In Your Eyes - 05:56 (Kern, Jerome)
13. Toccata - 04:29 (Schifrin, Lalo)

Julian Wasserfuhr – trumpet
Roman Wasserfuhr – piano
Lars Danielsson - bass, cello
Anders Kjellberg - drums
Special Guests:
Magnus Lindgren - tenor sax (5,13), flute (6,13)
Ida Sand - vocals (4,8)
Nils Landgren - trombone (3,11,12,13)

320 kbps including full scans

Part One
Part Two

Khreshchaty Yar - Traditional Songs from the Ukraine, Vol.2

Posted By Admin On Saturday, July 31, 2010 0 comments
Khreshchaty Yar
Traditional Songs from the Ukraine, Vol.2, 2002
Volodymyr Budz (leader) - voice, bandura (type of psaltery), accordion, sopilka (Ukrainian duct flute, 30-40 cm long, with 6 fingerholes), tylynka (large end-blown flute without fingerholes made of a 60-80 cm long metal tube), frilka (small duct flute with 6 fingerholes made of a 20-50 cm long metal tube), sosulya (vessel flute, uses to imitate bird calls such as that of the cuckoo), little bell
Volodymyr Biletsky - voice, soloist, drum, buben (frame drum)
Valentyna Bogdanova - voice, soloist
Ivan Volynets - voice, soloist
Valery Golub - folk fiddle
Vasil Palanjuk - voice, tsymbaly = cimbalom (hammered dulcimer), sopilka (Ukrainian duct flute), tylynka (large end-blown flute without fingerholes made of a 60-80 cm long metal tube), dvodenzivka (double duct flute), rebro (pan pipe), sosulya (vessel flute or cuckoo), drymba (jew’s harp), bukhalo (drum), spoons, bottles and washboard
Anatoliy Kurylo - voice, soloist, drum, "hupalo" ("hooter")
Yuri Berbenyuk - double bass
Ivan Tkalenko - bandura

1. Vesilnyi marsh - Wedding march from the Bukovina region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: sopilka, Yuri Berbenyuk: double bass
This march is being played when the wedding guests arrive.

2. Arkan - Hutsul dance of the men – Carpathian region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: frilka, Yuri Berbenyuk: double bass
Arkan is a ritual dance that goes back to pagan times. Before the hunters set out, they performed this magical dance for a successful hunt.

3. Staryj hutsul - the old Hutsul – Carpathian region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: frilka, Yuri Berbenyuk: double bass
This dance was performed by old men. The musicians compelled the dancers to dance faster and faster.

4. Chaban - Chaban means shepherd – A dance from the Bukovina region
(Bukovina = land of beeches)
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: sopilka, Yuri Berbenyuk: double bass
- (Buk = beeches, the land with the many beeches – the centre is the town Chernivtsi) Bukovina once was part of the Mongolian Principality and the Walachy, later on it was integrated into the Habsburg Monarchy. The Southern part is nowadays called Moldavia, in the West there is situated Maramuresch = Marmatia in today's Romania, bordering in the West Transylvania and in the North the Carpathian region.

5. Vesilny melodiy - Hutsul wedding melody from the Carpathian region
- Vasil Palanjuk: tsymbaly (solo)

6. Hutsulsky melodiy - Hutsul melody – Carpathian region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: frilka, Yuri Berbenyuk: double bass
Jaremca is situated in the Hutsul region, South-West of Ivano-Frankovsk at the foot of Mount Hoverla, where the river Prut springs. This is the homeland of the legendary hero "Dovbusa", a kind of Ukrainian Robin Hood. If you want more information on the history of this mountainous population, you should have a look at the legends and stories telling about them. As in older times, mythology is still alive: For example, the fantastic bird-like "Huhuretz" telling fortunes by means of whistling lamenting when you sit at home in front of the open fire. The inhabitants of these wild forests high up in the Carpathian mountains were called "Hutsul". Nowadays, their typical wooden architecture is well known worldwide, especially their churches, which were built in the 17th and 18th centuries in this particular Hutsul style.
"Hutsuls" was the name of a community who lived "high up" in the Transcarpathian mountains and spoke an Ukrainian dialect. After World War I, this region became part of the Austro-Hungarian Empire (after the Constitutional Compromise between Austria and Hungary in 1867) and was divided into a Polish, a Czech and a Romanian dominated affiliation. Those living in the Carpathian foreland of the Ivano-Frankovsk region on both sides of the river Dniestr were called "Boiks". They were also called mountaineers or valley people. They preserved their culture like wedding rites, costumes (shirts, head coverings, long cloaks etc.) and their architecture (two-rooms-houses and churches made from wood). They cultivated land and especially processed corn. Boiks and Hutsuls speaking different Ukrainian dialects (this form of Rusyn-Ukrainia) and belonging to the Greek-Orthodox Church, are actually part of the East-Slavonic population group and of the Romans (also called Ruthenians) who had moved from the Walachy (today's Romania) into the Transcarpathian region in order to establish there a new form of civilization. Later on Germans and also the so-called "Old-Believers" were to follow.
- The race of small horses originating in the Carpathians are called "Hutsulei". They are strong and very good in carrying heavy loads along the difficult mountain paths. A stud farm in Lucina in the today Romanian part of the Bukovina region was already reknown for its breed in the 19th century under Habsburg Monarchy.

7. Vesilny pryspivky - Wedding tune from the Kiev region
- Valentyna Bogdanova: voice (solo)
This song is sung while the wedding guests are being served at the table (table song).

8. Podils'ka polka - dance melody from the Podolia region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass

9. Oie ne khody da rozkudryavchyk - love song from the Cherkasy region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: accordion, Anatoliy Kurylo: voice (soloist), Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass, Valentyna Bogdanova: voice (soloist)
The young girl loves a Cossack and asks her mother for the permission to marry him.

10. Polis'ka polka - dance melody from the Polissya region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass

11. Vinochok tantsyouvalnykh melodiy - dance melody from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass

12. Oie hay, hay zelenen'ky - love song from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass, Valentyna Bogdanova: voice (soloist)
A young girl says: "I am pretty and grown-up and want to get married. My husband shall be young and handsome, diligent and willing to work. He shall smother me with caresses.

13. Pleskach - folk dance from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass
The word "pleskach" derives from "pleskaty" and means "to clap ones hands".

14. Yak sluzhyv ya v pana - joking song from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: accordion, Anatoliy Kurylo: voice (soloist), Volodymyr Biletsky: voice, buben (frame drum), Yuri Berbenyuk: double bass, Valentyna Bogdanova: voice (soloist)
I was a farmer's servant. For the first year the farmer payed me with a hen, for the second year with a duck, for the third year with a goose, for the fourth year with a turkey, for the fifth year with a mutton, for the sixth year with a calf and for the seventh year with a girl.

15. Hrechanyky - folk dance from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass
Hrechanyky is the name of a small pie made of buckwheat.

16. Hopak - folk dance from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Anatoliy Kurylo: drums, Yuri Berbenyuk: double bass
An improvised men's dance and also a contest for the single dancers. Who is able to combine the most varied figures (knee bend, jump, rotation, etc.; this dance was also performed with the sabre).

17. Da kosyv bat'ko - table song from the Poltava region
- Valentyna Bogdanova: voice (soloist), Anatoliy Kurylo, Volodymyr Biletsky, Ivan Volynets, Volodymyr Budz: voice
- Accompaniment: Vasil Palanjuk (spoons, bottles and washboard)
A girl loves a young man and says, "Come to see me on Sunday, and I will give you a nice embroidered shirt. Come to see me on Monday, and we will go together to look for the periwinkle (vinca minor, evergreen plant). Come to see me on Tuesday, and we will bind the sheaf.
- When a girl gives a shirt to a man, she agrees to marry him. The periwinkle is used to embellish the wedding dress.

18. Ivanku, ivanku - love song from Western Ukraine (Carpathian)
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: sopilka, Anatoliy Kurylo: voice (soloist), Yuri Berbenyuk: double bass, Valentyna Bogdanova: voice (soloist)
A girls is says to a man, "Come to see me today. I'll give you a sign, when my parents are away."

19. Kosarska - from the Carpathian region
- Volodymyr Budz: frilka (solo)
"Kosarska" means hay melody. It is a melody sung during hay making.

20. Do ney iduchy - from the Carpathian region
- Volodymyr Budz: frilka (solo)
"Do nei iduchy" means "going or walking to her".

21. Vid ney iduchy - from the Carpathian region
- Volodymyr Budz: frilka (solo)
"Vid nei iduchy" means "going or walking away from her".

22. Hutsuls'kiy nahrash (drymba) - from the Carpathian region
- Vasil Palanjuk: drymba - jew's harp (solo)

23. Velykodna melodiya - Easter melody from the Carpathian region
- Vasil Palanjuk: tylynka (solo)

24. Tantsyouvalna melodiya - dance melody from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sosulya (solo), Yuri Berbenyuk: double bass

25. Lemkivsky kolomiyky - dance melody from the Lemko region (Carpathian)
- Valery Golub: folk fiddle, Vasil Palanjuk: dvodenzivka (solo), drum, Volodymyr Budz: accordion, Yuri Berbenyuk: double bass
- The region in Southeastern Poland, where the Rusyn (Ruthenians) lived, was known as Lemko (today: Beskid Niski region). This mountain population, also called Rusyn and Ruthenians, speaks an Ukrainian dialect and belongs to the Greek-Orthodox Church, like the Boiks and Hutsuls. In their liturgical works they used the Cyrillic alphabet. After World War II they were resettled. Some of them returned to their old homeland. This region belonged to the Polish Kingdom of Galicia until the mid-14th century. From 1340 until 1772 it was completely annexed to Poland. After that until 1918, it belonged to Austria (hence the denomination "Ruthenians" for "Ukrainian") and then to the Austro-Hungarian Empire. Today it is again part of Poland.
*Ruthenians: a branch of East-Slavonic and Romanian people who migrated from the Walachy into the Carpathian region and spoke an Ukrainian dialect.
- Kolomyiky (kolomejka) means melody (also couplets* - wild dance of the men).
The name is deduced from the former city of Kolomya in the Ivano-Frankovsk region near Chernivtsi (Bukovina region). In this city, who formerly belonged to the Habsburg Monarchy, Ukrainians, Jews, Poles, and Germans were peacefully living together. There was spoken an Ukrainian dialect with loanwords from the Polish and German language.
*Couplet singing: historical songs, psalms (performed with an instrumental ensemble and the kobza (luth-like instrument)) or lyric songs with a strophic structure, kolyadky (praise songs), marches and other ritual folk-tunes in the form of the singing-dancing.

26. Viye viter - ballad from Central Ukraine
- Volodymyr Biletsky (solo), Ivan Volynets, Anatoliy Kurylo, Volodymyr Budz: voice
Guest: Ivan Tkalenko: bandura
A Cossack addresses the wind, "Tell me, wind, where is the Cossack's fate and his hope, where is the Cossack's glory and his freedom?"

27. Oie pozvol pan khazyan - praise song from Central Ukraine (koladka)
- Anatoliy Kurylo (solo), Valentyna Bogdanova, Volodymyr Biletsky, Ivan Volynets, Volodymyr Budz: voiceThis is a praise song for a man.

28. Ishla divon'ka - praise song from Central Ukraine (koladka)
- Valentyna Bogdanova (solo), Anatoliy Kurylo, Volodymyr Biletsky, Ivan Volynets, Volodymyr Budz: voice
- Volodymyr Budz: little bell
A young girl met three hay-makers and said, „You, my dear hay-makers, cut the grass and make hay for me. The first will get from me silk-grass, the second a golden ring, and the third will get me as his bride."

29. Nebo y zemlya - Christian song from Central Ukraine (koladka)
- Valentyna Bogdanova , Anatoliy Kurylo: (solo), Volodymyr Biletsky, Ivan Volynets, Volodymyr Budz: voice
Heaven and Earth celebrate today the birth of Christ.

30. Oie na richtsy na Yordany - Christian song from the Cherkasy region (koladka)
- Valentyna Bogdanova, Anatoliy Kurylo: (solo), Volodymyr Biletsky, Ivan Volynets, Volodymyr Budz: voice
The mother gave birth to her son at the river Jordan. Her son says to her, "Don't be frightened, you will be called mother of the whole world".

Das Repertoire des Ensembles umfasst traditionelle Lieder und Instrumentalwerke aus der Zentral- und Westukraine, d.h. mündlich überlieferte Volkslieder, die vom täglichen Leben erzählen, oder Lieder, die einen fixen Bestandteil der ganz typischen ukrainischen Zeremonien oder Feierlichkeiten darstellen, oder historische Lieder, Lieder der Kosaken und Balladen. Die Darbietung dieser Lieder erfolgt entweder polyphon oder als Solostück mit Instrumentalbegleitung.
Die Musiker spielen die folgenden traditionellen Instrumente: Sopilka (Schnabelflöte), Dvodenzivka (Doppel-Längsflöte), Tylynka (grosse Längsflöte aus Metall), Frilka (kleine Längsflöte aus Metall), Rrebro (Panflöte), Sosulya (Gefässflöte oder Kuckuck), tsymbaly (Hackbrett), Volksgeige, chromatisches Akkordeon, Drymba (Maultrommel), Bukhalo (Trommel), Buben (Rahmentrommel), Glöckchen, Löffel, Flaschen und Waschbrett.
Die Künstler von Khreshchaty Yar tragen für ihre Darbietungen lokale Kostüme, und in ihren Programmen finden sich Tänze, welche die lebendigen Traditionen sowie die grosse Vielfalt der ukrainischen Folklore widerspiegeln.
Obwohl viele verschiedene Völker durch den geographischen Raum der Ukraine gezogen sind, dort gelebt oder sogar geherrscht haben, gehört die Volksmusik der Ukraine zur slawischen Tradition. Die Vokalmusik ist hauptsächlich heterophon: Zwar ist der Gesang oft mehrstimmig, doch ist immer eine Stimme führend. Das reiche Repertoire umfasst viele berühmte Kosakenlieder und traditionelle Tänze. Diese Musik hat ihre Wurzeln in einer Jahrhunderte alten, oralen Tradition von Bylinen (Epen, erzählende Gedichte) und Duma, das sind lange, lyrische Balladen, in welchen die Heldentaten der Kosaken gerühmt werden.
Die Texte nehmen Bezug auf Geschichte, Landschaften, Charaktere und Eigenschaften der Bevölkerung. Auch Moral und Regeln des Zusammenlebens kommen zur Sprache. Sie stellen einen wahren Schatz dar, der bis zum heutigen Tage erhalten und konserviert wurde.
Die instrumentale ukrainische Volksmusik hat verschiedene Formen. Einerseits gibt es den Solovortrag auf der Sackpfeife, der Geige oder der Bandura usw., andererseits das Zusammenspiel etwa im traditionellen Trio, der so genannten "troista muzyka", welches hauptsächlich zum Tanz oder bei Umzügen aufspielt.
Charakteristisch für die traditionellen Tanzmusik-Gattungen ist ihre ethnische Zugehörigkeit und damit die klare Unterscheidung von regionalen oder lokalen Tanzformen: Kolomiyka (Ukrainische Karpaten und benachbarte Regionen), Hopak und Kossatschok (ganze Ukraine), Polka und volkstümliche Walzer (slawische und nicht slawische Traditionen des europäischen Gebiets). Die Einwirkung polnischer, tschechischer, slowakischer und ungarischer Folklore in den westlichen Gebieten (Karpaten) offenbart sich in der Rhythmik mit ihren stabilen Taktarten, während in den östlichen Regionen eine asymmetrische Rhythmik und asymmetrische Versmasse vorherrschen. In der südwestlichen Gegend der Karpaten (Region Bukowina) findet man Ähnlichkeiten mit moldawischer und rumänischer Instrumentalmusik.
Zur Instrumentalmusik, die nicht zum Tanz aufgespielt wird, gehört die improvisierte Musik der Hirten auf der Geige, der Sopilka (Längsflöte), auf der Trembita (etwa 3 Meter lange Form des Alphorns; eigentlich ein Signalinstrument der Hirten der Bergregionen, das auch bei Hochzeiten oder Begräbnissen Anwendung fand, zu Weihnachten wurden darauf auch Kolyadky, Weihnachtslieder, gespielt) oder auf der Drymba (Maultrommel). Grundlage der Improvisation bildeten meist Lieder.

01. Vesilnyi marsh, Bukovina region - 1:38
02. Arkan, Carpathian - 2:34
03. Staryi hutsul, Carpathian - 3:07
04. Chaban, Bukovina region - 2:52
05. Vesilny melodiy, Carpathian - 1:45
06. Hutsulsky melodiy, Carpathian - 3:20
07. Vesilni pryspivky, Kiev region - 1:50
08. Podils'ka polka, Podolia region - 2:14
09. Oie ne khody da rozkudryavchyk, Cherkasy region - 1:35
10. Polis'ka polka, Polissya region - 1:49
11. Vinochok tantsyouvalnykh melodiy, Central Ukraine - 2:19
12. Oie hay, hay zelenen'ky, Central Ukraine - 1:36
13. Pleskach, Central Ukraine - 1:17
14. Yak sluzhyv ya v pana, Central Ukraine - 3:09
15. Hrechanyky, Central Ukraine - 1:45
16. Hopak, Central Ukraine - 2:48
17. Da kosyv bat'ko, Poltava region - 2:29
18. Ivanku, Ivanku, Western Ukraine (Carpathian) - 1:59
19. Kosarska, Carpathian - 1:02
20. Do ney iduchy, Carpathian - 0:58
21. Vid ney iduchy, Carpathian - 1:11
22. Hutsuls'kiy nahrash, Carpathian - 0:58
23. Velykodna melodiya, Carpathian - 2:40
24. Tantsyouvalna melodiya, Central Ukraine - 1:20
25. Lemkivsky kolomiyky, Lemko region (Carpathian) - 2:00
26. Viye viter, Central Ukraine - 3:48
27. Oie pozvol pan khazyan, Central Ukraine - 1:12
28. Ishla divon'ka, Central Ukraine - 2:08
29. Nebo y zemlya, Central Ukraine - 1:49
30. Oie na richtsy na Yordany, Cherkasy region - 1:08

320 kbps including full scans

Part One
Part Two

Marie-Line Dahomay & Kalindi-Ka - Guadeloupe. Gwo Ka

Posted By Admin On Friday, July 30, 2010 0 comments
Marie-Line Dahomay & Kalindi-Ka
Guadeloupe. Gwo Ka, 2009 (1999)
La musique Gwo Ka est un héritage de l'esclavage aux Antilles et en Guadeloupe en particulier. Autour du Gwo Ka gravitent la danse, le jeu, l'humour... une certaine façon d'être. Aujourd'hui, le groupe Kalindi-ka s'inscrit dans cette mouvance identitaire.
Ce choeur féminin polyphonique et polyrythmique porte une note originale dans l'interprétation des morceaux anciens.
Les compositions les plus récentes s'inspirent de chants traditionnels et sont enrichies de rythmes cubains. Les percussions ka se marient au djembé, au conga et au bata ce qui donne une plus large place à l'improvisation. La chanteuse principale, Marie-Line Dahomay, s'accompagne parfois d'un instrument indien : l'Ektara.

01. Eloi o 1:06
02. Yo 4:17
03. La ou ke ale 4:22
04. Lewoz'ô 4:55
05. Chanson pour l'éclipse 3:11
06. Adoumayi 3:16
07. Rankont 5:03
08. Ti chou 3:32
09. Bwa Deye 3:53
10. Shouk 4:15
11. Wozéline ô 4:45
12. Mayé 4:25

320 kbps including full scans

Part One
Part Two

Solveig Slettahjell Slow Motion Quintet - Good Rain

Posted By Admin On Friday, July 30, 2010 0 comments
Solveig Slettahjell Slow Motion Quintet
Good Rain, 2006
This fourth release by Norwegian vocalist Solveig Slettahjell and the Slow Motion Quintet offers another magical experience. On Good Rain, these creative and busy musicians expand the musical language that they began to explore on their previous release, Pixiedust (Curling Legs, 2005). In addition to Slettahjell, the group includes trumpeter Sjur Miljeteig, formerly of the jazz-pop-electronica outfit Jaga Jazzist and one of the leaders of the art-rock group Friko; keyboardist Morten Qvenild, who leads In The Country and Susanna and the Magical Orchestra; bassist Mats Eilertsen; and drummer Per Oddvar Johansen. The quintet flirts with pop and art-rock and even trip-hop, aiming to position the jazz vocalist as an artist again within a popular form, but avoiding banalities and without giving up its intelligent elitist aroma.
Slettahjell is faithful to her "slow motion" concept, conscious of every detail and nuance of each phrase, and her natural, leisurely alto shines throughout the eleven songs. The sonic palette of the ensemble is much more varied, enveloping Slettahjell's warm vocals with sounds that recall productions by such art-rock sonic explorers as David Sylvian or Talk Talk. The sensitive playing of all players adds vibrant layers that caress and reinforce the massages of the poetic songs.
All the songs revolve around the theme of belief, often an abstract and secular one—in Slettahjell, empowering herself after a failed relationship, or in nature—and they offer some consolation, quite often sounding melancholic. The goal? "To be lonely in a good way," as she sings in Qvenild's "Another Day." Slettahjell's innocent and modest narration of life happiness, despair, fate and hope succeeds in creating a peaceful intimacy capable of touching and melting even the greatest cynic.
Slettahjell seeks some calmness and reconciliation in "Where Do You Run To," faith in her lone self in "Another Day." She trusts fate in "Don't Look Back," draws hope from dreams in "Colour Lullabye," and strongly convinces about the joys of lovemaking on "We Were Indians." Her beautiful a cappella version of V.O. Fossett's gospel song "Do Lord" serves as an introduction to the dark, anguished, modern gospelish "My Oh My," penned by Miljeteig. On the Peder Kjellsby-penned "Good Rain" she refers to "the rain washing the stains of / Another broken day."
As on Pixiedust, Slettahjell beautifully interperts another poem by Emily Dickinson, "The Moon." The playful, minimalist version of Johnny Mercer's "P.S. I Love You," the last song on this release, offers some hopeful closure.
Beautiful. - Eyal Hareuveni

The three ACT albums by Norwegian singer Solveig Slettahjell (pronounced Sulvay Shlet-i-yell) are branded "Vocal Jazz" - possibly a smart commercial ploy, given the success of jazzy singers such as Jamie Cullum, Lizz Wright and Madeleine Peyroux. However, Slettahjell is a one-off who takes a delightfully original approach to interpretation, with her fiercely contemporary Slow Motion Quintet, which includes Sjur Miljeteig (trumpet) and Morten Qvenild (keyboardist). She sings with beautiful intonation, in the faultlessly enunciated English that Nordic divas have made their own, yet there's nothing chilly or mannered in her vocals. You sense that she has listened to all the great singers, but rather than copying stylistic tricks, has taken their core values to heart. The earlier albums (Silver and Pixiedust) are worth getting, but Good Rain marks a significant improvement in the quality of the original material, by Miljeteig in particular. The trumpeter's We Were Indians sounds like a indie classic; My Oh My is a glorious anthem; Don't Look Back is fabulously sleazy. If you like Billie Holiday, the Beatles, Miles Davis, Joni Mitchell and Tom Waits, then Good Rain is the album to bring you music. - John L. Walters

01. Where do you run to - 05:27 (Slettahjell, Solveig / Qvenild, Morten)
02. Another Day - 05:21 (Qvenild, Morten)
03. Don't look back - 05:28 (Miljeteig, Sjur)
04. Colour lullabye - 02:18 (Slettahjell, Solveig)
05. Flawless - 04:18 (Qvenild, Morten)
06. We were Indians - 04:25 (Miljeteig, Sjur)
07. Do Lord - 01:59 (Fossett, V.O.)
08. My oh my - 06:34 (Miljeteig, Sjur)
09. Good rain - 04:07 (Kjellsby, Peder)
10. The moon - 04:19 (Qvenild, Morten / Dickinson, Emily)
11. P.S. I love you - 01:53 (Mercer, John)
12. We were Indians (single) - 03:43 (Miljeteig, Sjur)

Solveig Slettahjell – vocals
Sjur Miljeteig - trumpet
Morten Qvenild - piano
Mats Eilertsen - bass
Per Oddvar Johansen - drums

320 kbps including full scans

Part One
Part Two

Jean-Claude Gollet-Zea & Le Sinai d'Abidjan - Djembe Folies

Posted By Admin On Friday, July 30, 2010 0 comments
Jean-Claude Gollet-Zea & Le Sinai d'Abidjan
Djembe Folies, 2008
Jean-Claude Gollet-Zea is one of those young African musicians who learned his art from the masters of the djembe, and has subsequently succeeded in developing his own personal style. He is considered to be one of the finest djembe players performing today.

01. Abodan
02. Zaouly
03. Gnakhouy Moufa
04. Polie
05. Diarabi
06. Zagrobi
07. Mezi Kanouale
08. Mangui
09. Abissa
10. Koufana Teda

320 kbps including full scans

Part One
Part Two

Suoni d'Irpinia. Balli e canti tradizionali in Irpina, Vol.3

Posted By Admin On Thursday, July 29, 2010 0 comments
Suoni d'Irpinia. Balli e canti tradizionali in Irpina, Vol.3, 2000
Giuseppe Michele Gala's Taranta Ethnica series is a superb job of work; 21 CDs of traditional music, mostly from the south of Italy and the islands, and mostly recorded in the last ten years. It is probably be what I would be trying to do if I knew of any English singers or musicians, still performing, who were not already working with John Howson or a few other established record producers. However, it has to be said that the tradition, while still extant in Gala's area, is well past its heyday, and that some of these CDs - extremely interesting and utterly admirable as they are - can be less-than-overwhelming listening to a non-Italian.
So far, the great exception to this has been the wonderful Sardinian dance music compilation Ballos Sardos Vol 1 (TA015), reviewed in these pages some while ago and available for sale from this site for the past six months or so. This present offering has to be it's equal in every way - though it deals with songs rather than music - and it, too, is now available here - see our Records page.
It, like the Ballos Sardos CD, is slightly out of the ordinary for Taranta releases, in that it includes performances by some younger singers whose interest in the music has been kindled by the revival rather than passed on by family transmission. Whether this makes their performances more easily accessible to a British listener I don't know. Certainly, they don't stand out as being 'folky-sounding' in the way they almost certainly would in an English context ... maybe because the traditional performers were all still available to teach and criticise; something a sound recording can never do! I was entirely unaware of the difference until I read the booklet notes. All I knew was just how wonderful it all was!
The CD starts with perhaps the best opening track I have ever heard - one male and two female singers, accompanied by two accordions, a clarinet, two tamburelli and several castagnole play a tarantella from Montemarano, recorded just last year. The instruments begin at a fair old clip, joined by the voices after about one minute, and the whole thing - without greatly accelerating in speed - manages to get more and more and more exciting as the track progresses. When it comes to an end, after 11¼ minutes, you are left wishing they'd managed another five minutes or so! You may imagine that a half-minute sound clip would be quite inappropriate. As the booklet says, this tarantella from the mountains is a far cry from the 'dubious versions of 'Neapolitan' tarantellas which became popular in the cities among the educated classes in the 19th century'. It should be pointed out that Irpinia is the mountainous area to the east of Napoli in the Campagnia regione.
The second track finds the same two women joined by a third for A legna alla muntagna (In the Woods on the Mountain), a beautiful slow serenata which, stylistically, sounds as if it would be completely at home amongst the Rice Girls of the Padana plain in the North. Next, we move to Paternopoli with a Calascionata and another tarantella from a male singer and tamburella player accompanied by a single organetto (melodeon). These are superb - and the singer sounds so much like Enrico Frongia, the Sardinian singer with Ritmia. n fact, much of the singing on this brilliant CD could, to my ears, easily come from other parts of Italy entirely, and is quite unlike many of the other Taranta southern recordings mentioned above - or, indeed, much of the music recorded by Lomax and Carpitella here in the fifties. In addition to the two towns already mentioned, there are also recordings from Volturara, Castelvetere, Cassano Irpino, Montella and Nusco to be found amongst the 19 tracks.
This is not really the place for a track by track description but, take my word for it, every single one is splendidly performed, exciting, interesting ... and great listening. - Rod Stradling

01. Tarantella di Montemarano
02. A Legna Alla Muntagna
03. Calascionata
04. Tarantella di Paternopoli
05. Matinata
06. Tarantella di Volturara
07. Trapolanella
08. Mariuccia ('Na Pippa 'Na Cannuccia)
09. Serenata
10. Quadriglia
11. Pampanella
12. 'Nu Juorne Fui 'Nvitato A Caccianë
13. Batticulo (vatticulo)
14. Pastorella
15. Tarantella di Nusco
16. Serenatella
17. Tarantella di Montemarano
18. Tarantella con flauto doppio
19. Suonata di carnevale morto

320 kbps including full scans

Part One
Part Two

The Brazz Brothers Ngoma

Posted By Admin On Thursday, July 29, 2010 0 comments
The Brazz Brothers
This album draws on African music and rhythms for inspiration and like all the other Brazz Brother albums is aimed at appealing to a wide audience - not just brass band geeks! (Maybe NOT brass band geeks?!?) It is relaxing, fun has some funky rhythms and includes different sound effects (the cattle bells ringing as the flock is driven on), African vocals - singing, shouts & calls, and African drumming.

01. Zawose
02. Ejala
03. Kongolela
04. Hey, Hey Beautiful Girl
05. Maasai
06. Tintiyana
07. African Marketplace
08. Maraba Blue
09. Chisa
10. My Kind Of Jazz

Jarle Forde - trumpet, flugelhorn, vocals
Jan Magne Forde - trumpet, flugelhorn, vocals
Runar Tafjord - french horn, vocals
Helge Forde - trombone, vocals
Stein Erik Tafjord - tuba, vocals
Marcus Lewin - drums, vocals
Hukwe Zawose - vocals
Anna Lewin - vocals

320 kbps including full scans

Part One
Part Two

Askin Serbetci, Ibrahim Turmen & Omar Faruk Tekbilek

Posted By White Rose On Wednesday, July 28, 2010 0 comments
Play Your Cymbals CD with guest artist Omar Faruk Tekbilek is perfect for sincere Middle Eastern music lovers and bellydancers.
Studio Askin has produced Play Your Cymbals, a high energy recording that the bellydance industry and many fans have been waiting for. Each selective piece included in this Middle Eastern music CD is recorded especially for everyone's listening and dancing pleasure.
Play Your Cymbals features special guest artist and world musician, Omar Faruk Tekbilek, master percussionist and vocalist Ibrahim 'the Sultan' Turmen, and Askin Serbetci with Mid-Eastern keyboards

ASKIN SERBETCI , his musical inspiration started as a child learning to play the clarinet for the school orchestra. At the age of 13, he further advanced his passion by learning to play Kanun. His talent has earned him to get accepted by "The Sultans" as keyboard player and working tediously with his mentor "Omar Faruk Tekbilek. Together, they traveled the country performing various events and building there musical repertoire which accelerated his professional career. He continues his passion for music as a composer, producer and recording engineer specializing in "World Music". His compositions include a variety of genres, encompassing music from eastern cultures and a blend of eastern instruments and patterns mixed with western styles.

OMAR FARUK TEKBILEK, honored as a peacemaker and virtuoso, is now one of the most sought-after Turkish/Middle Eastern musicians living in the United States. Relentless worldwide touring and welcoming openness to music from all cultures position him as a rare artist who transcends political obstacles while maintaining traditional sensibilities in a way few artists can manage. He is a virtuoso on several instruments: The nay (bamboo flute), the zurna (double-reed oboe like instrument), the baglama (long-necked lute) and percussions , as well as a masterful performer on dozens more.

Track List
01. Donmelisin
02. Sevemez Kimse Seni
03. Olmaz Olmaz
04. Ney Taksim
05. Drum Solo
06. Heyhat (Finale)
07. Deli Gonul
08. Butun Meyhaneler
09. Najiye
10. Hadi Hadi3
11. Araby
12. Yaleil
13. Play Your Cymbals

Download HERE

Dilek Koç - Sevdalim Aman

Posted By White Rose On Wednesday, July 28, 2010 0 comments
Dilek Koç (pronounced Dilék Kotch) is a very good and musically well educated Turkish singer who lives in Greece. She sings both contemporary (Sezen Aksu or Haris Alexiou style) songs, as well as Osmanli (classical Turkish) songs and türküler (folk Turkish) or Greek rebetika and older Asia Minor songs.
She has participated in a few records but has produced only one personal album, called "Karsi"; its subtitle being: "Songs from the common heritage of Greeks and Turks of Asia Minor".
Karsi (meaning "facing each other", in Turkish) is also the name of the group performing in the album, consisting of Greek musicians interested in the music of all Balkans and Eastern Mediterranean

Track List
01 - Ud Taksimi
02 - Bekledim De Gelmedin
03 - Sallasana Sallasana ( Glykeria)
04 - Indim Havuz Basina
05 - Keman Taksimi
06 - Canakkale Icinde
07 - Berberim Oglan ( Glykeria)
08 - Sevdalim Aman ( Glykeria)
09 - Dere Geliyor Dere
10 - Pencereden Ay Doglu
11 - Pencereden Kar Geliyor
12 - Cek Deveci
13 - Cokme
14 - Su Sille Den

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Stars On Classic By Classic Dream Orchestra

Posted By White Rose On Wednesday, July 28, 2010 0 comments

Track List
CD 1

1. Another Day In Paradise
2. Massachusetts
3. Somebody To Love
4. Knowing Me, Knowing You
5. Immer wieder geht die Sonne auf
6. Michelle
7. Sailing
8. Bridge Over Trouble Water
9. Candle In The Wind
10. Love Me Tender
11. Hey Jude
12. Tonight's The Night
13. Tom Traubert's Blues
14. I Guess That's Why They Call It The Blues
15. Chiquitita
16. How Deep Is Your Love
17. Against All Odds
18. Bohemian Rhapsody
19. Cecilia
20. It's Now Or Never


1. We Are The Champions
2. The Sound Of Silence
3. I Don't Want To Talk About It
4. Are You Lonesome Tonight
5. In The Air Tonight
6. In The Ghetto
7. Nikita
8. The First Cut Is The Deepest
9. Let It Be
10. Your Song
11. Who Wants To Live Forever
12. Yesterday
13. A Groovy Kind Of Love
14. Fernando
15. More Than A Woman
16. This Old Heart Of Mine
17. Siebzehn Jahr, blondes Haar
18. To Love Somebody
19. The Boxer
20. Thank You For The Music

Download HERE
Download HERE

Can Atilla - Altınçağ

Posted By White Rose On Wednesday, July 28, 2010 0 comments

Track List
CD 1
1.Önce Günes Tutuldu
2.1453 - Fetih
4.Yildizlarin Kulesi Galata
5.Karadan Giden Gemiler
6.Bir Dilek Tut Simdi
7.Vivaldi Istanbul'da
8.Peçenin Ardindaki Gözler
9.Kizil Kaftan
10.Fatih Tek Basina
11.Cem Sultan'in Hapishane Günlügü
12.Kahramanlarin Hikayesi
13.Surlarin Önünde
14.Aksemsettin'in Rüyasi
15.Son Mektup
16.Padisah Dansi
17.Seramonik Mars

CD 2
2.Leb-i Derya
3.Aya Irini'de Gölgeler
4.Galata Kulesi'nin Yapilisi
5.Sirli Gemiler
6.Sahi Topu
7.Gece Dokunuslari
8.Ayasofya Melekleri
9.Rumeli Hisarinin Yapilisi
11.Hürrem Sultan Askina
12.Mara Despina
13.Hazarefen Semada

Download HERE
Download HERE

Anouar Brahem - Conte de l'Incroyable Amour

Posted By MiOd On Tuesday, July 27, 2010 2 comments
Conte de L'incroyable Amour is Tunisian composer and oud virtuoso Anouar Brahem's follow-up to his excellent ECM debut, Barzakh. Like its predecessor, this release contains original material that mixes Arabic music and jazz improvisation and features a stellar band comprised of some of Turkey's finest musicians (this time out Brahem is joined by clarinetist Barbaros Erkose, nay (reed flute) player Kudsi Ergune, and the percussionist from Barzakh, Lassad Hosni). In contrast to Barzakh's livelier mood, though, the sound here is more meditative and even stark at times, especially on solo flights by both Brahem ("Iram Retrouvee") and Erkose ("Etincelles") and by way of Erguner's ethereal improvisations ("Diversion"). The pace picks up on the sympathetically played and joyous ensemble piece "Conte de L'incroyable Amour" and on the impassioned Brahem and Erkose duet, "Nayzak." ECM's typically sparse and airy production compliments Brahem's ascetic material without making it sound too dry. A wonderful album that, upon repeated listening, reveals many transcendent moments. ~ Stephen Cook, All Music Guide

Describing music is not a grateful task- one reason for skipping it in my review. However much you might know about the instrumentation, the measures, the chord changes, it'll avail you nothing until you've listened to it for yourself. In the case of Anouar Brahem's "Conte de l'incroyable amour", the listening experience is more than rewarding. The seemingly minimalistic music grips you tight when you let yourself get lost in it. This grip is in no way aggressive, it rather resembles the passionate grip of a lover. When you have the music as a background while going about your business , you won't wish for a better companion. It's not just sound in your ears- it's rather vibrations of love flowing from your speakers.

The centerpiece of the album is the title track, "Conte de l'incroyable amour". Everything evolves around it, the theme even returns in the epilogue. Yes, this is a story of unbelievable love, whatever it may be for you. Anouar Brahem pulls the strings of his oud and your heart at the same time. You never get sentimental, but full of love for life.

[01]. Etincelles
[02]. Chien Sur Les Genoux de la Devineresse, Le
[03]. Oiseau de Bois, L'
[04]. Lumiere du Silence
[05]. Conte de I'incroyable Amour
[06]. Peshrev Hidjaz Homayoun
[07]. Diversion
[08]. Nayzak
[09]. Ballements
[10]. En Souvenir d'Iram
[11]. Iram Retrouvee
[12]. Epilogue

Anouar Brahem : oud
Barbaros Erköse : clarinet
Kudsi Erguner : nai
Lassad Hosni : bendir,darbouka

FLAC (EAC Rip): 220 MB | MP3 - 320 kbs: 135 MB | Scans

Part 1 | Part 2 | Part 3

OR MP3 320 kbps

Buddhadev Dasgupta - Nidhi. Rich Heritage

Posted By Admin On Tuesday, July 27, 2010 0 comments
Buddhadev Dasgupta
Nidhi. Rich Heritage, 2004
I was born in 1933 at Bhagalpur in Bihar. My father was a government servant on transferable duty. Being a music enthusiast, he made it a point to establish contact with local musicians wherever we moved, and quickly became a part of the local music circle.
As a child, I showed no particular inclination towards music. My parents' early attempts at getting me interested were most disheartening. The turning point came when I was nine years old. We moved to Rajshahi (in present-day Bangla Desh), where the local Zamindar (feudal chieftain), and also the region's most distinguished musician, was an exceptionally handsome man called Radhika Mohan Maitra.
For all his wealth and social status, Radhu Babu, as he was affectionately called, was an unassuming man. At my father's invitation, he agreed to give a performance at our house. I cannot recall if his music made much of an impression on me. But, the visual image of this attractive man, playing his tantalizing instrument, captivated my imagination. It was pure, and simple, hero-worship.
I desperately wanted to be like him, and to learn from him. My father vetoed the idea on the grounds that the transferable nature of his job would deny continuity to my training. When this domestic dispute was revealed to Radhu Babu, he pleaded my case with my parents.
My father was candid with him. He argued that I was not an heir to ancestral lands, and would have to qualify myself professionally to make a decent living. Radhu Babu assured my father that if, at any stage, my music interfered with my education, he would suspend my training in music. On this condition, I was allowed to study with Radhu Babu. In less than a year thereafter, my family moved to Khulna (also in present-day Bangla Desh). Radhu Babu, by now a close friend of the family, continued to visit us from Rajshahi -- for a few days each time -- and to teach me.
Then came independence, and the partition (1947). My father was transferred to Calcutta, the provincial head quarters of undivided Bengal, which remained in India. Radhu Babu lost all his ancestral properties in East Bengal, and also moved to Calcutta to make a living as a professional musician. I was fifteen then. From then onwards, right upto my Guru's demise in 1981, I had permanent access to him.
In Calcutta, Radhu Babu visited us twice or thrice a week, at any time on any day. There were days when he would spend hours socializing with my parents; and others when he would land up an at an unearthly time and grill me for hours. During semester breaks at my college, I lived with him to learn. It was a Guru-Shishya relationship in the traditional mold.
My Guru was a strict disciplinarian. The slightest sign of insubordination provoked a reprimand far more hurtful than the physical violence, with which Ustad Alauddin Khan is reported to have disciplined his students. Throughout my years in formal education, my Guru remained my father's staunch ally in demanding academic excellence from me as the price for the freedom to pursue my passion for music.
Academic and musical pursuits coexisted comfortably until I reached the fourth year of my degree course at the Bengal Engineering College. At that stage, the conflict between my passion and my vocational direction became crushing. I had been brainwashed into believing that getting anything less than a first class amounted to failure. For the first time, I feared the such a possibility, and considered quitting engineering studies in favour of a career in music.
My father was reassuring, but blunt. He offered a deal. I had his permission to get a second class, if that was inevitable; but I had to continue. In his opinion, I had the makings of a fine musician; but I just did not have what it takes to be another Ali Akbar Khan. Ali Akbars are not made; they are born , he said. I yielded; but I think that was a mistake.
Contrary to everyone's fears, I got a first class mechanical engineering degree in 1954, and started my career with the Calcutta Electric Supply Company, which I served until retirement at the age of fifty-five in 1988.
An engineering career with a power supply utility cannot be a five-day-week, nine-to-five job with casual and privilege leave benefits. Even over Weekends, I was never sure of being able to travel for concerts. Going abroad for concert tours of two or three months was inconceivable. For almost ten of these thirty-five years in service, I had to live on the premises of the generating station, and be on-call 365 days a year, 24 hours a day.
Except in and around Calcutta, I had virtually no presence on the concert platform. My primary access to audiences at large was through my broadcasts over All India Radio's local (medium wave) station. But, in those days, Calcutta radio was received avidly, even if faintly, by serious music lovers from all over the country. Were it not for All India Radio, I would have died unknown.
I had started performing over the radio in 1949, at the age of sixteen. In 1961, when I was twenty-eight, I got my first booking for the National Programme of Music broadcast live from Delhi, on Saturday nights, and relayed nationally over all stations. In a year, a maximum of twenty-six Hindustani musicians, including the dead, get this honor.
This momentous opportunity almost eluded me. I was, at that time, in charge of shift operations. On the eve of my departure for Delhi, there was a breakdown at the power station. An absence of twenty-four hours even over a weekend could not be permitted. My colleagues explained to my English boss my caliber as a musician and the magnitude of the opportunity and the honor. I made it to the airport just in time.
My entire musical journey has been a story of walking the tight rope between my profession and my passion. Only after 55 am I giving to music what it has always deserved. The economic security of my profession has enabled me to remain faithful to my musical heritage, and to resist pandering to the popular taste. But, in the process, my music has been deprived of something -- I wish I knew what. - Buddhadev Dasgupta

1. Gaud Malhar - Alap, Jod, Jhala
2. Gaud Malhar - Vilambit Gat
3. Mian Malhar - Drut Gat

Rec. Live 1988

Buddhadev Dasgupta - sarod
Anand Gopal Bandopadhyay - tabla

320 kbps including full scans

Part One
Part Two

Barkat Ali Khan - Sadabahaar. Rare Gems

Posted By Admin On Tuesday, July 27, 2010 1 comments
Barkat Ali Khan
Sadabahaar. Rare Gems, 2003
Ustad Barkat Ali Khan (1905-1962) has left a lasting impression on various genres of Hindustani light classical music. He was younger brother of Ustad Bade Ghulam Ali Khan. By several accounts Barkat Ali Khan was a superior Thumri singer but had to content himself by playing second fiddle to his elder brother.
After partition of India, Barkat Ali Khan migrated to Pakistan and concentrated on the lighter aspects of Hindustani classical music. He made a great contribution to North Indian light classical music. He was acknowledged as one of the greatest Thumri, Dadra, Geet and Ghazal artists. His outstanding rendering techniques of Purab and Punjab Ang have no match. He captured the audience all over India and Pakistan with his unique style of music.

1. Kaun Gali Gayo Shyam
2. Kaise Gujar Gayee
3. Tere Bin
4. Pag Ghungroo
5. Tum Bhool Gaye
6. Mohabbat Jab

Rec. 1950s

320 kbps including full scans

Part One
Part Two

Gangubai Hangal - Kirana Gharana Vol.1

Posted By Admin On Tuesday, July 27, 2010 0 comments
Gangubai Hangal
Kirana Gharana Vol.1, 2004
1. Maru Bihag - Khayal Vilambit Ektal
2. Basant - Khayal Drut Ektal
3. Bhairavi - Punjabital

320 kbps including full scans

Part One
Part Two

İstanbul Sazendeleri - Sazende Faslı 1

Posted By White Rose On Monday, July 26, 2010 1 comments

Track List
o1 – Ussak Pesrev / Zurnazenbasi Ibrahim Aga
o2 – Rüineva Saz Semaisi / Gazi Giray Han
o3 – Kanun Taksimi / GökseL Baktagir
o4 – Müstear Saz Semaisi / IrticaL Dede
o5 – Rast Pesrev / Anonim
o6 – Rast Pesrev ( Dü-Sems ) / Farabi
o7 – Ud Taksimi / YurdaL Tokcan
o8 – Bayati Saat Pesrevi / Kemani Hizir Aga
o9 – Ussak Pesrev / SuLtan I. Mahmud
1o – Ney-Kemençe Müsterek Taksimi / VoLkan YiLmaz – SeLim GüLer
11 – Pesendide Saz Semaisi / SuLtan III. SeLim
12 – Rast Pesrev / Serif ÇeLebi
13 – UzzaL Pesrev / SuLtan IV. Murad

Download HERE

Ahmad Fuad Hassan - Khan Al Khalili

Posted By White Rose On Monday, July 26, 2010 1 comments

Track List
01. Abeer
02. Khan Al Khalili
03. Layalina
04. Salma
05. Ayob
06. Al Hob Zaman
07. Al Qahera
08. Domo’aa Al Layel
09. Darawesh

Download HERE

Angilley – Havana Club

Posted By White Rose On Monday, July 26, 2010 0 comments

Track List
01. Havana Club
02. Pequenita
03. Marcha De Los Ratones
04. Figarilla
05. What's Up!
06. Fruta Madura
07. Chapas Voladas

Download HERE

Dinkar Kaikini Vol.1 (Baithak Series)

Posted By Admin On Sunday, July 25, 2010 2 comments
Dinkar Kaikini
Vol.1 (Baithak Series), 2004
1. Salagavarali
2. Hindol Bahar

320 kbps including full scans

Part One
Part Two

Siddheshwari Devi - Poorab Thumri Vol.2 (Baithak Series)

Posted By Admin On Sunday, July 25, 2010 3 comments
Siddheshwari Devi
Poorab Thumri Vol.2 (Baithak Series), 2004
1. Saba rasa barase nayanava
2. Shama bhai bina shyama
3. Are guiya daravajava me
4. Avo avo nagariya

320 kbps including full scans

Part One
Part Two

Badi Motibai - Poorab Thumri Vol.3 (Baithak Series)

Posted By Admin On Sunday, July 25, 2010 0 comments
Badi Motibai
Poorab Thumri Vol.3 (Baithak Series), 2004
1. Kamod - Khayal
2. Mishra Sindhura - Thumri
3. Bageshree - Khayal
4. Mishra Kafi - Tappa
5. Mishra Jhinjhoti - Tappa

320 kbps including full scans

Part One
Part Two

Zia Mohiuddin Dagar - Been, Sitar (Vadya Series)

Posted By Admin On Sunday, July 25, 2010 1 comments
Zia Mohiuddin Dagar
Been, Sitar (Vadya Series), 2004
1. Miyan Malhar - Alap (Sitar) 28.39
2. Darbari Kanada - Alap (Been) 28.49

320 kbps including full scans

Part One
Part Two

Dave Liebman & Michael Stephans - Nomads

Posted By Admin On Sunday, July 25, 2010 0 comments
Dave Liebman & Michael Stephans
Nomads, 2007
Nomadic communities are often thought of as those peoples who travel from place to place, residing in each locale for only a brief period of time before moving on. Their lives appear to be fluid and ever changing, as dictated by the nature and demands of their momentary surroundings.
Whitney Balliett, the esteemed and much-imitated jazz writer for the New Yorker magazine, once called jazz “the sound of surprise.” Maybe another way to put that would be to say that when listening to (or playing) improvised music, you should always be ready to expect the unexpected. These descriptive statements are certainly true of this date. Dave Liebman and I had no preconceptions here, other than the compositions we would play and the instruments we would play them on. The rest, to our way of thinking, would take care of itself.
When we decided to undertake this project and record a series of short- and longer-form duets, one of our goals was to extend the boundaries of our usual roles (saxophonist / drummer) in order to traverse a musical landscape that celebrates the traditional, the contemporary, and the surreal aspects of many genres of music. Utilizing the intimacy of the duo format, we each play seven instruments on original compositions, songs from the American songbook, classic jazz repertoire, and totally improvised pieces – using genres such as jazz, classical, world music, and hip hop as vehicles to fuel our creative energies. Each track on this CD is different from the other, as Lieb and I – in true nomadic fashion – stop here and there long enough to explore some of the many facets of the musical art.
Each composition, with the exception of the totally improvised “Shape Shifters” and “Orange Moon,” was chosen by us for its expressive potential. Our decisions about what instruments would be utilized on each track, were made much the same way a painter like Vasarely or Klee would choose to present his colors and shapes on a canvas. Lieb, who is known world-wide as a master saxophonist, expanded his pallet on these duets by exhibiting his considerable skills on the c-flute, the wooden flute, piano, drums, and voice. In addition to the drums, I played pocket cornet, the rarely heard e-flat alto valve trombone, piano, Tibetan singing bowls, assorted percussions, and I also utilized my voice, as both a tone color and as a storyteller.
Both Lieb and I very much enjoyed breathing life into these duets. As you listen to our music, you’ll hear the entire range of what two open and empathetic human beings can do, purely for the love of doing it. And what could be better than that? - Michael Stephans

Mike mentions the word storyteller in his notes. I think that what we have done here is exactly that – telling stories, much like the ancient elders gathered around the fireplace, reciting for the community. By the time you get to our stage of life as a human being and musician, it is after all, truly storytelling. It is the tale of one’s life in conjunction with a partner(s), recited in the moment, using one or another musical vehicle and in this case, instrument, as a means of expression. Nomads tell stories for the ages – accumulated wisdom for all to dig. Of course, it goes without saying that such a level of communication can only be accomplished with one’s musical peers and in Mike, I have found another brother of the highest order. - Dave Liebman

Veteran saxophonist Dave Liebman is no stranger to experimentation, cutting his teeth playing with Elvin Jones and then Miles Davis' groundbreaking fusion group in the '70s. Drummer/poet Michael Stephans has played with everyone from Pharoah Sanders and John Patitucci to classic rock legends David Bowie and The Rolling Stones. On Nomads, the duo takes on many genres and multiple instruments; the result an ambitiously eclectic album, wandering the musical gambit from originals to reharmonized standards and forgotten pieces by jazz greats.
The CD opens with a lone flute followed by the primitive beating of hand drums, evoking the untouched, desolate landscape of the black and white photos that fill the liner notes. Quickly, the duo change feels with a joyous rendition of Keith Jarrett's "The Windup," featuring an extended drum solo and Liebman playing the perky melody on soprano sax.
One of the most satisfying discoveries of Nomads is Liebman's impressive ability as a pianist. He plays the rarely heard Duke Ellington piece "Dusk" with a light, confident touch that cuts to the beautiful melancholy lurking below the surface. His solo reharmonization of the Burke-Van Heusen classic "Imagination" provides an amuse bouche of sorts for the main course that is "Shape Shifters," a 14-minute opus that has Liebman moving from slow and moody soprano sax phrases to finely constructed piano reminiscent of Bill Evans to a ferocious tenor finale.
Stephans excels not only at holding down the beat and supplying many flourishes, but also at playing a mean alto trombone on the fast-paced "Connect the Dots," throwing in a quick melodic reference to "Luck Be a Lady" while Liebman keeps the beat on the drums. Stephans' wordsmith prowess comes to the foreground in "Mingus Ah Um," a jazz-hop interpretation of a poem he wrote for the great bassist.
Nomads is definitely not for the traditional listener. It's full of twists through seemingly disparate genres, subverting popular thought of what a contemporary jazz album should be. While the transitions between songs are often jarring, the whole is immensely satisfying and electrifying. - Chris Kompanek

01. Nomads
02. The Windup (Keith Jarrett)
03. Dusk (Duke Ellington)
04. Get Happy (Harold Arlen/Ted Koehler)
05. Sparrows
06. Mingus Ah Um
07. Orange Moon
08. Tie Those Laces
09. Down And Gone
10. Connect The Dots
11. Honeysuckle Rose
12. Imagination
13. Shape Shifters
14. Ephemeral

Dave Liebman - wood flute, soprano saxophone, tenor saxophone, piano, drums, spoken word
Michael Stephans - percussion, pocket cornet, piano, drums, alto trombone

320 kbps including full scans

Part One
Part Two

Fairuz - At The Royal Festival Hall - London

Posted By White Rose On Saturday, July 24, 2010 1 comments
At The Royal Festival Hall London 1986
Imagine you're standing in front of Royal Festival Hall in London on 13th of June 1986. It's 7:30 PM. It doesn't take long to realize it's one of the greatest summer nights of that year. Fairuz is performing in there. It really is something. While the Olympia album had the Rahbani brothers influence, this one was conducted by Ziad. The musical arrangements of the songs are very clear to be of Ziad. It seems that these same arrangements gave Ziad a lot of help when he started working on the To Assy album. If not for the date on the album, you'd think this concert was performed after the release of the To Assy album. The quality of the album is great and like the Olympia album, the clarity makes you feel you're there. Ziad played on the Piano and he did great by managing to play with the Orchestra in perfect harmony. He also made Khodni beautifully. Really amazing, only the Piano with Fairuz. Then Beaoulou Saghair Baladi starts and the applause gets warmer and warmer. Definitely the album doesn't include the entire concert. Maybe they cut out the other instrumentals and the choir songs. After all, How can a Fairuz concert be 45 minutes only? The booklet has articles in the three languages (Arabic, French and English) as well as pictures from the concert.
All Songs were written by: The Rahbani Brothers except:
The music of 1,3(and lyrics),7,8 by Ziad Rahbani.
Poem of 8 by Talal Haydar
Music and lyrics of 13 by Sayd Darwish
All music arranged by Ziad Rahbani except 11 and 13.

Track List
01. Introduction
02. Shatty Ya Deney
03. Addeysh Kan Fi Nass
04. Sanarjiou Yaouman
05. Nassam Alayna
06. Hela Ya Wasse'
07. Tadmur (Instrumental)
08. Wahdon
09. Nehna Wel Qamar
10. Khodni
11. Beoulou Zghayar
12. Trab Antoura
13. Zourouni

Download HERE

Fairuz - Almahaba (Love)

Posted By White Rose On Saturday, July 24, 2010 1 comments

Track List
01.Ya Nassima Douja
02.Aatini Nay
03.La Tass'alouni
04.Kad Ataka Ya'tazirou
05.Ya A'akidal Hajibayni
06.Sakana Elleil
07.Rudani Ela Biladi
08.Kassidat Loubnan

Download HERE

Olli Mustonen - Balakirev, Tchaikovsky, Mussorgsky

Posted By Admin On Saturday, July 24, 2010 1 comments
Olli Mustonen
Balakirev, Tchaikovsky, Mussorgsky, 1992
Olli Mustonen has a unique place on today’s music scene. As a pianist, he has challenged and fascinated audiences with his brilliant technique and startling originality. In his role as conductor, he founded the Helsinki Festival Orchestra and as a composer he forms part of a very special line of musicians whose vision is expressed as vividly in the art of re-creative interpretation as it is in their own compositions. Born in Helsinki, he began his studies at the age of five with Ralf Gothoni. He subsequently studied piano with Eero Heinonen and composition with Einojuhani Rautavaara. As a soloist, Mustonen has worked with most of the world’s leading orchestras, including the Berlin Philharmonic, Chicago Symphony, Cleveland Orchestra, Philharmonia Orchestra and The Royal Concertgebouw. This season he will appear as a soloist with the Atlanta Symphony Orchestra, Orchestre de Paris and Warsaw Philharmonic Orchestra. Increasingly, Mustonen is also making his mark as a conductor; this season brings engagements with the Bern Symphony Orchestra, New Jersey Symphony Orchestra and Melbourne Symphony Orchestra, with whom he embarks upon a complete cycle of Beethoven piano concerti as soloist/director.

01. Mily Alexeyevich Balakirev - Islamey
Pyotr Ilyich Tchaikovsky - Children's Album
02. I. Morning Prayer
03. II. Winter Morning
04. III. Mama
05. IV. Hobbyhorse
06. V. Toy Soldiers' March
07. VI. The New Doll
08. VII. The Sick Doll
09. VIII. The Doll's Funeral
10. IX. Waltz
11. X. Polka
12. XI. Mazurka
13. XII. Russian Song
14. XIII. Peasant Playing An Accordion
15. XIV. Kamarinskaya (Russian Dance)
16. XV. Italian Song
17. XVI. Old French Song
18. XVII. German Song
19. XVIII. Neapolitan Song
20. XIX. Nursery Tale
21. XX. Baba Yaga The Witch
22. XXI. Daydreams
23. XXII. Song Of The Lark
24. XXIII. Organ Grinder's Song
25. XXIV. In Church
Modest Petrovich Mussorgsky - Pictures At An Exhibition
26. I. Promenade
27. II. Gnomus
28. III. Promenade
29. IV. Il vecchio castello
30. V. Promenade
31. VI. Les Tuileries
32. VII. Bydlo
33. VIII. Promenade
34. IX. Ballet des poussins dans leurs coques
35. X. Samuel Goldenberg und Schmuyle
36. XI. Promenade
37. XII. Limoges: le marché
38. XIII. Catacombae
39. XIV. Cum mortuis in lingua morta
40. XV. La Cabane sur des pattes de poule
41. XVI. La Grande Porte de Kiev

flac including full scans

Part One
Part Two

Guem & Zaka - Giants of Percussion

Posted By Admin On Saturday, July 24, 2010 1 comments
Guem & Zaka
Giants of Percussion, 2003
01. L'Abeille
02. Poursuite
03. Serpent
04. Girafe
05. Afrique Tango
06. Nostalgie
07. L'Etranger
08. Combat de Coqs
09. Eluses
10. Liberte
11. La Ploie
12. Serpendo
13. Turon
14. Danse

320 kbps including full scans

Part One
Part Two

Solveig Slettahjell Slow Motion Quintet - Pixiedust

Posted By Admin On Saturday, July 24, 2010 1 comments
Solveig Slettahjell Slow Motion Quintet
Pixiedust, 2006
Cool Norway seems to be the most efficient hothouse for new talents in Europe in recent years. Vocalist Solveig Slettahjell is by no means a new talent, but only now is her third solo disc, with her Slow Motion Quintet, being distributed outside of Norway. Slettahjell was a student of renowned Norwegian vocalist Sidsel Endresen, with whom she collaborated recently in Jon Balke's Batagraf ensemble (Statements, ECM, 2005). She recorded with the experimental all-female vocal quartet Kvitretten, with jazz singers Eldbjørg Raknes, Kristin Asbjörnsen and Tone Åse, and teaches jazz singing at the Norwegian Academy of Music.
Her quintet members accompanied her through her two previous discs, Slow Motion Orchestra and Silver (Curling Legs, 2001 and 2004); the latter won the Spellemannspris, the Norwegian Grammy, in 2004. They are experienced players and leaders of their own ensembles. Pianist Morten Qvenild is a key member of In The Country, Shining and Susanah, and the Magical Orchestra, all outfits which released their music through Rune Grammofon. Bassist Mats Eilertsen leads his own quartet and is a member of the English-Norwegian quartet Food and percussionist Thomas Strønen's Parish, as well as saxophonist Håkon Kornstad and pianist Håvard Wiik's trios. Trumpeter Sjur Miljeteig is a member of the popular electro-jazz outfit Jaga Jazzist. Drummer Per Oddvar Johansen has recorded with reed player and composer Trygve Seim, guitarist Jacob Young, pianist Christian Wallumrød, and even a quartet led by ECM's Rainbow studio master sound engineer, Jan Erik Kongshaug.
The maturity of the quintet's members and the restrained and subtle approach of Sletttahjell contribute to the success of this release. Slettahjell and her songwriter collaborator, Peder Kjellsby, collected eleven songs that deal with hope, faith, imagination and dreams. As Slettahjell sings in "Starpillow," "to dream is to believe."
The disc opens with a beautiful arrangement of the Emily Dickinson poem "Hope is the thing with feathers," performed with a haunting autoharp intro by Qvenild, and it concludes with a leisurely electronic version of the Walt Disney classic "When You Wish Upon A Star," done here as if Slettahjell is casting a promising spell upon her listeners. Of course, the pixiedust refers to the fairy in the Peter Pan story, Tinkerbelle, and that pixiedust, along with faith and trust, are the ingredients for the domestic fantasy that is drawn so beautifully in Slettahjell's lyrics on "Faith, trust and pixiedust." Her cover of John Hiatt's "Have a Little Faith in Me" is no longer the desperate plea it was in Hiatt's original version, but a comforting promise. Her version of Billy Holiday's classic "Don't Explain" carries a more reconciling message than Holliday's own sober version.
Qvenild adds detailed electronic ornamentations that highlight the delicacy of the arrangements. Miljeteig's breathy tone, Johansen's caress of the cymbals, and Eilertsen's assured and economic playing, along with the fragile yet warm vocals of Slettahjell and her cohesive vision of Pixiedust, create a really magical listening experience. You may be convinced by her pledge that "anything your heart desires will come to you." - Eyal Hareuveni

01. Hope Is The Thing With Feathers
02. Faith, Trust and Pixiedust
03. Have A Little Faith In Me
04. Milo
05. Home
06. Little Wonder
07. Don't Explain
08. Count The Days
09. Starpillow
10. Sleepy Pixie
11. When You Wish Upon A Star

Solveig Slettahjell - vocals
Sjur Miljeteig - trumpet, programming
Morten Qvenild - piano, hammond organ, autoharp, casio etc.
Mats Eilertsen - bass
Per Oddvar Johansen - drums, percussion

320 kbps including full scans

Part One
Part Two

Alain Brunet Didgeridoo Project - I Remember Miles

Posted By Admin On Saturday, July 24, 2010 0 comments
Alain Brunet Didgeridoo Project
I Remember Miles, 2006
Le Didgeridoo project avec Alain Brunet, est né de la rencontre entre un musicien français, Alain Brunet, et Jowandi, musicien australien aborigène qui joue du didgeridoo et chante dans la tradition aborigène. Ensemble, ils ont conçu un spectacle musical qui met tout particulièrement en valeur le Didgeridoo, l'un des plus vieux instruments du monde. La musique est construite autour de lui. Il impose un spectre sonore et des parcours modaux sur lesquels les autres musiciens improvisent.
Alain Brunet et le Didgeridoo project présentent un hommage au trompettiste et compositeur Miles Davis dont la musique des décennies 1960, 1970 et 1980 révèle une très grande diversité de couleurs. Le didgeridoo cohabite au sein de la formation avec un techno sound designer qui apporte des sons inouïs et crée des espaces sonores dans lesquels s'inscrivent les improvisations de chacun. Par ailleurs, les percussions nouent des dialogues avec le batteur Manhu Roche qui fut, de nombreuses années durant, le compagnon de route en Europe de Michel Petrucciani. Cette cohabitation d'instruments particulièrement éloignés joués par des musiciens aux parcours différenciés est le moteur d'une musique au carrefour du jazz, de la techno-musique et des musiques traditionnelles, non par addition des trois mais plutôt par essai de fusion.
Alain Brunet présente en 2006 cet hommage à Miles Davis sur un nouveau CD " I remember Miles ", le troisième du Didgeridoo orchestra devenu Didgeridoo Project après le volume 1, " Rue Bleue " en 2003 et celui enregistré à Téhéran qui associe des musiciens de musique traditionnelle iranienne au Didgeridoo orchestra, en 2004.

Alain Brunet débute la trompette à l'âge de 10 ans. A 20 ans, il dirige un ensemble vocal et instrumental à Valence (Drôme). Il est le premier étudiant en musicologie à écrire un mémoire de maîtrise sur le jazz (Sorbonne Paris IV). Il crée, la même année, son premier orchestre professionnel, avec lequel il enregistre pour France-Musique. Il crée et dirige le grand orchestre de jazz de la Drôme, avec pour pianiste un certain Michel Petrucciani. Il participe au festival de Chateauvallon à la tête d'un quartet.
Il enregistre des émissions de radio et de télévision, et participe à la plupart des festivals de jazz en France et à l'étranger. Il enregistre son premier CD en 1991 pour Label bleu en quintet avec Denis Badault, Yves Torchinski, Francis Lassus et la participation de Didier Lockwood. Il travaille sur la musique de Serge Gainsbourg entre 1992 et 1996 avec le pianiste Olivier Hutman. Il participe aux festivals de Montréal, Toronto, La nouvelle Orléans, Newport, Varsovie, Montreux, Nice, Paris-la Villette, Rome, Ramatuelle …
Il effectue une tournée aux Etats-Unis et au Canada en mai 1995. Il fait l'objet d'un portrait en images par le réalisateur François Reichenbach et co-anime avec Eve Ruggiéri plusieurs " musiques au cœur " consacrées au jazz (antenne 2 1992-1994). Il est, depuis 1996, membre du sextet de Prince Lawsha, orchestre de la côte ouest américaine (sous contrat avec Sony music). Avec lui, il effectue son premier tour du monde musical.
Il se produit en juillet 2003 au sein du quintet de Michel Legrand au club Lionel Hampton hôtel Méridien Paris, et aux festivals de Marciac, Toronto, Porquerolles, Crest jazz vocal… Il est invité comme soliste du Paris Jazz Big band au festival de Marciac (août 2005) et ne cesse de se produire aux quatre coins du monde avec ses spectacles!

1. It's About That Time 3:54
2. I Remember Miles 6:03
3. Vue Sur Jardin 7:15
4. L'Heure de La Sieste 7:24
5. I Remember Miles II 4:38
6. River to the Sea 5:54
7. In a Silent Way 8:54
8. Jean-Pierre 8:29

320 kbps including full scans

Part One
Part Two

Souad Massi - Acoustic. The Best of Souad Massi DVD

Posted By MiOd On Friday, July 23, 2010 0 comments
The world loves an enigma, and enigmas rarely come as talented, beautiful, honest and courageous as Souad Massi. Her music has been welcomed as a brave new dawn in the history of Maghrebi music. Her youthful obsessions with western rock, folk, country music, as well as the chaabi and classical andalusian music of her native land, gave birth to a style uniquely her own, an emotionally charged vehicle for themes of loss, nostalgia and the bonfire of innocence. She is now one of the leading female World Music Artists, having sold over 300,000 albums around the world. She has stamped her own identity, her own style, with her culture-blending sound - a mix of traditional, rock, folk, classical,flamenco,while her ballads are melodic, poignant, achingly beautiful. Just as Souad Massi herself is all light and shade, innocence and experience, melancholy and optimism, so is this beautiful representation of the best of her 3 albums reinterpreted.

Algerian musician Souad Massi performs 17 of her songs acoustically during her 2007 World tour. Includes the songs 'Denya Wezman - That's Life', 'Bladi - My Country', and 'Rani Rayha - I'm Leaving'.

XviD (AVI) | 624x352, 25 FPS | 1,39 HRS | 1,09 GB | DVD Covers

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12

Madredeus - Existir

Posted By MiOd On Friday, July 23, 2010 2 comments
The Portuguese group Madredeus comprises vocalist Teresa Salgueiro, guitarists José Peixoto and Pedro Ayres Magalhães, violin player Francisco Ribeiro, harmonica player Gabriel Gomes, and keyboard player Rodrigo Leão. Influenced by the music of Lisbon, the band travelled throughout Europe and became especially popular in Belgium. Madredeus' debut album Os Dias da Madredeus was released in 1987 followed three years later by Existir and Lisboa Live in 1992 on Blue Note; the group also appeared in the 1994 Wim Wenders film Lisbon Story (Viagem A Lisboa), in which Ayres Magalhães and Salgueiro played quite prominent roles. In 1995, two albums followed, Ainda and O Espiritu Da Paz. Other releases include 1999's O Porto. Antologia followed a year later. Movimento, which was issued in summer 2001. Madredeus' musical machine continued into the next year; he switched up his inviting nature for the eclectic electronic remix effort Electronico in summer 2002. ~ John Bush, Rovi

(01). Matinal
(02). O Pastor
(03). O Navio
(04). Tardes De Bolonha
(05). O Ladrão
(06). Confissão
(07). O Pomar Das Laranjeiras
(08). Cuidado
(09). As Ilhas Dos Açores
(10). O Menino
(11). Solstício
(12). A Vontade De Mudar
FLAC (EAC Rip): 180 MB | MP3 - 320 kbs: 105 MB | Scans


OR MP3 320 kbps