Boban Markovic Orkestar - Obecanje (A Promise)

Posted By MiOd On Monday, February 28, 2011 0 comments
The King of Balkan brass music, Boban Markovic has nothing to prove as far as his playing and composing abilities are concerned. However, given the flashes of brilliance on this, his first fully studio-recorded album, one would think he's trying to make a debut-level flash to get noticed by the masses. In tandem with his son Marko, Boban blazes through newer compositions and arrangements of traditional pieces. The band provides a highly capable backing, as well as a groove-inducing thump from the goc (a large drum) and a snare drum, but the stars here are Boban and Marko. Their playing on "Sunce Sjajno" would put Al Hirt's old solos to shame. The compositions range from the speedy dance tune to the ponderous paean. Many are cinematic in scope, just waiting for an epic Sergio Leone film to be attached to. Perhaps more impressive, though, are those in which they are able to incorporate elements of jazz, funk, and other world musics into their sound. "Meksikanka" makes use of some Afro Cuban jazz motives, and "Vegas Cocek" makes use of some more Oriental idioms (though admittedly Istanbul isn't terribly distant from the Balkans). "Voz" has half a hip-hop beat laid out behind the main players, but they twist the horns to work with the sound, making an irresistible Gypsy funk. This is really the case throughout The Promise: an undeniable groove keeps the listener interested regardless of the style, but the horns can still make the varied styles of music mesh with the groove well. A particularly good release of contemporary Balkan music.

(01). Latino
(02). Ajde, ajde fato
(03). The Promise
(04). Sunce sjajno
(05). Paun
(06). Beograd-Rio
(07). Noć je
(08). Vegas čoček
(09). Voz - Gipsy Magic
(10). Erolka
(11). Beli dvor
(12). Odlazak u noć
(13). Hansko svitanje
(14). Baro biav
(15). Papigko

320 kbps including Covers


Shahid Parvez & Kumar Bose - Live in Concert

Posted By MiOd On Monday, February 28, 2011 0 comments
Shahid Parvez is a middle-ranking sitar player. The son of Aziz Khan and the grandson of Wahid Khan, he was performing in public before he was ten years old.

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

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

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

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

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

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

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

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

The first composition (track 3) sees the introduction of the tabla accompanist playing an eleven beat rhythmic cycle, known as Rudra taal. Kumar Bose introduces the tabla with a short solo which exhibits his mastery over the vast range of tones produced on the tabla. Kumar Bose often mimics the melodic phrases of the sitar on the tabla while taking care not to disturb the flow of the performance.
Two further compositions follow, first in a medium tempo twelve beat called Ektaal (track 4), and then in the faster paced teental of sixteen beats (track 5). As the recital draws to an exhilarating climax, the improvisations of the sitar and tabla become more intricate, both artists demonstrating the full extent of their mastery.

1. Raga Bageshri: Alap
2. Raga Bageshri: Jod And Jhala
3. Raga Bageshri: Gat In Rudrataal
4. Raga Bageshri: Gat In Ektaal
5. Raga Bageshri: Gat in Teentaal

Shahid Parvez - Sitar
Kumar Bose - Tabla

FLAC (EAC Rip): 380 MB | MP3 - 320 kbs: 180 MB | Booklet Scans

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Maria La Perrata - La Perrata de Lebrija "Cante Flamenco"

Posted By MiOd On Monday, February 28, 2011 0 comments
María la Perrata (María Fernández Granados) cantaora en la intimidad, fue una fiel transmisora de los cantes tradicionales que aprendió de su madre. En pocas ocasiones cantó de forma profesional. Ha participado en algún disco, como "María La Perrata", en la colección Grandes Cantaores del Flamenco. También participó en una grabación con sus hijos y en algunos volúmenes de Rito y Geografía del Cante.
La Perrata, heredera de la forma antigua de vivir el flamenco, supo transmitir su arte y sus conocimientos a sus hijos, el cantaor Juan Peña "El Lebrijano" y el guitarrista Pedro Peña. Era además hermana del mítico Perrate de Utrera y estaba emparentada con otras grandes figuras como Bernarda y Fernanda de Utrera o Pedro Bacán.

The cantaora María la Perrata (María Fernández Granados. 1922-2005) died on 5 February in her home in Lebrija after a long sickness.

A cantaora in intimate surroundings, she faithfully transmitted her knowledge of the traditional styles that she learnt from her mother. She only rarely sang as a professional. She took part in a few records as "María La Perrata", in the Grandes Cantaores del Flamenco (Great Flamenco Singers) collection. She also took part in a recording alongside her sons, and in some volumes of Rito y Geografía del Cante (The Rituals and Geography of Flamenco Singing).

La Perrata inherited the old manner of living flamenco, and she was able to transmit her artistry and knowledge to her sons, the cantaor Juan Peña "El Lebrijano" and the guitarist Pedro Peña. She was also the sister of the legendary Perrate de Utrera, and was related to other great flamenco figures like Bernarda and Fernanda de Utrera , and Pedro Bacán.

(01). Mi Desconsuelo (Tangos)
(02). El Agua De La Piedad (Cantiñas)
(03). La Lola (Bulerías)
(04). Esconder Un Tormento (Tientos)
(05). Dios Te Salve, María (Plegaria)
(06). Mi Casa Tiene Un Duende (Nana)
(07). Dejo La Puerta Entorná (Soleares)
(08). De Romería (Sevillana Corraleras)
(09). Como Me Quedo (Seguiriyas)
(10). Entre Pinares Verdes (Bamberas)
(11). Te Olvidara (Fandangos)
(12). Que Me Va A Vender (Alegrías)
(13). Romance Morisco-con Juan Peña (Alboreá)
(14). A La Galiana (Bulerías por Soleá)
(15). Una Morita (Bulerías)
(16). Toca La Zambomba (Bulerías de Navidad)

320 kbps including Covers


Treasure Edition: Huqin Solo By Liu Mingyuan (Late at Night)

Posted By MiOd On Sunday, February 27, 2011 0 comments
'Treasure Edition' Series on Famous Chinese Musicians And Best-Known Music In The Twentieth Century.

Liu Mingyuan: Born in Tianjin, Mingyuan began studying music from his father and eventually learned to play a wide variety of traditional genres including pingju, Cantonese music, and Beijing opera.

He composed and arranged several popular guoyue pieces, many of which are based on traditional Chinese melodies. Among his best known compositions are Xi Yang Yang (喜洋洋), Happy Year (幸福年), and Ten Elder Sisters (十大姐). Among his solos for the erhu are Henan Tune (河南小曲).

Along with Liu Tianhua and Abing, Liu is considered one of China's three finest traditional instrumentalists of the 20th century.

(01). Melody Type Of Qupai From Qinqiang
(02). A Crescent Moon At The Fifth Watch
(03). Late At Night
(04). Happy Year
(05). In The Grassland
(06). Grand Beat Begins
(07). Southern Scenery
(08). Pretty Girl
(09). The Day Of Emancipation

Ape(EAC Rip): 300 MB | MP3 - 320 kbs: 135 MB | Covers

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Luz De La Mediterrania: Mediterranian Light

Posted By MiOd On Sunday, February 27, 2011 0 comments
This respected ensemble of scholar/performers has joined forces with the Ensemble Tre Fontane, and El Arabi Serghini Mohammed to recreate the meeting of the Troubadors from Southern France with the musicians of the court of Alfonso X in the 13th Century. A fascinating mix of elements which again show the dynamism of Spanish culture in those times.

01. Cantiga de Santa María 192, Muitas vegadas o dem' enganados (same as Cantiga de Santa María 397)
02. Si'us quer conselh, bel ami Alamanda
03. Consirós cant e planc e plor
04. Cantiga de Santa María 193, Sobelos fondos do mar e nas alturas da terra
05. Tres Enemics
06. Nûba 'Ushshaq / Mîzân Bsît
07. Nûba 'Ushshaq / Mîzân Bsît
08. Nûba 'Ushshaq / Mîzân Bsît
09. Nûba 'Ushshaq / Mîzân Bsît
10. Nûba 'Ushshaq / Mîzân qâ'im wa-nist
11. Nûba 'Ushshaq / Mîzân qâ'im wa-nist
12. Nûba 'Ushshaq / Mîzân qâ'im wa-nist
13. Nûba 'Ushshaq / Mîzân qâ'im wa-nist
14. Nûba 'Ushshaq / Mîzân btâyh
15. Nûba 'Ushshaq / Mîzân btâyh
16. Nûba 'Ushshaq / Mîzân btâyh
17. Nûba 'Ushshaq / Mîzân btâyh
18. Nûba 'Ushshaq / Mîzân btâyh
19. Altas ondas

Eduardo Paniagua Ensemble
Ensemble Tre Fontane
El Arabí Serghini
Trobadours' chants,
Núba andalusí "The Lovers"
and "Cantigas de Santa María"
by Alfonso X the Wise, S. XIII

FLAC (EAC Rip): 425 MB | MP3 - 320 kbs: 165 MB | Booklet Scans

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Ray Conniff - This Is My Song

Posted By MiOd On Saturday, February 26, 2011 1 comments
This Is My Song and Other Great Hits is a good but unexceptional collection that combines some of Ray Conniff's biggest hits with his versions of '60s pop hits. It doesn't offer an overview of his career, but it's an entertaining sampler, featuring nice versions of "Mame," "Sunrise, Sunset," "Cabaret," "Strangers in the Night," "What Now My Love," "Winchester Cathedral," "Georgy Girl," "Born Free" and the title track

(01) [Ray Conniff] This is My Song
(02) [Ray Conniff] Mame
(03) [Ray Conniff] Sunrise,Sunset
(04) [Ray Conniff] Cabaret
(05) [Ray Conniff] Strangers in the Night
(06) [Ray Conniff] What Now My Love
(07) [Ray Conniff] My Cup Runneth Over
(08) [Ray Conniff] Winchester Cathedral
(09) [Ray Conniff] The World Will Smile Again
(10) [Ray Conniff] Georgy Girl
(11) [Ray Conniff] Born Free

FLAC (EAC Rip): 195 MB | MP3 - 320 kbs: 75 MB | Scans

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Tango Song & Dance

Posted By MiOd On Saturday, February 26, 2011 1 comments
Anyone would assume from the title Tango Song and Dance that this album contains performances of Piazzolla and friends, representing an effort on the part of Anne-Sophie Mutter to cash in on the recent tango craze. Actually, the only tango-related piece here, the title composition by Mutter's husband André Previn, was written in 1997 before that trend really got started in classical music. Instead, Tango Song and Dance offers a collection of dance-inflected pieces that diverges from Mutter's usual serious fare but benefits equally from her commanding musical personality. These performances are great fun and, for the most part, will take you back to the days of the star virtuoso. Previn joins Mutter on piano for his own work, and their complementarity -- he is suave, she intense -- is delightful. The work sounds not like Piazzolla but like Ravel composing a tango; its final movement is in a 7/8 time that cleverly trips up the tango feel. Some reviewers have reproached the liberties Mutter takes with the Joseph Joachim transcriptions of three Brahms Hungarian Dances, but it's hard to imagine that Joachim, in Brahms' own time, would have done any less. Only in a group of selections from Gershwin's Porgy and Bess does Mutter seem out of her element; she executes the Jascha Heifetz arrangements flawlessly, but despite former jazzman Previn's presence, it ain't got that swing. Mutter's usual sideman Lambert Orkis returns to the keyboard for three Fritz Kreisler encores, however (Previn plays only on the Gershwin and his own piece), and Mutter takes command once again with swooping, sentiment-drenched thrills. Fauré's Violin Sonata No. 1, Op. 13, a tuneful piece with a whiff of the music hall, makes an unexpected but satisfying conclusion. In all, a wonderful outing for a great artist who deserved to lighten up.

(01) Tango Song and Dance- Tango. Passionately
(02) Tango Song and Dance- Song. Simply
(03) Tango Song and Dance- Dance. Jazz Feeling
(04) 3 Hungarian Dances- No. 1 in G Minor. Allegro Molto
(05) 3 Hungarian Dances- Tango Song and Dance- No. 6 in B Flat Major. Vivace
(06) 3 Hungarian Dances- No. 7 in a Major. Allegretto
(07) Porgy and Bess- Summertime
(08) Porgy and Bess- It Ain't Necessarily So
(09) Bess, You Is My Woman Now
(10) Porgy and Bess- My Man's Gone Now
(11) Sch--n Rosmarin
(12) Caprice Viennois Op. 2
(13) Liebesleid (Chagrin d'Amour)
(14) Sonata for Violin and Piano No. 1 in a Major, Op. 13- Allegro Molto
(15) Sonata for Violin and Piano No. 1 in a Major, Op. 13- Andante
(16) Sonata for Violin and Piano No. 1 in a Major, Op. 13- Allegro Vivo
(17) Sonata for Violin and Piano No. 1 in a Major, Op. 13- Allegro Quasi Pre

APE (EAC Rip): 300 MB | MP3 - 320 kbs: 170 MB | Covers

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Planet Chant

Posted By MiOd On Friday, February 25, 2011 0 comments
For centuries, chanting has played a major role in religious and spiritual life. Chanting was an important part of Hindu and Jewish gatherings back when the Bhagavad-Gita and the Old Testament were written, and it became just as important to religious sects that came along after the birth of Christ (including the Roman Catholic Church and various sects of Islam). This ambitious compilation, which Triloka released in 2001, spotlights a variety of chanting from different parts of the world. Triloka tends to favor a contemporary approach; keyboards and synthesizers are prominent on Planet Chant, and most of the artists put a modern spin on chanting. So purists are advised to look elsewhere, but those who appreciate a past-meets-present approach will find a lot to admire about the CD. Planet Chant is fairly unpredictable; during the course of the album, Triloka visits South Africa (Ladysmith Black Mambazo) and Pakistan (the late Nusrat Fateh Ali Khan), as well as Bulgaria (Angelite) and Russia (the Russian State Symphony Cappella). Primeaux & Mike's "Cathedral" draws on Native American traditions, while Lama Gyurme and Jean-Philippe Rykiel's "Offering Chant" is inspired by Tibetan Buddhism. Is Planet Chant the last word on modern chanting? Definitely not. But it's an intriguing compilation that shows how well the past and the present are interacting in different parts of the world.

For centuries, chanting has played a major role in religious and spiritual life. Chanting was an important part of Hindu and Jewish gatherings back when the Bhagavad-Gita and the Old Testament were written, and it became just as important to religious sects that came along after the birth of Christ (including the Roman Catholic Church and various sects of Islam). This ambitious compilation, which Triloka released in 2001, spotlights a variety of chanting from different parts of the world. Triloka tends to favor a contemporary approach; keyboards and synthesizers are prominent on Planet Chant, and most of the artists put a modern spin on chanting. So purists are advised to look elsewhere, but those who appreciate a past-meets-present approach will find a lot to admire about the CD. Planet Chant is fairly unpredictable; during the course of the album, Triloka visits South Africa (Ladysmith Black Mambazo) and Pakistan (the late Nusrat Fateh Ali Khan), as well as Bulgaria (Angelite) and Russia (the Russian State Symphony Cappella). Primeaux & Mike's "Cathedral" draws on Native American traditions, while Lama Gyurme and Jean-Philippe Rykiel's "Offering Chant" is inspired by Tibetan Buddhism. Is Planet Chant the last word on modern chanting? Definitely not. But it's an intriguing compilation that shows how well the past and the present are interacting in different parts of the world. ~ Alex HendersonCMJ (2/19/01, p.42) - "...Spans the gamut of global trance-inducing and inspirational music."
Dirty Linen (8-9/01, p.81) - "...Spiritually uplifting..."

01. Nusrat Fateh Ali Khan & Michael Brook - Lament
02. Lama Gyurme & Jean Phillipe Rykiel - Offering Chant
03. Russian State Symphony - Fervent Supplication
04. Sheila Chandra - Quiet 8
05. Primeaux & Mike - Cathedral
06. Choying Drolma & Steve Tibbetts - Kyamdro Semkye
07. Ladysmith Black Mambazo - Silgugu Isiphambano
08. Krishna Das - Jaya Bhagavan
09. Saraband - Polorum Regina
10. Angelite (The Bulgarian Voices) - Great Litany
11. Oberton-Chor Dusseldorf - Confirmation
12. Jim Donovan - Indigo

FLAC(EAC Rip): 290 MB | MP3 - 320 kbs: 140 MB | Covers

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Samia Gamal - Golden Era Of Bellydance Vol. 2

Posted By White Rose On Wednesday, February 23, 2011 0 comments
The 1940’s – 1970s is heralded as the Golden Era of Bellydance. Belly Dance legends such as Samia Gamal, Taheyya Karioka, Fifi Abdo, Suheir Zaki, Nagwa Fouad and Nadia Gamal brought Belly Dance to international acclaim through appearances in numerous Arab films and with lush performances in the finest casinos and nightclubs featuring large orchestras and glamorous costumes. The music was composed for each dancer by the greatest composers of the time such. The Ferqat Al Tooras Orchestra presents the finest of the classic Belly Dance compositions recorded with acoustic orchestration, featuring some of the finest musicians of Cairo, such as Mohamed Al Arabi, Aboud Abdel Al, Ahmad Fouad Hassan.

Track List
[01] Layalil Ounsi
[02] Ghouloubt Asaleh
[03] Hayrana Leh
[04] Sakin Fi Hayyil Sayyida
[05] Hagartak
[06] Isal Marra Alayya
[07] Madam Tihibb
[08] Ayni Bitriff
[09] Samiat
[10] Hediyyat Al Iyd
[11] Ba'a Ayiz Tinsani
[12] Leylit Eid
[13] Raks Samia
[14] Se'a Biqurb Il Habib

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Muazzez Ersoy - Nostaji Series 4-5-6

Posted By White Rose On Wednesday, February 23, 2011 0 comments
Muazzez Ersoy (born Hatice Yıldız Levent, August 9, 1958 in Istanbul, Turkey), is a Turkish classical and folk singer
Hatice Yıldız Levent was born on August 9, 1958 in Istanbul to Yaşar and Fatma Levent. Her family originally comes from a Black Sea town in Kastamonu. Her father Yaşar was a taxi driver. She married in 1975, when she was just 17 years old. However, this was short lived when she and her husband divorced after she gave birth to their first son. She got a job at a cosmetics company and also pursued classical musical training at this time.

In 1990 she decided to become a professional singer and took the professional name 'Muazzez Ersoy' after signing a record contract with Elenor Plak. Muazzez Abacı and Bülent Ersoy are two of the leading singers of modern Turkish classical music. Her first album called 'Seven Olmaz ki' was released after one year. Her success kept increasing with her later albums 'Herşeyim Sensin', 'Sizi Seviyorum' and 'Sensizlik'. In 1995, she released a series of albums named 'Nostalji' (Turkish for "Nostalgia"). The second chapter of the 'Nostalji' series, called 'Nostalji 4-5-6', was released in 1998, and is among the most popular Turkish musical albums ever made with over 5 million sales in Turkey.

Ersoy has been given countless awards and accoloades, among them the honour of "National Artist" by the Turkish ministry of culture.[She became a goodwill ambassador for the United Nations in 2006.

Track List
CD 1: Nostalji 4

Leylakların Altında
Unutursun Diye
Yeşil Ördek Gibi
Nasıl Geçti Habersiz
Bir Cennettir Bu Dünya
Artık Mum Yakta Ara
Hayat Harcadın Beni
Dayanılmaz Bir Çile
Kim Derdi ki Biz Ayrılacağız
Bu Ne Sevgi Ah
Dalgalandım da Duruldum
Aşığım Aşık

CD 2: Nostalji 5

Benim De Canım Var
O Ağacın Altı
Merak Etme Sen
Bitmeyen Çile
Bilemezsin Ki
Karlı Bir Kış Günü
Sen Bensiz Ben Sensiz
Sigaramda Duman Duman
Gezdiğim Dikenli Aşk Yollarında
Sokağın Ardındayım
Benim Gözüm Sende
Hasta Ettin Beni

CD 3: Nostalji 6

Hicaz Humayun Peşrev
Ah Yine Neşe-i Muhabbet
Gönlüm Yaralı
Yeşil Gözlerini Ufkuma Ger Ki
Yollarına Gül Döktüm
Belki Bir Sabah Geleceksin
Unut Beni
Yemenimde Hare Var
Ölürsem Yazıktır
Yanıyor Mu Yeşil Köşkün Lambası
Seni Kırda Görmüşler
Bir Tatlı Tebessüm
Batan Gün Kana Benziyor
Şu Dağları Delmeli

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Zein Al-Jundi - Traditional Songs From Syria

Posted By White Rose On Wednesday, February 23, 2011 1 comments
Zein Al-Jundi was born and raised in Damascus, Syria. She began singing professionally at the early age of five when she was discovered by a local TV producer as a talent with a promising future.
For the next twelve years, Ms. Al-Jundi became a household name on the Syrian radio and TV channels as well as concert halls in the capitol city of Damascus and elsewhere. During those years she won numerous singing competitions and sang a large repertoire of original music composed for her. In 1974, she was picked at the age of 13 by the Syrian government to be the soloist featured at the opening ceremony of the Roman amphitheater, Bosra, after its renovation was completed. In spite of her teachers' objection and others encouragement to take up singing as a serious profession, Ms. Al-Jundi stopped singing at the age of 17 in order to devote more time for her college studies.
She moved to the US in 1982 where she attended the University of TX, Austin and completed her Bachelor's degree in architecture and finished the course work of a Master's in urban design. Discovering that it was a passion which didn't die in spite of 18 long years of not singing, she made the decision to go back to her music in 1998. February, 1999 marked her first live concert in Austin, when she performed with George Sawa, the renowned Egyptian qanun player and the Austin Middle Eastern Ensemble to a sold out audience at UT's Jessen Auditorium.

At present time, Ms Al-Jundi is devoting more time to her music, which she not only sees as an incredible tool for self expression but also as an invaluable one in giving the world a glimpse of her beautiful culture. She plans and hopes to continue and further her music career with live performances in Austin as well as other cities in the US and abroad. She currently produces her own events through her music booking and production agency, WMD Productions, which she formed in 1997 with the goal of promoting world cultures through their music and dance. Her live performances in Austin have included many successful shows over the course of four years at La Zona Rosa, Austin Music Hall and St. Edward's University featuring both the traditional and contemporary repertoire of Arabic music—two categories for which Zein has a great love and desires to sing

Track List
[01]. Lamma Bada Yatathanna - When she appeared, with a swing in her step (genre: Muwashshah)

[02]. Hayyamatni - She made me fall in love (genre: Qadd)

[03]. Qaddukal Mayyas - With a lofty, proud walk (genre: Aleppan Qadd)

[04]. Subhana Man Sawwar - Praise the one who created you (genre: Muwashshah)

[05]. Qoum Ya Nadim - Get up, drinking companion (genre: Muwashshah)

[06]. Skaba - Pouring out (genre: Qadd)

[07]. Ya Ein Mulayyetein - A catastrophe happened (genre: Song)

[08]. Aminti Billah - I believe in God (genre: Song)

[09]. Ya Teira Tiri - Fly, o bird! (genre: new Qadd)

[10]. Ya Mal Eshsham - The wealth of Damascus (genre: new Qadd)

[11]. El Alb Mal - The heart swayed (genre: Dawr)

[12]. Ah Ya Hilew - O' beautiful one (genre: Qadd)

[13]. El Ozubiyya - O' celibacy (genre: Qadd)

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Colors Of Indian Music - Strings Of India

Posted By White Rose On Tuesday, February 22, 2011 0 comments

Track List
[01]. Rahul Sharma & Pandit Shivkumar Sharma - Santoor
[02]. Pandit Ravi Shankar - Sitar
[03]. Ustad Amjad Ali Khan - Sarod
[04]. Jayanthi Kumaresh - Veena
[05]. Dr L Subramaniam - Carnatic Violin
[06]. Ustad Sultan Khan - Sarangi

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Colors Of Indian Music - Percussions Of India

Posted By White Rose On Tuesday, February 22, 2011 0 comments

Track List
[01]. Ustad Zakir Hussain Ustad Alla Rakha - Tabla
[02]. Satish Kumar - Mridangam
[03]. Vikku Vinayakram - Ghatam
[04]. Kerala Drummers - Temple Drums
[05]. Bickram Ghosh- Dhol & Drums

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a flavour Of India - a selection of traditional indian music

Posted By MiOd On Sunday, February 20, 2011 2 comments
This is a superb introduction to some of the music of India which is alluring, full of mysticism, often hypnotic and always refreshing. A Flavour Of India is performed by the acclaimed musicians Akbar Khan, Jan UI Hassan, Tafu.
Decades after being lionized by '60s stoners, Indian music remains a daunting proposition for Westerners who crave instant gratification rather than earned rewards. These spacious, reflective traditions are indeed somewhat demanding and call for a bit of study on the part of the listener, but their pellucid beauty is nonetheless apparent even to the untutored ear. Indian musicians begin studying as small children, immersing themselves in ancient modes, instruments, and disciplines under the strict supervision of master teachers. As young adults, the more gifted adepts move on to a public form of apprenticeship, learning how to respond to other players and perform jazz-like improvisations while adhering to time-honored classical structures. The artists on this set are among the greatest of the genre, but despite the title, all three actually hail from Pakistan. One of them is even fairly prominent in qawwali (Muslim devotional music) circles. The sitarist Ustad Akbar Khan is a peerless virtuoso with a precise attack and an astonishing degree of musical imagination (ustad is an honorific granted to only the greatest Muslim musicians -- pandit is the Hindu equivalent). He is given ardent support by Jan Ul Hassan and the great Ustad Iltaf Hussain Tafo Khan on tabla (a type of hand drum capable of a wide variety of tones). The tunes range from soothing to electrifying and are excellent examples of how the raag form should be presented and executed. But the liner notes supply no information about the times of day associated with the works, which makes it difficult for a beginner to grasp their intended mood and context.

(01). Raag Darbari
(02). Raag Bhairvi
(03). Raag Des (Chanchai Taal)
(04). Raag Jai Jai Wanti (Teen Taal)
(05). Raag Mian Ki Todi

Ape (EAC Rip): 340 MB | MP3 - 320 kbs: 170 MB | Covers

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Vicente Amigo (Live) "Video"

Posted By MiOd On Sunday, February 20, 2011 0 comments
Vicente Amigo has been called "the natural continuation of Paco De Lucia". A former child prodigy, Amigo has continued to evolve as a musician and vocalist. In a 1998 interview, Amigo explained, "I believe that flamenco has always been something for adults, not just for children. To understand flamenco, you need maturity. You can learn to play the guitar as a child, you understand the technique. Also, of the singing, you can more or less understand the technique.

But, the essence of flamenco is something that requires maturity". Amigo involvement with music began at a very young age. At the age of five, he studied with influential flamenco guitarist Merenque De Cordoba. By the age of fifteen, Amigo was attracting attention as a protege of Paco Pena. Although he launched his professional career as a member of a band, Manolo Sanlucar, Amigo has performed most of his concerts as a soloist. Amigo has also accompanied numerous vocalists including El Pele and Luis De Cordoba and dancers including Javier La Torre and Israel Galvan. Amigo collaborated with singer Jose Merce on an album, "De Amanacer".

While flamenco remains the foundation of his sound, Amigo has been equally inspired by the jazz of Stanley Jordan, John McLaughlin and Al DiMeola.

| MPEG | Length : 16:50 | 320 x 240 Pixels | 384 MB |

Part 1 | Part 2 | Part 3

Michel Camilo y Tomatito - Para Troilo y Salgan (Live) "Video"

Posted By MiOd On Saturday, February 19, 2011 0 comments
An exciting and high-powered virtuoso pianist, Michel Camilo came from a very musical family (with all nine of his uncles being musicians). Originally playing accordion, he switched to piano when he was 16. After moving to New York in 1979, his song "Why Not?" became a hit for the Manhattan Transfer and caught on as a standard, and "Caribe" entered the repertoire of Dizzy Gillespie. Camilo, who worked with Paquito d'Rivera's band for three years (cutting an album with "Why Not?" as the title cut), recorded for Electric Bird (sessions reissued by Evidence) and Columbia, and worked as a leader beginning in the mid-'80s. He has released numerous albums under his own name, including Spirit of the Moment in 2007.

Nuevo flamenco guitarist Tomatito was discovered by flamenco star Paco De Lucia at an early age and began recording in the early '90s, debuting with 1991's Barrio Negro. His mix of traditional flamenco and jazz stylings led to collaborations with artists in both styles, including Mecano, Duende, and Michel Camilo. Appearances on nuevo flamenco compliations like Narada's Flamenco: Fire And Grace cemented his reputation as one of the style's up-and-coming performers.

| MPEG "Normal quality "sorry" | Length : 29:40 | 352 x 288 Pixels | 296 MB |

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Anne-Sophie Mutter - Meditation

Posted By MiOd On Saturday, February 19, 2011 0 comments
One of the most charismatic and best-loved violinists of modern times, Germany's Anne-Sophie Mutter began her studies on the piano at the age of five. She shortly added violin lessons with Erna Hornigberger. In 1970 and again in 1974, she won first place in the Jugend Musiziert contest for young musicians. Herbert von Karajan heard her play at the age of 13 and paved the way for her international career. This began in 1977 with appearances at the Salzburg Festival and with her English debut under Daniel Barenboim. The next year, 1978, she made her debut with the Berlin Philharmonic and released her first recording, of the Mozart Third and Fifth Concertos. In 1980, she debuted in America under Zubin Mehta, then made her first Carnegie Hall recital appearance in 1988. In spite of a difficult personal life (she lost her husband in 1995, leaving her with two small children to care for), Mutter has accelerated an already successful career to the level of super-stardom. She is currently one of the most sought after violinists and her recordings are always eagerly awaited best sellers.

Mutter is best known for her rich tone and her impassioned and exciting performances of the classic violin repertory, but she has also been instrumental in commissioning and performing new works for the violin. Among the composers she has worked with are Wolfgang Rihm, Sebastian Currier, Norbert Moret, Witold Lutoslawski, and Krzysztof Penderecki. Both before and, for a time, after Mutter's marriage to septuagenarian conductor André Previn in 2002, the pair performed and recorded together frequently. In September 2006, the couple quietly announced their divorce, and in October 2006 Mutter announced that she would be retiring from the concert stage on her 45th birthday in June 2008.

(01). Vivaldi, Antonio - Concerto No. 3 in F, The Four Seasons, Autumn - Allegro
(02). Vivaldi, Antonio - Concerto No. 3 in F, The Four Seasons, Autumn - Adagio
(03). Vivaldi, Antonio - Concerto No. 3 in F, The Four Seasons, Autumn - Allegro
(04). Mozart, Wolfgang Amadeus - Violin Concerto No. 4 in D - Allegro
(05). Mozart, Wolfgang Amadeus - Violin Concerto No. 4 in D - Andante cantabile
(06). Mozart, Wolfgang Amadeus - Violin Concerto No. 4 in D - Rondeau
(07). Massenet, Jules - Méditation from 'Thaïs'
(08). De Sarasate, Pablo - Zigeunerweisen, Op. 20

FLAC (EAC Rip): 240 MB | MP3 - 320 kbs: 130 MB | Booklet Scans

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Vasant Rai & Ustad Alla Rakha - Splendour Of The Sarod

Posted By MiOd On Friday, February 18, 2011 1 comments
Vasant Rai played some of the freshest and most rewarding music in his short life of 47 years. Acclaimed as a robust player with a resonant sound producing consistent liquid sound and interesting development of ideas, he was an accomplished virtuoso of Sarod, his favored instrument, although he performed on flute and guitar as well. His concerts and records have featured traditional Ragas as well as contemporary Jazz.

Ustad Alla Rakha needs no introduction to music lovers all over the world. H e has performed extensively traveled all over the world accompanying great Artists like Ravi Shankar, Ali Akbar Khan, to mention a few. He is the proud father and teacher of Zakir Hussain the tabla wizard.

1. Raga Goud Sarang - Teental
2. Raga Jaijaivanthi - Deepchandi
3. Dhun Misra Sivaranjini

Vasant Rai - Sarod
Alla Rakha - Tabla

FLAC (EAC Rip): 260 MB | MP3 - 320 kbs: 120 MB | Booklet Scans

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The Tango Club Night

Posted By MiOd On Thursday, February 17, 2011 0 comments
The 2001electro-tango Breakthru was Spearheaded by the French Group Gotan Project's "la Revencha Del Tango". Since Then, Tango's Popularity Continues to Snowball in Clubs, Restaurants and Speakeasys. This Set Offers a Wonderful Program of the Best Modern Tangos. The Lounge Disc Invigorates with Songs by Daniel Melingo, Carlos Libedinsky, Gspliff and Other Electro-tango-stars. The Majority of the Artists Are from Argentina, but Many Live in Barcelona, Ibiza, Marseille Or Genoa. Disc Two Presents the International Club-scene and Tango House-grooves. Included Are Gotan Project's-remix of Sarah Vaughan´s "Whatever Lola Wants" and Barrio Populaire-remix of Otros Aires´s "la Pampa Seca". Grace Jones' 1981 Classic "Libertango" and the Previously Unreleased Track "Despierto" by Omar. The Set was Compiled by DJ Ralph Von Richthoven, a 30 Year German Veteran who Pioneered Art Funk and World Music Programs.

Disc: 1 "Lounge Side"
(01) [Hi Perspective] El Tango
(02) [Zeb] Prelude Fugue VMM (Zeb V Piazolla Mix)
(03) [Andrés Linetzky & Ernesto Romero] Sentimientos
(04) [Mugwort] Buenos Aires At Dusk
(05) [María Eva Albistur] Dejar Vivir
(06) [Daniel Melingo] Narigon (Dub)
(07) [Debayres] Murga Tango
(08) [Cool Water] Kisses From Paris
(09) [G-Spliff] Viejo Abasto
(10) [Fernando Samalea] Invención A Posteriori
(11) [Le Griser] Fusion A Distancia
(12) [Carlos Libedinsky] Vi Luz Y Subí
(13) [Mystic Diversions] Minimal Tango
(14) [Stolen Beat] Evolucionar
(15) [María Eva Alibistur] Madrugar (Miss Akane Rmx)
(16) [Electrocutango] Regina
(17) [Marcelino Galan] La Ultima Vez

Disc: 2 "Club Side"
(01) [Otros Aires] Sin Rumbo
(02) [Tangofusionclub feat. Celda & Sonja] Bandoneon Acorazado (Malente-Rmx)
(03) [A.P.P.A.R.T.] Gratta Keka
(04) [Sarah Vaughan] Whatever Lola Wants (Gotan Project Rmx)
(05) [Grace Jones] I've Seen That Face Before (libertango)
(06) [Omar feat. Alejandro Balbis] Despierto
(07) [Leo Portela] Ojeras Violetas
(08) [Ultratango] Rosa Porteña
(09) [La Nueva Guardia] Liberdad
(10) [Otros Aires] La Pampa Seca (Barrio Populaire Midnight Dub)
(11) [Leo Portela] Garden of the World
(12) [Mato vs. 26 Pinel] Lejos De Aqui
(13) [Malevo] Tango House
(14) [Saul Cosentino] Ultimatum (Digitalcoya Rmx)

WV (EAC Rip): 840 MB | MP3 - 320 kbs: 340 MB | Scans

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Camarón - Reencuentro

Posted By MiOd On Wednesday, February 16, 2011 1 comments
‘Reencuentro’ is a CD with 9 previously unreleased cantes by the genius from La Isla. In a duo with Serrat, side by side with Tomatito, accompanied by La Susi, por tangos, por alegrías, por fandangos and of course, por bulerías...

1. Por Tangos (medley) con La Susi
2. La Saeta (a dúo con Joan Manuel Serrat) con Jarcha
3. Soleá del Chaqueta (Soleá) con Luis Monge
4. Hombre Terrestre (Bulerías)
5. La Virgen Hizo Una Sopa (Villancicos
6. A dibujar esta rosa (Alegría)
7. Soy Fragüero (Bulerías) con Tomatito
8. Las 12 acaban de dar (martinete)
9. La víbora rabiosa (fandango)

320 kbps including Covers


Debashish Bhattacharya - Raga Bhimpalasi

Posted By MiOd On Wednesday, February 16, 2011 1 comments
joined by Samir Chatterjee on tabla, Hindustani slide guitarist's imaginative renderings & extensions are shown on the performance of "Raga Bhimpalasi" in 3 parts, usually played in the afternoon, evoking peace & the grandeur of creation

Debashish Bhattacharya's imaginative renderings and innovative extensions of playing technique and instrument design reveal the kind of provocative re-thinking that has always been at the vanguard of Indian classical music. Raga Bhimpalasi is played in the afternoon, evoking a contemplative sense of peace and the majestic grandeur of creation.

This is one of the best Hindustani recordings of all time. I hope you will not let the guitar factor get in the way of your giving this cd a chance. Make no mistake about it, in the hands of Debashish Bhattacharya his acoustic slide guitar is as "valid" and "authentic" a Hindustani instrument as a sarod or a sitar. Plus he has altered the guitar by adding drone and sympathetic strings so it does indeed have a very "Indian tone" to it. Gorgeous tone actually.

If you never have 70 uninterrupted minutes to dedicate to a cd then actually Debashish's Raga Saraswati cd may be a better choice for you because it has three shorter performances rather than the one long one contained on this cd. Plus, in terms of "performance quality" you aren't sacrificing anything by buying Saraswati. It's an epic recording as well. I give the slight nod to the Bhimpalasi cd because the 48-minute alap, jor, and jhala on this cd is so magnificent, and it so perfectly displays the profound emotional impact and creativity that stands at the heart of a great Hindustani improvisation that I just have to choose this one. Plus the gats are volcanic as well! The Saraswati cd is also amazing, the performances are just more compact so none of the alap's get to stretch out and go quite as deeply as this one does. My advice: Buy them both!

In terms of just sheer improvisational ability and emotional power, Debashish is right up there with Viliyat Khan, Ali Akbar Khan, etc....

If you've never heard of him before, don't worry. Whether you're just a guitar fan who is curious to hear something new or you're a knowledgeable longtime fan of Hindustani music this cd will blow your mind. Debashish and Samir Chatterjee (the tabla player) created one of the pearls of recorded music.

Raga Bhimpalasi is a beautiful raga and they create one of its best-ever versions.

1. Raga Bhimpalasi - Alap, Jor & Jhala
2. Raga Bhimpalasi - Vilambit Gat in Rupak Tal
3. Raga Bhimpalasi - Madhya & Drut Gat in Tintal

Debashish Bhattacharya (guitar, slide guitar);
Hallie Goodman (tanpura);
Samir Chatterjee (tabla).

FLAC (EAC Rip): 390 MB | MP3 - 320 kbs: 185 MB | Booklet Scans

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Treasure Edition: Pipa Solo by Liu Dehai

Posted By MiOd On Tuesday, February 15, 2011 0 comments
Conqueror Xiangyu Takes Off His Armour
Pipa Solo - Liu Dehai
"Treasure Edition" Series on famous Chinese musicians and best known music in the 20th Century

Liu Dehai, an eminent Chinese Pipa master, began learning Pipa and other traditional Chinese instruments (like Erhu and Sanxian) at the age of 13. Later Liu Dehai studied under Liu Shicheng, a famous Chinese Pipa player. In 1957 he was admitted into the Central Conservatory of Music, majoring in Pipa. In 1970 he joined the Central Philharmonic Orchestra as a Pipa soloist. Liu Dehai's adaptation of the traditional tune, "Laying An Ambush On All Sides" was a hit both in China and abroad. Since 1979, Liu Dehai toured extensively abroad and performed with many famous orchestras like Boston Symphony Orchestra and Berlin Symphony Orchestra. Liu Dehai's performance is acclaimed as being exuberant and highly sophisticated. Liu Dehai plays a huge role in popularizing traditional music with his new arrangements of many traditional tunes and his adaptation of many pop songs into Pipa solos. Liu Dehai's hit pieces include but not limited to "Wild Geese Descending On a Sandy Beach," "Billows Washing Beach Sand," and "A Moonlit Night In Xunyang."

(01) Big Billows Beat The Sands
(02) An Ancient Melody From Yingzhou
(03) Xiao and Drum Played Under The Setting Sun
(04) The Complaining Queen In Changmen Palace
(05) Conqueror Xiangyu Takes Off His Armour
(06) Yi Nationality Dance
(07) The Little Sisters In Grassland

Pipa solo and lead playing "set of well-known traditional pipa..": Liu Dehai

APE (EAC Rip): 265 MB | MP3 - 320 kbs: 135 MB | Covers

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Danzas Medievales Españolas

Posted By MiOd On Tuesday, February 15, 2011 0 comments
This recording stands out as the best in a growing range of CD's of medieval Iberian music, which mixes Arab, north African, and European themes. The music itself is spellbinding. There's nothing else quite like these songs' melding of sounds and tempos from early European and African/Arab instruments. But it's also true that Paniagua and friends are super interpreters, setting a wide variety of moods that all get resolved by the end of the CD, for a satisfying listen.

The repetory artists get from this period is both rich and overplayed--the common appearance of the Red Book themes in recent recordings a case in point. That makes intelligent interpretation crucial. The distinction of Paniagua's group is their truly new renditions of common tunes with the addition of deep skill in contemporary north African music. Purists might look askance at the way the CD intersperses modern Bedouin and Arab instrumentals with the ancient Andalusian songs. Yet many of the old songlines that migrated into Spanish Muslim society never got transcribed, certainly not in later European texts, making modern plugs essential to a complete recording. Now, in other hands, it would be Orientalist of the artists if they were suggesting that north African music hasn't changed significantly in over seven hundred years. But I think the group decided that some continuities--inside north African music, among Meditteranean musics-- merit being recognized and argued today, and as a result (2) give hope for building conversations that defy seemingly irreconcilable divisions of Africa from Europe, Christianity from Islam.

So what might make this CD stand out best is its subtle take on the culture, or politics, of this genre of recordings. Paniagua's group does far and away the best job I've seen of explaining, through the music itself, why today's north African and Spanish artists want to make it come alive again. National leaders and major media like to tell us that Islam and Christianity repel like opposed magnets, that they form separate "civilizations" that inevitably "clash." This music suggests that history tells a different story. More importantly, the effort the artists take to play it suggests that the present also deserves a different story. The music is both harmonious and dissonant, suggesting both the troubles and the promise that emerge in a truly heterogenous society, especially when people embrace a mixed culture. I get inspired to do that work when I hear how it happened in the past, or how people try to create new links in the present.

`Danzas Medievales Espanolas' and `Calamus, The Splendour of Al-Andalus' are both performed by the Eduardo Paniagua Group which, I believe, is based in Spain. Both albums were recorded at the Monasterio de la Santa Espina, Valladolid, Espana and both ensambles of musicians are lead by Eduardo Paniagua, although there is some difference in the personnel between the two albums.

Andalucia is the most southwesterly province in Spain and therefore the one under control of the Moors for the longest time. The latter of the two albums specifically offers us music of `Arab-Andalusian Music of the 12th to the 15th centuries', after which the Moors were kicked out of Spain by Isabella and Ferdinand. As I listen to this specifically Arab music, I hear virtually nothing which tells me that it is music performed in Spain. It is certainly old, but not too different from the Arab music I hear on Sunday's on my local NPR radio station. You can almost hear the influences of the Levant which are shared by both Arab and Israeli musical styles. I am constantly looking around to find the sources of all the clicks and rattles as I do my gardening with Walkman in full throat. Turns out, it is all from the rich family of Middle Eastern percussion instruments on this album. Looking at the names of the tracks, they too all seem to be in a Latinized spelling of a Middle Eastern language.

The first album of Medieval dances with largely the same instruments and a very similar ensemble sounds quite different. This music is quintessentally European Renaissance, with strong similarities to other recordings of Renaissance music by French, English, Dutch, German, and Italian influenced performers. The titles to these pieces have a much more pronouncedly Spanish look to them. Some even seem to be titled in Latin, which seems odd, but maybe not that odd, as the two strongest influences on popular music through the ages is dance and liturgical (nee gospel) music. So, one shouldn't be too surprised to see a little Kyria slip into the vernacular.

One thing which really impresses me is that while western music has changed so much over the last 6 centuries, the Arab music sounds so much like it does today, and yet in the 15th century, it sounds a lot more sophisticated than the native European music.

01. Calenda maia - Eduardo Paniagua Group, Raimbaut de Vaqeira
02. Ben vòlgra (13th century) - Eduardo Paniagua Group, Anonymous
03. La La mora de Borja, CSM-167 - Eduardo Paniagua Group, Alfonso X
04. Nawâ Shanbar - Eduardo Paniagua Group, Anonymous
05. Portum in ultimo - Eduardo Paniagua Group, Ato Bishop of Troye
06. Las Las Mayas, CSM-406 - Eduardo Paniagua Group, Alfonso X
07. Rasd al-dhîl Bashraf Sammâi - Eduardo Paniagua Group, Anonymous
08. Li Rosignox - Eduardo Paniagua Group, Thibault IV, King o
09. Caballero de França, CSM-281 - Eduardo Paniagua Group, Alfonso X
10. Phelipe, je vous demand - Eduardo Paniagua Group, Thibault IV, King o
11. Dame - Eduardo Paniagua Group, Thibault IV, King o
12. Gratulantes celebremus festum - Eduardo Paniagua Group, Magister Goslenus
13. Maqam Hedjaz - Eduardo Paniagua Group, Anonymous
14. La La mujer de Lérida, CSM-168 - Eduardo Paniagua Group, Alfonso X
15. Asbasayn Mosaddar - Eduardo Paniagua Group, Anonymous
16. Quantas sabedes amar - Eduardo Paniagua Group, Codax, Martin
17. Polorum Regina (Anónimo libro bermejo; 14th Century) - Eduardo Paniagua Group, Anonymous
MP3 VBR kbps including Covers


Ronu Majumdar - Reverie

Posted By MiOd On Tuesday, February 15, 2011 0 comments
Flute as a clasical instrument : Historic Perspectives
Only about sixty years have passed since that momentous day when Pannalal Ghosh, the great pioneer of the bansuri, sat before an audience in Calcutta and presented a concert of classical music on his new self-designed flute, so changing the status of the bansuri (bamboo flute) forever; from a village instrument, the play-thing of Lord Krishna, into a concert instrument capable of conveying the full range of Hindustani classical music in all its finest nuances and subleties. By all accounts, the audience that day were not impressed, but the great Pannalal persevered and went on to become one of the legends of Indian music.
A second generation of flute players soon followed, many fine musicians Ken Hunt in the Folk Roots music magazine writes of Ustad Sultan Khan's 1986 London performance: "He produced some truly spellbinding improvisations around a rainy season Raga Megh. Sultan Khan's artistry seemed to recognise few bounds as he deftly teased plaintive cries from the sarangi. His playing would be enough to break your heartstrings one moment, before he would release the tension with a burst of notes, like rays of sunshine brushing through the rain clouds".

1. Raga Bhim - Aalap, Jod, Jhala
2. Raga Bhim - Madhyalay Jhaptaal & Drut Teentaal

Ronu Majumdar - Flute
Sukhvinder Singh Namdhari - Tabla
Vinit Vyas - Tanpura

FLAC (EAC Rip): 230 MB | MP3 - 320 kbs: 160 MB | Booklet Scans

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La Follia

Posted By Fido On Tuesday, February 15, 2011 0 comments

Information about La Follia: From Wikipedia, the free encyclopedia

Those are six versions of La Follia, extracted from different CD's
All in FLAC format

1- Antonio Vivaldi - Sonata a tre "La Follia" - Sonate a due Violini - Chiara Banchini - Ensemble 415 62.9 MB
2- Antonio Vivaldi - Suonate da camera a tre, due violoni e violone o cembalo - Enrico Gatti, violin Ensemble Aurora 56.6 MB
3- Handel & Corelli - 6 Violin Sonatas - Henryk Szeryng 56.1 MB
4- Corelli - La Folia (1490-1701) - Jordi Savall 60.8 MB
5- Salieri - The 2 Piano Concertos, Variazioni sulla 'Follia di Spagna' - Pietro Spada - Philharmonia Orchestra 83.7 MB
6- La Folia de la Spagna - Gregorio Paniagua 25.5 MB

Download: 1 - 2 - 3 - 4 - 5 - 6

Caballeros - Cantigas de Alfonso X el Sabio

Posted By MiOd On Tuesday, February 15, 2011 0 comments
Cantigas de Alfonso X El Sabio (1221-1284)
Música Antigua - Eduardo Paniagua
The world of medieval knightood is a passionately interesting chapter of history. There is much to study still, both with regards to noble knigths and to more popular chivalry. In contrast with the ideal world of knights portrayed in books, and in contrast also with the regulations contained in the codices of knightly laws, there appear the stories of knights within the Cantigas of Our Lady.

(01) Caballeros (instrumental)
(02) La venganza del caballero (Se ome fezer de grado)
(03) El torneo (Quena Fest e o Dia)
(04) Caballeros de otro mundo (Os que boa morte morren)
(05) Caballero celoso (Com a' gran pesar a Virgen)
(06) La escudilla de plata (Tantas nos mostra a Virgen)
(07) Pacto con el demonio (instrumental)
(08) El azor perdido (En toda - las grandes coitas)
(09) Caballero trovador (En bon ponto vimos esta Sennor que loamos)
(10) El labrador de Armenteira (Mui gran poder a' a Madre de Deus)
(11) Los zapatos de Cordobn (Quen mui' ben quiser)

Ape (EAC Rip): 350 MB | MP3 - 320 kbs: 160 MB | Covers

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Janine Jansen - Vivaldi: The Four Seasons

Posted By MiOd On Monday, February 14, 2011 0 comments
"This is a delight with a seriousness of purpose that rather belies the star-centred packaging. Jansen and friends offer this ever-popular work in a cut-down, chamber version that grows on you with each listening. The playing is full of vigour and imagination, and the sound merely adds to the appeal... you're unlikely to resist Jansen's charms for long."
The young Dutch violinist Janine Jansen has attracted attention, to say the least, with the cover artwork on her recording of Vivaldi's Four Seasons violin concertos; it could have come straight out of the European edition of Vogue in a year when necklines plunged off the bottom of the chart. But the real surprises come on the disc itself. Jansen runs wild with Vivaldi's music, guided by little more than her own imagination. From historically informed performers she borrows the license to improvise. From the old-fashioned big-name violinists who played Vivaldi she borrows a full Romantic repertoire of violin sounds. And the radical conception of her backing ensemble (unnamed, but featuring several family members) she borrows from nobody at all: she uses solo (modern, except for her own Stradivarius) strings, plus a continuo that shifts as the mood strikes between harpsichord, organ, and theorbo. "I began playing the Bach concertos with reduced orchestra, to see what it would sound like -- and I found it worked extremely well," writes Jansen in the notes. "So I decided to give it a go with Vivaldi as well." All in all, the terms "extreme" and even "over the top" can safely be applied to Jansen's recording. A gleefully unidiomatic application of tempo rubato is the most striking feature of her performance -- or the most glaring, depending on your point of view -- and dynamics are explosive. She certainly responds with maximum vividness to the detailed program Vivaldi attached to his four concertos.

One may feel that Jansen's untrammeled, ultra-Romantic interpretive freedom clashes with the essentially terraced quality of Vivaldi's music -- that his programmatic effects succeed so well exactly because they are confined within the rigidities of Baroque concerto structure, not in spite of that confinement. Potential buyers should sample this disc as far as possible before clicking the "buy" button, and it's not a good choice for the newcomer. Reactions will necessarily be personal. Yet strangely enough, even for this leaner in the direction of historically authentic performances, Jansen's recording works. The Four Seasons are so familiar by now that they're almost like one of the modal instructional compositions of Near Eastern classical musical systems -- any young violinist must realize them anew, demonstrating both technical competence and fresh ideas. Everyone is trying to make an impression; Jansen just goes further than most, and she has the chops to pull off anything she can think of. You may laugh out loud at the audacity of some of her moves -- not a bad thing, really --and though you may have heard the Four Seasons hundreds of times, there will be points where you're not sure what you're listening to. The Red Priest, himself an extremist, might have applauded Jansen's work if he could somehow have seen a hundred years into the musical future. As for the décolletage, it may be historically relevant to a doubtless highly charged situation in which a defrocked priest wrote music for an orchestra composed of teenage girls. This performance was recorded with microphones right in the middle of the group, picking up every musical detail and also breathing, bowing, and other noises. Like the disc as a whole, that's sometimes annoying. But it's conceptually consistent with the rest of what's happening. Bottom line: listen, and hold on for dear life.

With well over 100 recordings to choose from, such are the musical possibilities thrown up by Vivaldi’s vibrant pictograms that no two versions sound remotely alike. Of the old-school versions, Henryk Szeryng directing the English Chamber Orchestra on Philips (now sadly deleted) still holds sway, although finest of recent accounts on modern instruments is Anne-Sophie Mutter’s second DG outing with the Trondheim Soloists, an exhilarating musical rollercoaster ride that surprises at every dive and swerve, without resorting to the grating eccentricity and puerile shock tactics of several period-instrument versions.

If Mutter turns Romantic semantic sensibilities on their head, Janine Jensen might be said to marry traditional expressive values with the textural vitality and bracing inventiveness of authenticity. Jansen possesses the ideal combination of intonational purity and tonal allure, and is beguilingly responsive to the music’s shifting moods, creating the uncanny impression of a series of vividly drawn characters passing before our eyes as we listen. The all-star ensemble responds to her every whim and caprice with a ravishing sequence of captivating sonorities that grow naturally out of the music rather than merely being superimposed on it. The recording possesses a seductive autumnal glow that bathes the listener in a stream of golden sound. Forget the meagre playing time: with this exemplary release, the benchmark has been raised just that bit higher.

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Quango - World Voices

Posted By MiOd On Monday, February 14, 2011 0 comments
Personnel: Georges Beckerich (bugle); Philippe Donnadieu (piano).Spin (8/96, p.104) - "...contrast[s] Arabic, Latin, and related operatic-ecstatic pop spheres....Expertly selected but presented without liner info...the ultimate in hip passivity..."
Vibe (4/96, p.112) - "...proof that the beat of good music pulsates beyond North America..."

(01) [Nusrat Fateh Ali Khan] Jhoole Jhoole Lal Club Mix
(02) [Natacha Atlas] Duden
(03) [Uman] Atmosphere
(04) [Milton Nascimento] Offertory
(05) [Ana Belen] La Mentira
(06) [Mercedes Sosa] Soy Pan, Soy Paz, Soy Mas
(07) [Les Nouvelles Polyphonies Corses] Anima
(08) [Salif Keita] Sanni Kegniba
(09) [Vox] Bearer Of The Cups
(10) [Giovanni Venosta] Woman In Late

FLAC (EAC Rip): 345 MB | MP3 - 320 kbs: 155 MB | Scans

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Music Traveller - Mexico

Posted By MiOd On Sunday, February 13, 2011 1 comments
The music of Mexico is extraordinarily diverse and features a wide range of different musical styles. The most well-known Mexican genre by far is mariachi, which is considered outdated but respected traditional music and is not listened to as comtemporary music. Norteño and banda are not only popular within Mexico, but they are also frequently enjoyed by working-class Mexican immigrants in both rural and urban American communities. Norteño, similar to Tejano music and Tex-Mex, arose in the 1930s and 40s in the Rio Grande border region of southern Texas. Influenced by Bohemian immigrant miners, its rhythm was derived from the European polka dance popular during the 1800s. Banda, similar to norteño in musical form, originated from the Mexico state of Sinaloa during the 1960s. Other new styles such as cumbia, pop, and rock have seen increased popularity as the music of Mexico faces a new generation of young people.

Southern Mexican folk music is centered around the marimba, which remains popular in Chiapas and Oaxaca. In Yucatán the traditional Jarana music and dance is popular.

Mexican son

In the 1940s, Mexican music began its rise to international fame, just as Cuban music was topping charts across the globe. Since then, Mexico has absorbed influences from across Latin America, most especially include Colombian cumbia, which is now as much or more known as a Mexican trend than a Colombian one.

Mexican pop music derives from a mixture of Spanish, African and Aztec or other indigenous sources. Related to Cuban son montuno and Venezuelan joropo, Mexican son arose in the 18th century. It is similar to, but historically and characteristically distinct from, Cuban son montuno, despite the similarity in nomenclature. Nine or ten styles of Mexican son have been popular, including mariachi. Mexican son has been rural for most of its history, and requires audience participation for zapateado, or foot-stamping done in a counter-rhythm. Most bands use string instruments and improvised lyrics.


As the most well-known regional musicians of Mexico, mariachi bands became common in Jalisco around the beginning of the 20th century, originally playing at weddings. The earliest known appearance of this term in reference to music is from 1852. It is said that General Porfirio Díaz, in 1907, ordered a mariachi band to play for the United States Secretary of State, only if they wore charro suits, which were worn by the poor musicians' bosses. This is the source of traditional dress for mariachi bands, and is considered the beginning of modern mariachi. By the turn of the century, mariachi was popular across Mexico. Rural subgenres have largely died out, and urban mariachi from Mexico City has dominated the field since the 1930s. It became known as the national music of Mexico after the 1910 Mexican Revolution, and was subsidized during the term of Lázaro Cárdenas. Cornets were added to mariachi in the 1920s; they were replaced by trumpets ten years later.

Mexican immigrants in the United States made Los Angeles the mariachi capital of the USA by 1961. Mexican music was popularized in the United States in the late 1970s as part of a revival of mariachi music led by performers like Linda Ronstadt. One of the most well known examples of Mexican music (at least in the United States) is "La Cucaracha" and the Mexican Hat Dance ("El jarabe tapatío").

The golden age of mariachi was in the 1950s, when the ranchera style was common in American movies. Mariachi Vargas played for many of these soundtracks, and the long-lived band's long career and popular acclaim has made it one of the best-known mariachi bands.


Jalisco's folk music (jaliscienses) is the source of the internationally-revered mariachi genre, after it was popularized by Mexican cinema.


Jarochos music comes from the Veracruz area, and is distinguished by a strong African influence. International acclaim has been limited, including the major hit "La Bamba". The most legendary performer is Graciana Silva, whose Discos Corason releases made inroads in Europe. Southern Veracruz is home to a distinct style of Jarochos that is characteristically lacking a harp, is played exclusively by requinto or jarana guitars, and is exemplified by the popular modern band Mono Blanco.


Sierra Gorda's villages are home to trovadores who play arribeño music. Known for lyrical innovation, the genre is competitive in nature, and is accompanied by guitars and violins. Guillermo Velázquez is the best-known exponent of arribeño.


Melodically complex violin music from the Balsas River Basin of western Mexico. Juan Reynoso is especially popular, and has won the National Prize for Arts and Sciences.

Arpa grande

Sones de arpa grande developed in an arid, hot area of western Mexico. It is dominated by a harp, accompanied by violins and guitars. Originally confined to poor rural areas and urban brothels, sones de arpa grande is now popular among the suburban and urban middle- and upper-class audiences. Juan Pérez Morfín and Beto Pineda are the most well-known performers.

Abajeños and istmeños

Indigenous communities have produced their own variants of Mexican son, which is otherwise a primarily mestizo genre. The Purépecha (from Michoacán) are known for the sones abajeños, which are often played alongside pirekaus, a form of native love song. Famous bands include Atardecer and Erandi.

The Zapotecs of Oaxaca have produced some extremely famous love songs, and the people's sones istmeños, which are sung in both Zapotec and Spanish. The music has been popularized, primarily by pop stars from outside the area, including Lila Downs.

Son huasteco

Son huasteco music, a style developed by Mexico's Huastec people, is a genre which has been gaining in popularity in recent years. Two guitarists sing in a falsetto with accompaniment by a violin. Improvisation is common. Los Camperos de Valle and Trio Tamazunchale are especially influential performers.

Norteño and banda

The first major international trend from Mexico was the popularization of ranchera, which had developed early in the 20th century out of mariachi, and became popular in Latin America after being used in several films. Thus, a new traditional Mexican ranchera (country music) style came out. Norteño and banda are popular bands that play mainly rancheras and corridos. Most first-generation Mexicans prefer norteño and banda, while the younger generation are more oriented toward cumbia and Latin hip-hop. Many Mexican radio stations in the United States are devoted to playing mainly norteño and banda, such as the radio station "97.9 en East Los Angeles - el número uno en bandas y norteñas!"

Norteño music (similar to Tex-Mex and Tejano in the United States) almost always has the accordion as the lead instrument, with guitars serving as its roos. Norteño is an outgrowth of corridos which told tales of the Mexican Revolution. In the late 1920s, the corridos entered a golden age when Mexicans on both sides of the border recorded in San Antonio, Texas-area hotels, revolutionizing the genre alongside Mexico's political revolution. By the time the golden age ended, Narciso Martínez and Santiago Jimenez had introduced the accordion, which had been introduced by Bohemian miners who immigrated to the country in the late 19th century. Alongside the accordion came the polka, which, alongside waltzes, chotis and mazurka, mixed with corridos to form modern norteño in the early 1950s. Although norteño originated in the American state of Texas, it is popular among Mexican Americans from virtually any region of the United States. Later in the century, bands such as Los Tigres del Norte and Los Cadetes de Linares added influences from cumbia, rock music, and other new styles, thus creating a unique new blend in some of their new songs.

Banda music, or Mexican big band music, originated in the northwestern Mexican state of Sinaloa. In the 1990s, banda exploded in popularity among Hispanics in both the United States and Mexico. Originally instrumental, this style was popularized by Banda el Recodo, Julio Preciado, and other major stars who started including lyrics and converting popular songs into this genre.

Musica duranguense

Musica durangunese (often simply called duranguense) is a type of music which originated from the northern Mexican state of Durango. Located just east of Sinaloa, where banda began, its music is based on both brass and wind instruments and includes the clarinet, trumpet, flute, and drums. It is usually played at a rapid tempo and relies more on percussion than banda does. In the 2000s, musica duranguense rose to fame as it gained position as an equal with banda and norteño. Duranguense bands play mainly rancheras, polkas, and cumbias. Some of the most popular artists include El Grupo Montez, Patrulla 81, and El Grupo Joven de Durango.

Cumbia and pop

The 1980s saw Colombian cumbia become even more popular in Mexico than its native land, and it was by far the dominant genre throughout the decade, before banda overtook it in the 1990s. In the early 1970's and 1980's Mexican bands like Rigo Tovar y su Costa Azul and Los Bukis topped the charts, and helped inspire grupera bands at the end of the decade. These included Yonics, Bronco and Banda Machos.

Rock and electronic music

The same period saw a relaxation of regulations that restricted importation of foreign music. The result was the appearance of Mexican rock bands like Café Tacuba, Los Caifanes, Maná, and Maldita Vecindad. Last are "grandfathers" to a Latin-Ska movement, with Pantheón Rococó as the most prominent band. Electronic Music is prominent in the North with the Nortec Collective and Noiselab Collective on its forefront, Mexico City has a considerable movement of bands playing surf rock inspired in their outfits by local show-sport lucha libre, with Lost Acapulco initiating and leading the movement.

Classical music

Mexico has a long tradition of classical music, as far back as the 16th century, when it was a Spanish colony. Music of New Spain, especially that of Juan Gutierrez de Padilla and Hernando Franco, is increasingly recognized as a significant contribution to New World culture. In the 20th century, Carlos Chavez is a composer of note who wrote symphonies, ballets, and more.

(01) [Ana Gabriel] La Reina
(02) [Los Andariegos] Sollozando
(03) [Mariachi Reyes Del Aserradero] El Cihualteco
(04) [Lucero] Como Te Voy A Olvidar
(05) [Santana] Guajira
(06) [Jaguares] Como Tu
(07) [Los De Abajo] Son De La Liberacion
(08) [Eugenia Leon] La Tirana
(09) [Javier Solis] Lloraras, Lloraras
(10) [Trio Los Panchos] Sin Un Amor
(11) [Los Super Seven] Paloma Guarumera
(12) [Lila Downs] Sale Sobrando
(13) [Linda Vera] Acapulco
(14) [Lhasa De Sela] La Celestina
(15) [Julieta Venegas] Hoy No Quiero

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Synfonye: Andalucia en las Cantigas de Santa Maria

Posted By MiOd On Saturday, February 12, 2011 0 comments
Andalucia in the "Cantigas de Santa Maria" of King Alfonso X "el Sabio"
Poder á Santa María
Sinfonye - Stevie Wishart, dir.
Track Listing
Alfonso el Sabio (attr.): Cantigas de Santa Maria
1. Cantiga 257: Ben guarda Santa Maria pola sa vertude
Cantiga 42: A Virgen mui groriosa
2. Cantiga 185: Poder á Santa Maria grande d' os seus acorrer
3. Cantiga 279: Santa Maria, valed', ai Sennor
Cantiga 250: Por nos, Virgen Madre
Cantiga 120: Quantos me creveren loarón
4. Cantiga 344: Os que a Santa Maria saben fazer reverenía
Cantiga 345: Sempr' a Virgen groriosa faz aos seus entender
5. Cantiga 345: Sempr' a Virgen groriosa faz aos seus entender (instr.)
6. Cantiga 169: A que por nos salvar
7. Cantiga 321: O que mui tarde ou nunca se pode por meezya
8. Cantiga 323: Ontre toda-las vertudes que aa Virgen son dadas

Sinfonye [Equidad Barés (voice), Vivien Ellis (voice), Stevie Wishart (medieval fiddles, sinfonye, voice), Paula Chateauneuf (oud, voice), Jim Denley (percussion)] - Stevie Wishart, dir.
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Chinese Music Classics of the 20th Century: Brass Band

Posted By MiOd On Saturday, February 12, 2011 1 comments
Chinese Music Classics of the 20th Century: Brass Band
Band Of Chinese Peoples Liberation Army
"Shi Ji Ledian" full 20 records, the selection of 208 well-known 20th century, the landmark Chinese instrumental classics; "World Jiyue Dian" of the selections to musical instruments as the key link, consider the ancient and modern, vertical and horizontal north-south, integrate things, a set of Le Code, the most representative collection of 20th century instrumental classic, described as "Bo", "Canton", "full", each of the first familiar, worth hearing a hundred works, the most outstanding performance by the master, the most prestigious references to play master of the most prestigious orchestras focused interpretation, complement each other; "World Ji Ledian" compiled by the music, not only people in the deep heart of a sound recording the history of the efforts of several generations, as well as international music language to write a gorgeous grand movement of Chinese music in the history of the 20th century's most brilliant page.

[01]. March of the Chinese People's liberation Army
[02]. Sportsmen March
[03]. Parade March
[04]. Cavalry March
[05]. March of Solidarity and Friendship
[06]. Welcome March
[07]. Farewell March
[08]. College Students March
[09]. Brisk Pace
[10]. Marching Towards the Sun
[11]. China Welcomes You
[12]. Unknown Heroes
[13]. Victory Is Calling You
[14]. Heroes of the Time
[15]. Good Athletes March
[16]. Sound of Olympics

APE (EAC Rip): 290 MB | MP3 - 320 kbs: 120 MB | Covers

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Purbayan Chatterjee & Shashank - Rasayana

Posted By MiOd On Saturday, February 12, 2011 0 comments
'Rasayana' means chemistry, which occurs in abundance in this new collaborative work between musicians from North and South India.

India is a vast country with a rich and vibrant culture playing host to a plethora of musical expressions and styles. From the thirteenth century onwards, when the Mughals first entered the northern part of India, its classical music has evolved into two distinct forms.

The Carnatic tradition of the South is often perceived as the most authentic, untainted form of classical music, while the Hindustani tradition of the north is a fusion of India's own indigenous music and the Persian music culture which accompanied the art loving Mughal Emperors.

Although distinctions can be made between the two forms concerning repertoire and presentation there remains many shared elements. The melodic concept of Raga and the rhythmic system of Tala are central to both styles. "Sruthi Mata Laya Pita", a popular saying with both teachers and students alike, tells us that in Indian music the notes are the Mother, and the rhythm, in the form of tala is the Father!In recent times artists from both traditions have strived to bridge the gaps. Ravi Shankar has been responsible for bringing several traditional Carnatic ragas into the North Indian classical music repertoire. South Indian ragas such as Charukeshi, Kirvani and Hansadhwani have become extremely popular with audiences in the North. The truth is that modern day India is producing a wealth of young artists who are keen to explore the whole breadth of their own music traditions and cultural inheritance.

Purbayan Chatterjee comes from a family steeped in the classical music tradition.

His father and guru Partha Chatterjee is a distinguished sitarist in his own right. In the tradition of the Senia Maihar gharana, founded by Baba Allaudin Khan, Purbayan's playing is an aesthetically satisfying combination of the best facets of "Dhrupad" and "Khayal", North India's two most established classical vocal forms. In recent years Purbayan has had the benefit of guidance from Ustad Ali Akbar Khan, one of India's greatest sarod players, once described by Yehudi Menhuin as the finest musician of the twentieth century. At a young age he has already toured the world several times at the same time dazzling and delighting international music audiences.

Born in 1978, Shashank made a sensational concert debut at the age of eleven playing on the Southern Indian traditional bamboo flute and took the Carnatic Music scene by storm overnight. In his relatively short career he has already succeeded in mastering several flutes of differing registers and fingerings introducing elements of Northern Indian music into his repertoire in a way that sounds totally natural. Critics from the world over have described his flute playing as highly creative, melodious and conforming to a vocal tradition of high quality. He has also developed innovative techniques on the bamboo flute which are the envy of flautists worldwide, including double blowing, which entails playing two notes from different octaves simultaneously.

Yogesh Samsi is one of those rare tabla players whose reputation has been built on his consummate artistry in both fields of accompaniment and solo playing. Son of highly respected vocalist, Pandit Dinkar Kaikini, Yogesh had the great fortune to be groomed as a tabla player under the guidance of the late Ustad Alla Rakha Khan, who held Yogesh in the very highest regard and with deep affection.

1. Raga Puriya Dhanashri-Alap
2. Raga Puriya Dhanashri-Jor and Jhalla
3. Raga Puriya Dhanashri-Gat in Matta Taal
4. Tabla and Mridangam

FLAC(EAC Rip): 420 MB | MP3 - 320 kbs: 180 MB | Booklet Scans

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