Yarkin Turk Ritm Grubu - Kervansaray "Caravanserai"

Posted By MiOd On Wednesday, March 30, 2011 0 comments
Track Listing
(01) Agiydil Buylari
(02) Azeri Suit
(03) Sari Gelin
(04) Nani Nani Oy
(05) Muhabbet Eyledim Sadik Yar Ile
(06) Karpuz Kestim Yiyelim
(07) Sem-i Ruhuna
(08) Cicekler Ekiliyor
(09) Yagcilar Zeybegi
(10) Oniki Ada
(11) Rast Fasli
(12) Rast Oyun Havasi
(13) Ince Giyerim Ince
(14) Onbirli

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Eroica Trio - Pasión

Posted By MiOd On Wednesday, March 30, 2011 4 comments
Among the best-known piano trios, the Eroica Trio is also one of the most successful all-women chamber ensembles in the world. Winners of the 1991 Walter W. Naumburg Chamber Music Competition, the ensemble went on to a successful debut at Lincoln Center and several tours of the United States, Europe, and Asia. The trio quickly gained a reputation for passion and excitement in its performances and for innovative programs.

Pianist Erika Nickrenz, who began playing piano at age six and performed her first concerto at 11, has received the Rockefeller Award and has been featured in the PBS series Live from Lincoln Center.

Australian violinist Susie Park, who replaced founding member Adela Peña in 2006, has won top honors in the Indianapolis, Menuhin, and Wieniawski International Violin Competitions, and has appeared as soloist with the Indianapolis Symphony, as well as with the Korean KBS Orchestra and orchestras in Sydney and Melbourne. Cellist Sara Sant'Ambrogio has won many international competitions and received a medal at the International Tchaikovsky Violoncello Competition. She has toured extensively as a soloist and played with orchestras in Atlanta, Boston, Dallas, St. Louis, Moscow, and Izmir. She has released several solo CDs and joined in crossover performances with Rufus Wainwright, VAST, Angela McCluskey, and hip-hop artist Beatrice.

The group took its name from Ludwig van Beethoven's "Symphony No. 3 in E flat major, Eroica." It is one of the most active piano trios in the field of orchestral performance, and plays more concerts of Beethoven's "Triple Concerto" than any other trio. It commissioned a triple concerto from composer Kevin Kaska, which was premiered in 2001 with the Saint Louis Symphony Orchestra. The Eroica Trio also premiered "Tango for Seven" by Raimundo Penaforte, composed for an innovative combination of string trio plus string quartet, and which was premiered with the St. Lawrence String Quartet.

Recording for Angel/EMI Classics, the Eroica Trio's repertoire has included the music of Maurice Ravel, Sergey Rachmaninov, Dmitry Shostakovich, and Antonin Dvorák, as well as lighter fare by George Gershwin, Leonard Bernstein, Astor Piazzolla, and Mark O'Connor.

It seems compulsory nowadays to slap a snazzy title onto every classical CD, even if the musical content all too rarely lives up to the billing. How refreshing, then, to encounter Pasión, in which the Eroica Trio's hot-blooded performances make good on the title's promise. As with the group's previous albums, this program is a creative mixture of old and new. The Spanish-flavored First Trio of Joaquin Turina (1882-1949) has been recorded by the Beaux Arts Trio and a few other distinguished threesomes, but it's still something of a rarity. The Eroica basks in the music's intense Iberian atmosphere, making one wonder why such an evocative and enticing work isn't a concert staple. Climbing aboard the ever-growing tango bandwagon, the trio offers four miniature masterpieces by Astor Piazzolla: "Primavera Porteña," "Oblivion," "Revolucionario," and "Otoño Porteño." The great tango master surely would have approved of the Eroica's performance. Unlike many classical musicians who treat this fiery music with kid gloves, these women play with abandon, wrenching the emotion out of every phrase. (The arrangements are by cellist José Bragato, who played with Piazzolla's octet during the late 1950s.) Raimundo Penaforte's An Eroica Trio, composed in 1999 especially for this ensemble, pays homage to Piazzolla in its alternately vehement and sentimental first movement. The bluesy second movement was inspired by the passacaglia of Ravel's Piano Trio, and the rollicking finale is a tribute to Penaforte's countryman, the Brazilian songwriter Capiba. Pasión closes on a more tenderly romantic note with Penaforte's transcription of the haunting aria from Villa-Lobos's Bachianas Brasileiras No. 5.

(01). Primavera Porteña
(02). Oblivion
(03). Revolucionano
(04). Otono Porteno
(05). Premier Trio, Op. 35: I. Prelude et fugue: Lento
(06). Premier Trio, Op. 35: II. Theme et variations Andante
(07). Premier Trio, Op. 35: III. Sonate: Allegro
(08). An Eroica Trio: I. Astor
(09). An Eroica Trio: II. Maurice
(10). An Eroica Trio: III. Capiba
(11). Aria (Cantilena) from Bachianas Brasileiras

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Anne-Sophie Mutter – Berg: Violin Concerto

Posted By MiOd On Tuesday, March 29, 2011 0 comments
Alban Berg: Violin Concerto "To the Memory of an Angel" (1935) / Wolfgang Rihm: "Time Chant" Music for Violin & Orchestra (1991-92) - Anne-Sophie Mutter
Berg's Violin Concerto (1935) is considered by many the most accessible and emotionally engaging piece of music in the atonal idiom. His last completed work, the concerto was written as a memorial "to an angel" upon the premature death of Alma Mahler's daughter Manon Gropius. But as with all of Berg's oeuvre, an autobiography of the composer's inner life is also thoroughly woven into the score. From the deeply reflective nuances of its quiet opening, Anne-Sophie Mutter takes the listener into the heart of Berg's ambiguous lyricism. There's a keen grasp, both by soloist and conductor James Levine, of the work's intricate structure and progression, but never at the price of a coldly disengaged intellectualism. Mutter summons a marvelous array of shadings and colors, effecting a truly haunting impression as tonality makes its ghostlike apparition, first in the guise of a folk song and, in the final part--following a violent cataclysm rendered with fiery power--in the variations on a quote from a chorale by Bach. Throughout, Mutter's intuitive realization of the psychic journey traced by Berg reveals the work's significance as closer in spirit to a requiem of farewell than a traditional concerto.

Mutter's command of an animated tone that pulsates with expressive purpose inspired the contemporary German composer Wolfgang Rihm to write the other work on this disc, Gesungene Zeit ("Time Chant"). It's a mesmerizing neoexpressionist poem of shimmering, elongated string lines--later punctuated with dire eruptions from full orchestra--that seem to form an ether over which the soloist floats. Any sense of time measured in bars becomes negated as Mutter intones Siren-like threads of sound in the highest register. As with the Penderecki Violin Concerto No. 2 and other contemporary works she champions, Mutter plays with a gripping immediacy that indeed makes Rihm's imaginative novelty seem tailor-made for her.

Alban Berg (1885 -- 1935) composed his violin concerto as a requiem for a young woman, Manon Gropius, but the work effectively became Berg's own requiem as well. It is Berg's last completed score, written in 1935. This is passionate, emotive music which staddles the bounds between atonality and musical romanticism. The performance by Anne-Sophie Mutter and James Levine conducting the Chicago Symphony Orchestra, recorded in 1992,is justly celebrated. This is an ideal introduction to Berg and to his masterful violin concerto. This is difficult music, make no mistake. The new listerner should stay with it, as the violin concerto will reward many hearings.

I used the discussion of this work in Michael Steinberg's book, "The Concerto," (1998) as a guide to my listening. Steinberg writes with great enthusiasm for Berg's concerto and gives the reader a good, brief introduction to Berg and his work. The violin concerto is a hermetic work. That is, the concerto is filled with allusions to Berg's love life, to affairs both late in his life and to an affair he had as a young man. The work also shows Berg's fascination with secrecy and with numerology. He followed certain pseudo-science of his day in thinking that the number 23 had some mystical significance for the life-rhythm while the number 28 had significance for women. This thinking, and other beliefs in lucky numbers and the like are built into Berg's score.

But of the music were only a code to be deciphered, it would not be of much interest. The emotion and force of the violin concerto drew me in and will make the work live for other listeners as well. The work is in two movements, each of which has two parts. The first movement opens slowly and elegaically with a quiet figure in the harp, followed shortly by an ascending 12-tone figure for the violin. The second part of the music is more rapid in tempo and develops nostagically an old folk-song -- in Berg's case, perhaps, to remind him of a love affair he had when young, the memory of which remained with him through life.

The second movement opens with a violently dissonant passage that speaks of calamity and loss. The second part of the movement, though, is a response and an answer to deep sorrow. It develops a chorale theme from a Bach cantata, "Es ist Genug" through a combination of Bach's harmonies and Berg's own. The chorale goes through a number of variations and moods ranging from a rememberance of love and passion to quiet acceptance and resignation. The work fades away with only the solo violin remaining at the end. The solo and the orchestral writing are deeply intertwined in this concerto.

It may be a shame that Wolfgang Rihm's "Time Chant: Music for Violin and Orchestra" is the companion piece on this CD. It seemed to me a thoughtful work, but it pales in comparison with the Berg. Rihm is a prolific contemporary German composer, and he wrote this work for Anne-Sophie Mutter. This was my first exposure to his music. The "Time Chant" is in two movements, both of which feature the violin playing declamatory passages at the top of its register punctuated on occasion by orchestral outbursts. The work shimmers and has the quality of a chant but functions mostly as a showpiece for Ms. Mutter's formidable technique. There are some striking passages for the violin but they are surrounded by musical moments in which not much happens.

The Mutter-Levine reading of Berg's concerto is more than enough reason to hear this CD with Rihm's work an intriguing addition. This disk offers an outstanding opportunity to get to know one of the great masterpieces of Twentieth Century music.

1. Violin Concerto "To the Memory of an Angel" - 1. Andante - Allegro
2. Violin Concerto "To the Memory of an Angel" - 2. Allegro - Adagio
3. "Gesungene Zeit" 1991/92 - Music for violin and orchestra - 1. Beginning: quasi senza
4. "Gesungene Zeit" 1991/92 - Music for violin and orchestra - 2. Takt 179: meno mosso

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Golden Afrique 3

Posted By MiOd On Tuesday, March 29, 2011 0 comments
Golden Afrique Volume 3: Contains the following South African rare gems....
The music presented on this CD developed in a situation unparalleled on the African continent: in the townships of the African mineworkers, the copper mines of Zambia, the gold and diamond mines of South Africa and in the urban beer halls, night clubs and shebeens of South Africa and Southern Rhodesia (now Zimbabwe).

Many of the artists on this album were influenced by Black American jazz, gospel funk and soul. Our journey begins with “Mbube” in the style of Zulu vocal music. As the original version of the famous “The Lion Sleeps Tonight” it is a prime example of the unpaid exploitation of Black South African music by the western pop industry over a period of 60 years. This is followed by the Ladysmith Black Mambazo choir performing an early hit. The lively, rhythmic jive of the townships is represented here by West Nkosi, Sipho Mabuse and the early Mahotella Queens. We also hear soulful pieces by and with the young Miriam Makeba and featuring the Soul Brothers. Some musicians working in exile at this time included Hugh Masekela and Johnny Dyani. The music of Zimbabwe is inspired by the sound of the mbira, a traditional instrument echoed directly in the guitar cascades of The Four Brothers and Hallelujah Chicken Run. We also hear rhumbira and jit, rooted in Congolese rumba. From the copper belt of Zambia comes a more Central African dance sound, represented here by the Masasu Band, The Big Gold Six and Smokey Hangala. This exciting compilation includes many rare gems never previously released on CD. A sonic journey of two hours and twenty minutes through South African's reto roots music awaits

Disc: 1
* 01. Mbube - Solomon Linda's Original Evening Birds
* 02. Hello My Baby - Ladysmith Black Mambazo
* 03. Bakhuzeni - Abagqomi
* 04. Musandinene - Kachamba, Donald
* 05. Sum'bulala - Fassie, Brenda
* 06. Dubaduba - West Nkosi
* 07. Langa More - Dark City Sisters
* 08. Solo Jump - Specks Rampura
* 09. Jive Soweto - Sipho Mabuse
* 10. Thina Siyakhanyisa - Mahotella Queens
* 11. Midnight Ska - Reggie Msomi's Hollywood Jazz Band
* 12. Umona - Mahlathini
* 13. Bayeza - Soul Brothers (2)
* 14. African Convention - Makeba, Miriam
* 15. Hloste - Mparanyana & The Cannibals
* 16. Akabongi - Soul Brothers (2)
* 17. Mahlalela - Masekela, Hugh & Letha Mbulu
* 18. Mra - McGregor, Chris & South Africa Exile's Thunderbolt

Disc: 2
* 01. Black September - Master Chivero
* 02. Guhwa Uri Mwana Waani - Four Brothers (2)
* 03. Mwana Wamai Dada Naya - Hallelujah Chicken Run Band
* 04. Mandinyadzisa - Ngwena, Devera
* 05. Take Cover - Jairos Jiri Kwela Band
* 06. Rwamangwana - Mtukudzi, Oliver
* 07. Gukura Hundi - Madzikatire, Elijah
* 08. Frist Aid - Madzikatire, Safirio
* 09. Kitty's Blues - Rathebe, Dolly
* 10. Vakubwa Wainchi - Kassongo Band
* 11. Uwaume Wa Bufuba - Masasu Band
* 12. Copper Ebuboni - Big Gold Six
* 13. Chuma Chivuta - Nashil Pitchen Kazembe
* 14. Ba Kuluna - Haangala, Smokey
* 15. Charity - Nyirongo, John & Joice
* 16. Chenda Mundeke - Oliya Band
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Treasure Edition: Zheng Solo by Xiang Sihua

Posted By MiOd On Tuesday, March 29, 2011 1 comments
Treasure Edition: Series on Famous Chinese Musicians And Best-Known Music In The Twentieth Century
A Fishing Boat Song at Dusk
Zheng Solo - Xiang Sihua

(01). Crows Play By Water
(02). A Fishing Boat Song At Dusk
(03). The Moon Is High In The Sky
(04). A Vulture Pounced on The Crane
(05). A Fisher Girl's Song
(06). The Happy Irrigation Ditch
(07). Begin To Think
(08). Oriental Cherry
(09). Fisherman،¯s Song At South Sea
(10). Lady Wenji Returned To Han Dynasty

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Prapancham Sitaram & Ragunath Seth - Jugal Bandhi-flute

Posted By MiOd On Monday, March 28, 2011 2 comments
Prapancham Sitaram & Ragunath Seth
Flute Jugal Bandhi: Live at Music Academy, 1987 In Aid Of Madras Telugu Academy Vol.[1 & 2]
Pandit Raghunath Seth is a noted Indian exponent of Hindustani classical music through the medium of Bansuri, or bamboo flute; he is also a noted film score composer . He has received Sangeet Natak Akademi Award in 1994, given by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama and many more felicitations.
He has performed Indian Classical Music around the world, in the US he has played on many occasions with American flautist Steve Gorn.

Early life and training
Born in Gwalior, he received his early training from eminent musicologist Dr. S. N. Ratanjankar and principal of Bhatkhande Music Institute (Bhatkande Sangeet Sansthan) in Lucknow. Later at the age of 19 he moved to Mumbai, where he learnt under Pandit Pannalal Ghosh of Maihar gharana.

Pandit Raghunath Seth is a famous Music Director too. He has scored music for many feature films like - Yeh Nazdikiyan, Damul (1985), Phir Bhi and Mrityudand (1997), and also for around 2000 documentary films.

He has made many breakthroughs in the technique of flute making and playing. He is well known for adding a bamboo key to his bansuri that makes previously impossible phrases such as the meend between Ma and Pa easily playable. He also has added an 8th hole which allows him to extend the range of his instrument further into the lower register.
As a guru, he has produced many fine disciples including: Sunil Kant Gupta, Vivek Prakash, Steve Gorn, Joshua Geisler, and Chris Hinze.

Dr. Prapancham Sitaram: The Celebrity Prapancham Sita Ram started his musical career as a Child Prodigy. He is A top grade flutist, music composer for All India Radio, Doordarshan and a top artiste of ICCR panel. His innumerable National and International awards and honours include UNESCO sponsored Asian Rostrum Global First Prize (1993), President Of India Awards twice (1957 and 2004),State Insignia Honor by King of Laos(1964), "Kalaimamani" title honour by Tamil Nadu Government long back in 1983 on a par with film personality Rajnikanth, and Madras Music Academy awards for his outstanding main concerts a number of times.

Pandit Raghunath Seth: Pandit Raghunath Seth was born in Gwalior - an unforgettable place in the history of Indian classical music. As a boy, he was exposed to music through his family elders and hence developed an ear for it very early. Later on, he received valuable guidance from the eminent musicologist Dr. S. N. Ratanjankar in Lucknow. On coming to Bombay, at the tender age of 19, he met Pt. Pannalal Ghosh who enhanced his knowledge of the art of flute playing. Pandit Raghunath Seth has made major contributions towards the enhancement of flute design. He devised a bamboo key, which enabled him to play all the ragas with equal ease. With the use of the key, flutists can glide from the lowest to highest note and vice-versa. Pt. Seth's invention (the key) has received much recognition from the press and musicologists. As a light music exponent, Pt. Seth started playing in film music since 1951. He served All India Radio, Lucknow as a music composer and music producer from 1954 - 1969. After this, he joined Films Division, Bombay as Director of Music. Besides providing excellent music in films, Pt. Seth has a number of non-film light music albums to his credit. The singers who have recorded his compositions range from legends like Lata, Asha, Talat Mehmood, Manna Dey & Hemant Kumar to Vani Jairam, Peenaj Masani and Talat Aziz.

Disc: 1
1. Raghunath Seth - Poorya Kalyan - Roopakam
2. Prapancham Sitaram - Gyanamu - Poorvikalyani - Roopakam - Thyagaraja

Disc: 2
1. Jugalbandhi - Raga Kalyani
2. Thani Avarthanam

Accompanying: Balakrishna Iyer (Tabla) & Srimushanam Raja Rao (Mridangam) & And an Uncredited Violin Player

Credits to "Wildstrings"

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Treasure Edition: Selected Pieces of Xiao and Dizi by Zhang Weiliang

Posted By MiOd On Sunday, March 27, 2011 1 comments
Selected Pieces of Xiao and Dizi: Zhang Weiliang
Anchored On Autumn River
Track Listing
(01). Anchored On Autumn River
(02). Near The Dressing Table
(03). Spring Comes Taihu Lake
(04). South Style Melody
(05). Wild Goose Lands On The Sandy Beach
(06). Chinese Parasol In The Moon Light
(07). Song Of Southerly Breeze
(08). Three, Five And Seven
(09). Three Refrains Of A Plum Flower Melody
(10). A Picture Of The Festival Of Brightness On The River

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SYRIA - Rituel Islamique Zikr

Posted By MiOd On Sunday, March 27, 2011 0 comments
Islamic Ritual Zikr in Aleppo
(zawiya of Shaykh Ahmad al-Yamili)
This is an authentic ritual, seldom recorded, in which music produces a state of trance in the audience.
The obsessional beat of the drums, the accelerating tempo, the repetition and rise of the song, the panting rhythms, all bring about a state of ecstasy; the audience is subsumed into the Divine Being.

The word "Sufi", which is derived from the concept of tassawuf, denotes the esoteric currents in Islam which aim at seeking mystic union and the experience of the dissolution of the self in the Divine Essence. These currents appeared in the second century after the hijrah and since then have continued to multiply in various forms in the Islamic world. Both the word tassawuf and "Sufi", which is derived from it, contain the root suf which means wool and refers to the rough woollen garment originally worn by the ascetics as a token of their detachment. The thinker al-Ghazali (450/1058-505/1111), a great Islamic mystic, in his work entitled Ihya 'ulum al-din (Revival of the Sciences of Religion), defined this aim as follows: "To renounce the world in order to lead the life of an ascetic by ridding oneself of material bonds, by emptying the heart of its earthly concerns, and by approaching Almighty God with perfect spiritual diligence".

In one of his Maqamat the story-teller Hariri gives an account of the intense piety which prevailed during the second century after the hijrah in Baghdad, which was a meeting place for writers who sympathized with the ideas of the Sufis, and also in Basra, Kufa, Wasit and elsewhere. At this period Southern Iraq was the scene of a revival of religious fervour which led to the beginnings of the Sufi movements centred round the person of Hassan Basri (died in 110/772), who is regarded as the father of Islamic mysticism. These movements, which started in Iraq, later spread to Syria, Egypt and Anatolia through the founding of two of the oldest orders, the Qadiriyya and the Rifa'iyya. Other movements came into being and influenced one another. This is true of the movement in Khorasan with its Turkish and Syrian ramifications (Mawlawiyya), of that in Egypt and the Maghrib (Shadhiliyya), and of that in Turkestan, which spread to the Ottoman Empire (Bektashiyya). The Indian movement (Chistiyya), however, does not appear to have had any influence on the Arab world.

The Sufi movement came under harsh criticism during the period of political agitation that followed the decline of the Umayyad caliphate and the ascendance of the Abbasids. It was attacked chiefly on the account of its esoteric practices and of being the privilege of an elite circle indulging in gnostic speculations. This weakening of faith was violently condemned by al-Ghazali, who advocated a return to the sources and affirmed the importance of a response of the heart in a direct and vivid experience. This appeal did not go unheeded and Sufism began to be propagated by groups of people who gathered round a spiritual leader, a munshid, a director of conscience, called a shaykh, a bestower of baraka (blessing), who after his death, was elevated to the rank of the saint (sayedna) of his tariqa. Although the word tariqa originally denoted a way, a path to follow, in its religious acceptation it came to signify method, and then order or brotherhood. Hence the appearance in Mesopotamia of the first communities in the history of Islam, that of Qadiriyya founded by Abdulqadir Jilani (died in Baghdad in 561/1166) and that of the Rifa'iyya founded by Ahmad Rifa'i (died in 575/1182). Very little is known about the latter, who left no writings. Born in an Arab family, he spent his life as an ascetic among the fakirs (a synonym of dervishes, the etymological meaning being "poor men") who gathered round him in a marshy region north of Basra called Bata'ih or al-Batiha. Initially the order was called the Bata'ihiyya, but it soon assumed the name of its founder.
1. Darb Shish [25:06]
2. Zikr [27:50]

Recordings and photographs of a zikr, or ritual, of the Rifa'iyya tariqa (brotherhood)
realized with the kind permission of Shaykh Ahmad al-Yamili at his zawiya in Aleppo (July 1973).

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Pancho Quinto - Rumba Sin Fronteras

Posted By MiOd On Saturday, March 26, 2011 0 comments
Just avoiding the pitfall of the stereotypical aged Cuban performer making a comeback with his traditional arts and classic stylings, Pancho Quinto turns Cuban rumba on its ear with Rumba Sin Fronteras. The basis of the album is the classic rumba format, but innovations come thick and heavy throughout thanks to Quinto's guarapachangeo innovations. The bata drums, a signature addition of Quinto's, make themselves heard clearly, as does a deep cajon or two. A pair of vocalists from San Francisco mix up the phrasing of their lyrics a bit, adding a slight edge to the syncopation that adds a bit of tension, but not so much as to be noticed in its own right. The Afro-Cuban mood is extremely strong, with the bata providing much of the feel. Along with the bata, a stray, African-style marimba shows up in "Sosa en el Pais de las Maravillas," enhancing the connections further. The album opener shows off ties to quiet storm R&B for a while with keyboard riffs before moving into a more proper rumba again. Piano, bass, and sax make "Bolero en Medio del Carnaval" into a jazzy affair reminiscent of Dizzy Gillespie's landmark Afro Cuban Jazz Moods in many ways, but with perhaps an even stronger clinging to the jazz side. The mix of genres is fluid throughout the album, with the Afro-Cuban coalition represented by the guarapachangeo style being an extremely strong one, powering its way through even the slowest of melodies with a breakneck speed. While the rumba on its own is a nice genre, the modified rumba here is something really worth hearing. While on the fringes of the Cuban revival, Pancho Quinto is on the forefront of innovation.

(01) La Gorra
(02) Bolero En Medio Del Carnaval
(03) A Esos Senores
(04) Sosa En El Pais De Las Maravillas
(05) Aspirina
(06) Solo Mi Arte
(07) Caridad
(08) Water Please
(09) Mi Derrota
(10) Cuando Baila Cachita

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Arabic Groove

Posted By MiOd On Wednesday, March 23, 2011 0 comments
It took Cheb Mami's collaboration with Sting on the latter's mega-hit "Desert Rose" to bring Arabic music into the collective consciousness of the Western world. Never ones to pass up a trend, the folks at Putumayo have scoured North Africa and the Middle East in search of more Arabic pop music. What they turned up is a collection of dance tracks that show the heavy influence of hip-hop, urban pop, funk, and other Western styles, while maintaining the cultural integrity of the region. There are even nods to the influence of American boy bands and sex symbols such as Ricky Martin and Janet Jackson on a few tracks. The swirling strings and ornate, sinuous melody lines characteristic of the Middle East are laid over funky, chugging rhythm tracks, creating a tapestry that is crossover-ready. The disc is heavy on Algerian rai and Egyptian al-jil, with more than half the artists represented from either Egypt or Algeria. The most recognizable name here is Natacha Atlas, whose orgasmic singing on "Kidda," remixed by Transglobal Underground, stands out over the others. Libyan artist Hamid El Shaeri's track "Hely Meli" combines the cooing female vocals of urban pop with samples of women ululating. The effect is startling. On a technical note, there is virtually no space between most of the tracks. While this usually serves to keep the dance groove going, sometimes it is a little abrupt, as the ends of some tracks get chopped off. Arabic Groove is an intense, high-energy release, sure to appeal to fans of cosmopolitan dance music worldwide.

(01). Abdel Ali Slimani - Moi Et Toi
(02). Abdy - Galbi
(03). Dania - Leylei (Transglobal Underground Remix)
(04). Amr Diab - Amarain
(05). Hisham Abbas - Intil Waheeda
(06). Hamid El Shaeri - Hely Meli
(07). Fadela & Sahraoui - Mani
(08). Natasha Atlas - Kidda
(09). Khaled - Mauvais Sang
(10). Sawt El Atlas - Ne Me Jugez Pas (VolodiaRemix)
(11). Cheb Tarik - L'histoire

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Kumar Bose - Dynamic

Posted By MiOd On Tuesday, March 22, 2011 1 comments
Kumar Bose is a master tabla player from the Benares gharana school. A disciple of Pandit Kishan Maharaj, Bose is best known for the decade he spent as part of Ravi Shankar's ensemble in the 1970s. Dynamic is a single improvisation based on classical themes in the tintaal rhythm (16 beats). And while the album is billed as a solo tabla recording, there are two other instruments providing drones and melodies for Bose's stunning improvisations, a sarangi and a harmonium. They simultaneously offer Bose a repetitive and cyclic melody known as the 16-beat Iehara. His own response is not just rhythmic, but lyrical as well. His structural approach on the first disc is to play across themes and variations, and on the second, to go off into wild flights of improvisation on the two drums (tabla and bayan). The tonal varieties of these pieces are startling and awe-inspiring. There is a non-stop series of harmonic interpolations that are not only incorporated and elaborated upon harmonically as well as rhythmically but they happen nearly instantaneously. That these two hours flow by so quickly is testament enough to the musicianship of Bose: that he continually astonishes, as well as delights, is a hallmark of his genius. Wonderfully recorded live at the Saptak Festival, in 2002, this set boasts excellent sound and wonderful notes.

this album shows why pt. kumar bose is widely regarded as an authority on benaras baj. set to teental, the structure is classic. I especially like the uthan and variations kumarji so playfully develops. you will notice some of kumarji's favorite bants..esp. dhige dhina trkta dhinna..which is beautifully played...a different treatment of the same kaida can be heard in the darbar festival album. parts of this album is mesmerizing and might put you into a meditative trance! a must have for any tabla lover esp. who loves the aggressive benaras style.

Disc: 1
1. Tabla Solo (Tintaal, Pt. 1)
Disc: 2
1. Tabla Solo (Tintaal, Pt. 2)

Personnel: Kumar Bose (tabla); Shishirchandra Bhatt (harmonium).
Recording information: Saptak Festival, Ahmedabad, Gujarat, India (2001).

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Jazz Moods: Morning Cup of Jazz

Posted By MiOd On Tuesday, March 22, 2011 0 comments
Jazz Moods: Morning Cup of Jazz is designed -- like a cup of strong hot coffee -- to ease listeners pleasantly but firmly into the day and, as such, compiles jazz tracks with an easygoing yet energetic feel. The musical styles are all over the place -- Latin jazz, Brazilian jazz, jazz-pop, funky soul-jazz -- so the collection really doesn't hang together well (unless you have a very short attention span and don't notice the abrupt shifts). Then again, the variety may actually make it more interesting for some listeners, and most of the cuts do have an infectious sort of energy that makes the title fairly accurate.

(01) [Pete Escovedo] Flying South
(02) [Jack McDuff] Killer Joe
(03) [Poncho Sanchez] Morning
(04) [Frank Vignola] Let It Happen
(05) [Maynard Ferguson & Big Bop Nouveau] Cajun Cookin'
(06) [Mongo Santamaria] Day Tripper
(07) [Ernestine Anderson] I'm Walkin'
(08) [Gary Burton] Poinciana
(09) [Jeff Linsyky] Mornin'
(10) [Tania Maria] Come With Me

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Ray Conniff - We've Only Just Begun/Love Story

Posted By MiOd On Sunday, March 20, 2011 2 comments
Originally released on Columbia, these two Ray Conniff albums, We've Only Just Begun and Love Story, zero in on easy listening versions (or elevator music) of early-'70s pop hits. This collection includes formulaic treatments of popular compositions by Lennon and McCartney, Bacharach/David, Ray Stevens, Neil Diamond, and Gordon Lightfoot. Not an essential purchase by a long shot, but this disc will provide kitschy moments for your next cocktail party. In 2002, Collectables began reissuing Conniff's Columbia titles as two-fers with original cover art and song sequences.

We've Only Just Begun
(01) Snow Bird
(02) They Long To Be Close To You
(03) Look What They've Done To My Song
(04) Everything Is Beautiful
(05) Make It With You
(06) Let It Be
(07) I'll Be There
(08) You Made Me So Very Happy
(09) Everybody Knows
(10) Candida
(11) We've Only Just Begun

Love Story
(12) (Where Do I Begin) Love Story
(13) Sweet Caroline
(14) [Ray Conniff] It's Impossible
(15) Come Saturday Morning
(16) For The Good Times
(17) Watching Scotty Grow
(18) Rose Garden
(19) El Condor Pasa
(20) If You Could Read My Mind
(21) My Sweet Lord
(22) For All We Know

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Zhubin Kalhor & Bikramjit Singh - Himalaya (Indian Melodies)

Posted By MiOd On Wednesday, March 16, 2011 2 comments

East of the country's deep-rooted culture, with the most beautiful melodies of the Himalayas of India and Iran are united on the album. "Himalaya", Iranian Zhubin Kalhor (kemança) and Indian Bikramjit Singh (flute), consisting of compositions and performances, the album is dominated by ethnic undertones.

Misty mountains, the villages along the shores of rivers that pour, delicate anklets tinkle in the morning to the sound of the awakening of the image with the full album, the recently popular Indian music ignored is the rich local Work and eastern music, the mysterious sounds come together.

Zhubin, different groups of Iran, as well as timing the East and the Middle East all the music flows under canvas a world music artists from different ethnic approaches are open to Zhubin, now five years ago trustik purpose, he goes in India are living. Lived there during his time deep in Indian music are able to have the intersection Singh'le Bikramjit Kalhor's way.

Singh representing India's flute, the East Zhubin'in kemançası representing different tunes and created a pleasant to the ears. Berbar artists began to compose, it works closely with those of ethnic music to record, they decided to share.

"Himalaya" album with kemança ektara flut's fascinating performance, ethnic instruments such as pots and Indian music from the mind when the first table, dholok, especially the large cube is accompanied by a percussion group. L. album in the works MEMA giant adds a different color with a nice vocal. Registrations in India, while the album's mix and mastering process was done in Germany.

Zhubin Kalhor Iranian family with the famous and popular Indian music in the Sing family Bikramjit, their music blends ranging from Iran to India, a carpet weaving are the Northeast. Artist's compositions, where the two partners ranging from local to global album, relaxing at the peak of the Himalaya Mountains as a break in life. Zagros'un mountains, the valleys of the passage, from the plains of the Himalayas extending the music's poetry breathe Zhubin and Singh, works of Village Road, Morning Dew, the draw man's story, Bamboo Dance, Solo Travel and the Travel Devar Eder names had given.

Singh representing India's flute, the East Zhubin'in kemançası representing different tunes and created a pleasant to the ears. Berbar artists began to compose, it works closely with those of ethnic music to record, they decided to share.

1. Village Road / Köy Yolu - 10:32
2. Morning Dew / Sabah Çiği - 09:49
3. Tale Of The Bootman / Çizmeli Adamın Hikayesi - 10:02
4. Bamboo Dance / Bambu Dansı - 09:35
5. Lonesome Journey / Yalnız Yolculuk - 10:07
6. This Journey Continues / Bu Yolculuk Devam Eder - 10:17

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Rameau - Pieces de Clavecin en Concerts

Posted By MiOd On Wednesday, March 16, 2011 0 comments
In composing his Pièces de clavecin en concerts, Rameau (1683-1764) created a grand work of chamber music, and at the same time, the first-ever piano trios. The independence of the instrumental parts achieved here far surpasses what Haydn, Mozart and even Beethoven did in their piano trios. It is not until Schubert that we meet with trio writing of comparably elaborate texture. Trio Arcangelo Corelli formed in 1984. At first they worked intensely on early Italian violin music, especially on Corelli’s sonatas, and therefore chose the great Roman master as their "patron saint." Based in Düsseldorf, they have given innumerable concerts and made radio and CD recordings.

The great French Baroque composer Jean-Phillipe Rameau (1683 -- 1764) is best-known for his operas and for his music for the solo harpsichord. Rameau composed only one work of chamber music, the "Pieces De Clavecin En Concerts", but it is a masterwork. The work was originally scored for harpsichord, violin, and viola da gamba, although it was subsequently arranged for many other combinations. It is performed here in its original instrumentation by the Trio Arcangelo Corelli, a period instrument ensemble from Dusseldorf, Germany. The disk is available on Arte Nova at a budget price.

Rameau worked on the Pieces de Clavecin from 1737 -- 1741, while he had already begun composing the operas that would make him famous. The work was inspired by the sonatas for violin and harpsichord by a now-forgotten composer, Jean-Joseph Casanea de Mondonville. The Pieces consists of six separate Concerts, with the second having four movements and the remaining five concerts three movements. The work represents a break with earlier French chamber works in that Rameau gave equal roles to the three instruments. In particular, Rameau gave a large part to the harpsichord which in earlier ensembles tended to be limited to an accompaniment role.

As with virtually all music of the French Baroque, Rameau's Pieces are heavily derived from dance forms. The movements consist of roneaux, minuets, tamborins, and airs. There is only one movement of fugue in the Pieces, the opening movement of the sixth concert.

Each concert is a highly integrated work with the individual movement complementing and contrasting with each other. The music is filled with elegance and grace and with changes of tempos, moods and rhythms from movement to movement.

Each individual movement has a non-musical title, either the name of a person or a descriptive title, such as "the Excursion", (Concert 1, 3d movement), "Gossip" (Concert 4, 2d movement), or "Timidity" (Concert 3, 2d movement). But I found this music almost "pure" in character. The music has sway, lilt, and song that make the movement titles of little import.

Rameau wrote beautifully for his ensemble with each of the three instruments having solo moments and moments of intricate group playing. The harpsichord part is especially lovely with long runs and melodies alternating with spiky, sharp rhythmic material. Some of the individual movements that stood out were the lovely air gracieux, (Concert 2, second movement), the rhythmic tamborin (Concert 3, 3d movement), the movement titled "La Rameau", apparently after the composer himself, (Concert 5, 3d movement), and the entire Concert 6 with its opening fugue, lovely slow movement, and lively conclusion.

Lovers of the French Baroque will enjoy this rare chamber music of Rameau. Listeners who want to begin to explore this music will find the low price and the informative program notes to this CD appealing.

(01). Pièces de Clavecin en Concerts- 1. Premier Concert- 1. La Coulicam
(02). Pièces de Clavecin en Concerts- 1. Premier Concert- 2. La Livri
(03). Pièces de Clavecin en Concerts- 1. Premier Concert- 3. Le Vézinet
(04). Pièces de Clavecin en Concerts- 2. Deuxième Concert- 1. La Laborde
(05). Pièces de Clavecin en Concerts- 2. Deuxième Concert- 2. La Boucon
(06). Pièces de Clavecin en Concerts- 2. Deuxième Concert- 3. L'Agaçante
(07). Pièces de Clavecin en Concerts- 2. Deuxième Concert- 4. Premier menuet en ron...
(08). Pièces de Clavecin en Concerts- 3. Troisième Concert- 1. La La Ploplinière
(09). Pièces de Clavecin en Concerts- 3. Troisième Concert- 2. La Timide, Premier r...
(10). Pièces de Clavecin en Concerts- 3. Troisième Concert- 2. Premier tambourin en...
(11). Pièces de Clavecin en Concerts- 4. Quatrième Concert- 1. La Pantomime
(12). Pièces de Clavecin en Concerts- 4. Quatrième Concert- 2. L'Indiscrète
(13). Pièces de Clavecin en Concerts- 4. Quatrième Concert- 3. La Rameau
(14). Pièces de Clavecin en Concerts- 5. Cinquième Concert- 1. La Forqueray
(15). Pièces de Clavecin en Concerts- 5. Cinquième Concert- 2. La Cupis
(16). Pièces de Clavecin en Concerts- 5. Cinquième Concert- 3. La Marais

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Masters Of Traditional Chinese Music - Guan Pinghu: Guqin

Posted By MiOd On Wednesday, March 16, 2011 0 comments
Guan Pinghu (管平湖) (1897–1967), was a leading player of the guqin (古琴), a Chinese 7-string bridgeless zither. Born in Suzhou, Jiangsu, Guan came from an artistic family, and started to learn the guqin from his father, Guan Nianci. After the death of his father when he was thirteen, Guan continued with his father’s friend Ye Shimeng and Zhang Xiangtao. He also studied with the leading players of three different schools; Yang Zongji (1865–1933), the leading player in Beijing, the Daoist Qin Heming, and the Buddhist monk Wucheng.

Before 1949, Guan did some teaching at the Yenching University, but had most of his meager income from selling paintings and repairing old musical instruments and furniture.

In 1952, he became a teacher and assistant researcher at the Zhongyang Yinyue Xueyuan (Central Conservatory of Music) and a leading force at the Beijing Guqin Yanjiuhui (Beijing Guqin Research Institute), both in Beijing. He also recreated and performed many pieces, including Guangling San (《广凌散》), Youlan (《碣石調幽蘭》- Secluded Orchid), and Hujia Shiba Pai (《胡笳十八拍》 - Eighteen Pieces for Barbarian Pipes), that only existed as notation through a process known as dapu (打谱) [1]. These pieces have become part of the core repertory of guqin music. Though he trained few prominent students, Guan's numerous recordings–notable for their austerity, subtlety, and bold presentation–have exerted wide and continuing influence.

In 1977, a recording of "Liu Shui" (流水; Flowing Water), as performed by Guan, was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc (lasting seven minutes and 37 seconds) and the only excerpt of Chinese music.

(01) Melody For Orchid in Jieshi Key
(02) A Music From Guangling
(03) Flowing Water
(04) A Tune of Elghteen Beats From Tartar Reed Flute

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Renaud Garcia-Fons - Jazzfest Bonn at Brotfabrik (Bonn)

Posted By MiOd On Wednesday, March 16, 2011 0 comments
Rhythmisches Atmen in der Brotfabrik

Von Fritz Herzog

Bonn. Was der erste Abend des neu gegründeten Jazzfests Bonn im Forum der Kunst- und Ausstellungshalle noch ein wenig vermissen lieك, zeichnete den zweiten in der restlos ausverkauften Beueler Brotfabrik dafür umso mehr aus: die absolute Unbedingtheit der Musik.

Der Bonner Jazzmusiker Peter Materna, Impresario und rühriger Organisator des jungen Festivals, dem der "kreative Aspekt" besonders am Herzen liegt, hatte bei der Programmplanung gezielt auf Interaktion gesetzt.

Entsprechend intensiv gelang der dreigeteilte Abend mit dem Duo Nils Wogram (Posaune) und Simon Nabatov (Klavier), dem Solo des Ausnahme-Kontrabassisten Renaud Garcia-Fons und mit "Down to Earth", Steffen Schorns üppig besetztem "Universe of Possibilities".

Schon das Duo beginnt in atemberaubender Dichte. Beide Musiker sind glنnzende Improvisatoren, vereint zünden sie temporeich ein hochmusikalisches Ideen-Feuerwerk, das seitens der Posaune auch mal nur mit rhythmischem Atmen für Spannung sorgt.

Wer Garcia-Fons erstmals hِrt, glaubt nicht, dass es sich hier um einen Kontrabass handelt. Mal wie ein Oud, mal wie eine Theorbe, eine Sitar, eine spanische Gitarre, eine E-Violine (à la Ravi Shankar), ein Cello oder wie ein Perkussionsinstrument klingt sein Bass, der sich vermittels Live-Samples vervielfنltigen kann.

In seinen weltmusikalischen Streifzügen garantiert Garcia-Fons immer wieder für wunderbar poetische ـberraschungen.

Der (Kِlner) "Saxophon-Maffioso" Steffen Schorn steigt mit seiner Wunschformation aus Maffia-Kollegen Roger Hanschel sowie aus Lars Andreas Haug, Tuba, Michael Heupel, Flِten, Claudio Puntin, Klarinetten, Jِrg Brinkmann, Cello, Johannes Billich, Klavier und Keyboard, und nicht zuletzt den beiden Schlagwerkern Bodek Janke und Holger Nell in die Verlieكe abgrundtiefer, druckvoller Klangspektren.

1. inanga
2. temboland
3. serabonne
4. bluehin
5. bajo andalْz
6. peregrino
7. aube
8. compostela

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Ravi Shankar - Inside the Kremlin

Posted By MiOd On Wednesday, March 16, 2011 0 comments
Ravi Shankar, the figurehead of world music, was invited in 1988 to work with Russian musicians on a concert to mark the end of an Indian Festival in the Soviet Union. This recording was made on July seventh of that year, with over 140 musicians present: Shankar's Indian Ensemble, the Russian Folk Ensemble, the Government Chorus of Ministry of Culture of USSR, and the chamber orchestra of the Moscow Philharmonic. Shankar composed all seven of the pieces here as a melding of the musics of India and Russia. "Prarambh," the opening piece, is an ethereal sort of sound created by the amalgamation of Indian and Russian instruments both playing ragas. "Shanti-Mantra" is based on Raga Devagiri Bilawal, as well as the Shanta Ras, from the Bharatanatyasastra (oldest work of Indian music theory), and is performed by both the Indian vocalists, as well as the Government Choir. Three ragas are based on Raga Hemavati, Raga Kirwani, and Raga Basant Mukhari, and are performed solely by the Moscow Philharmonic musicians. "Tarana" makes use of a Punjab form of singing that utilizes nonsense syllables to great effects of rhythmic wonder. "Sandhya Raga," based on Raga Yaman Kalyan, is "basic" Indian classical music, without any Russian additions, and "Bahu-Rang" is the finale of the concert. It is based on Raga Mishra Pilu and has five movements, the first being instrumental, the second being call and response with the drums, the third being improvised thumri singing, and the fourth element being a folk portion that leads to the climax, a song "Unity of Friendship and Love" by Shankar. While the synthesis of Indian and Russian musics could leave a listener wary before hearing the album, Shankar remained almost solely with Indian music, though the performers may have been Russian. The album is definitely worthwhile, as the backing Russian chorus can add something to the music, though leaving Indian classical solely in the hands of foreigners can be a dangerous matter, as is proven on three ragas. Throughout, though, it's quite a nice album, worthy of the Shankar name being placed upon it.

(01). [Ravi Shankar] Prarambh
(02). [Ravi Shankar] Shanti-Mantra
(03). [Ravi Shankar] Three Ragas in 'D' Minor
(04). [Ravi Shankar] Tarana
(05). [Ravi Shankar] Sandhya Raga
(06). [Ravi Shankar] Bahu-Rang
(07). [Ravi Shankar] Shanti-Mantra

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Turquie: Musique Soufie (Turkey: Sufi Music) - Nezih Uzel, Kudsi Erguner

Posted By MiOd On Tuesday, March 15, 2011 0 comments
Ilahi et Nefes
Nezih Uzel, au chant et au tambourin bendir et Kudsi Erguner à la flûte oblique ney, interprètent les odes mystiques 'ilahi' de la confrérie soufie mevleviyya et les litanies 'nefes' des bektashi, alternant le chant avec de belles improvisations à la flûte. Une interprétation épurée, sans concession par ces deux anciens adeptes de la Tekke des Ouzbeks d'Istanbul.

Nezih Uzel, singer and bendir (drum) player and Kudsi Erguner on the flute ney have been two members of the Sufi Uzbek Tekke of Istanbul. Here they perform the mystic chants 'ilahi' of the Mevleviyya brotherhood and the 'nefes' of the Bektashi. A marvellous interpretation.

01 - [4:58]
Taksim Makam Nihavend, ney

02 - [13:46]
Nihavend Ilâhî (Seyyid Seyfullah)
«Bu aşk bir bahr-i ummândir»
This love is an ocean
Nihavend Ilâhî (Pir Sultan Abdal)
«Güzel aşık cevrimizi çekemezsin demedimmi»
O lover, didn’t I tell you That you wouldn’t be able to bear our trials?
Neveser Nefes (Kemter)
«Alem yüzüne saldı ziya»
The family of Muhammad lights up the face of the universe.

03 - [5:31]
Nihavend Nefes (Münir Baba)
«Hakdır Allahım Mohammed Mahım»
My God is truth, Muhammad is my beloved

04 - [4:47]
Taksim Makam Nihavend, ney
Nihavend Şarkı (Münir Nureddin Selçuk)
«Gezerken âlemde»
When I walk in the snow

05 - [4:23]
Taksim Makam Uşşak, ney
Uşşak Ilâhî (Şeyh Himmet)
«Sivâdan kalbini pâk et gönül mir’atı rahmândır»
Empty your heart of this world, because it is the mirror of the Merciful One

06 - [11:32]
Uşşak Ilâhî (Zekai Dede)
«Şehin Şahı»
The King of Kings
Uşşak Ilâhî (Nafiz Efendi and Süleyman Erguner)
«Sen bır Adem og-lumusun»
Are you a son of Adam?
Uşşak Ilâhî (Derviş Muammer)
«Ey risâlet tahtının hurşidi, mâhı enveri»
O light, sun and moon of prophecy!
Taksim Makam Cargâh, ney

07 - [8:29]
Çargâh Tevşih (Aziz Mahmud Hudai)
«Kudümün rahmeti zevki safâdır yâ resullallah»
O Messenger of God, the blessing of your coming is a joy!
Çargâ Ilâhî (Yunus Emre)
«Ben dervişem diyene bir ön idesim gelir»
I address myself to those who are called dervishes.

08 - [11:32]
Dügâh Nefes (Süleyam Erguner)
«Amennâ söyledik ikrâr eyledik»
We have solemnly given our word
Çargâ Ilâhî (Yunus Emre)
«Gelin ey aşıklar gelin»
Come, all you lovers, come!
Taksim Makam Sabâ, ney
Sabâ Ilâhî (Hilmî Dede)
«Seyreyleyip yandim mahcemâlini»
I was burned contemplating your face

Nezih Uzel, chant
Kudsi Erguner, ney

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You Are The Sunshine/Laughter In The Rain

Posted By MiOd On Tuesday, March 15, 2011 1 comments
This "two-fer" from the Collectables label includes 1973's You Are the Sunshine of My Life and 1975's Laughter in the Rain. The kitsch enthusiast or novelty seeker will get a lot of pleasure from Ray Conniff's You Are the Sunshine of My Life. Known primarily for orchestral versions of contemporary songs, his recordings during the late '60s and early '70s as the Ray Conniff Singers included many straightforward recordings of current pop hits. This collection contains some of Conniff's most jaw-dropping covers, including "Dueling Voices (Dueling Banjos)," which most will remember from the film Deliverance. If you "get" Ray Conniff and if you are adamant about the difference between him and Lawrence Welk, then this track will be your latest musical addiction. The title track is from Stevie Wonder's 1972 album Talking Book, and other tracks include "Tie a Yellow Ribbon 'Round the Old Oak Tree" popularized by Tony Orlando, Helen Reddy's "Peaceful," Roberta Flack's "Killing Me Softly," and Gladys Knight's "Neither One of Us." Another standout track is "Bah Bah Conniff Sprach (Zarathustra)"! This is a great easy listening pickup. The versions are slightly watered down and "safer," but more true to the originals than you'd expect. A cheerful artifact of the early '70s. Laughter in the Rain doesn't deviate too far from Sunshine's basic premise -- easy listening renditions of mellow gold hits like Gordon Lightfoot's "Sundown" and "Cat's in the Cradle" by Harry Chapin -- but it's just as entertaining and kitsch-worthy. Highlights include "Seasons in the Sun," a track better known by Terry Jacks and the Kingston Trio, which is given the smoothed-over Conniff Singers treatment, resulting in a tale of death that feels more like comfort food than it does a last meal, and Paul Anka's cringe-inducing "(You're) Having My Baby," which in the hands of Conniff sounds more like an outtake from Christopher Guest's folk revival parody A Mighty Wind. Laughter in the Rain is as dependable as the artist himself, a perfect example of a man who understood his place in popular music and executed it accordingly.

You Are The Sunshine Of My Life
(01) [Ray Conniff] You Are The Sunshine Of My Life
(02) [Ray Conniff] The Twelfth Of Never
(03) [Ray Conniff] Dueling Voices (Dueling Banjos)
(04) [Ray Conniff] Neither One Of Us
(05) [Ray Conniff] Sing
(06) [Ray Conniff] Peaceful
(07) [Ray Conniff] Tie A Yellow Ribbon Round The Ole Oak Tree
(08) [Ray Conniff] Killing Me Softly With His Song & There Was A Girl
(09) [Ray Conniff] The Right Thing To Do
(10) [Ray Conniff] The Night The Lights Went Out In Georgia
(11) [Ray Conniff] Bah Bah Conniff Sprach (Zarathustra)

Laughter In The Rain
(12) [Ray Conniff] Laughter In The Rain
(13) [Ray Conniff] I Honestly Love You
(14) [Ray Conniff] Sundown
(15) [Ray Conniff] Angie Baby
(16) [Ray Conniff] Mandy
(17) [Ray Conniff] Seasons In The Sun
(18) [Ray Conniff] Eres Tu
(19) [Ray Conniff] Cat's In The Cradle
(20) [Ray Conniff] Feel Like Makin' Love
(21) [Ray Conniff] (You're) Having My Baby

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Ofra Harnoy - Haydn Cello Concertos

Posted By MiOd On Tuesday, March 15, 2011 0 comments
Franz Joseph Haydn (31 March 1732 – May 31 1809), known as Joseph Haydn, was an Austrian composer, one of the most prolific and prominent composers of the classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these genres. He was also instrumental in the development of the piano trio and in the evolution of sonata form.[2][3]

A life-long resident of Austria, Haydn spent much of his career as a court musician for the wealthy Hungarian aristocratic Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original".[4] At the time of his death, he was one of the most celebrated composers in Europe.[5]

Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.

Ofra Harnoy, CM (born January 31, 1965, Hadera, Israel) is a Canadian cellist.

She moved with her family to Toronto in 1971. When she was six, she began cello lessons with her father, Jacob Harnoy. Her teachers include Vladimir Orloff, William Pleeth, Pierre Fournier, Jacqueline du Pré, and Mstislav Rostropovich.

Harnoy made her professional debut as a soloist with orchestra at age ten. Her solo-orchestral and recital debuts at Carnegie Hall in 1982 brought her public and critical acclaim.

She performed and recorded the world premiere of the Offenbach Cello Concerto in 1983 and the North American premiere of the Bliss Cello Concerto in 1984. She also made the world premiere recordings of several Vivaldi concertos. In 1987 Harnoy joined the roster of RCA Victor Red Seal, and recorded several best selling albums.

It is uncertain whether she still plays, performs or records. wikipedia

1. Concerto in C, No. 1 (Moderato)
2. Concerto in C, No. 1 (Adagio)
3. Concerto in C, No. 1 (Allegro molto)
4. Concerto in C, No. 2 (Allegro moderato)
5. Concerto in C, No. 2 (Adagio)
6. Concerto in C, No. 2 (Allegro)

Ofra Harnoy
Franz Joseph Haydn
Cello Concertos NO s 1 & 2 Hob. VIIb.
Ofra Harnoy: Cello
Toronto Chamber Orchestra
Conducted By Paul Robinson
(Concertmaster - Gerard Kantarjian)

FLAC (EAC Rip): 270 MB | MP3 - 320 kbs: 160 MB | Booklet Scans

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Ustad Amjad Ali Khan - Breaking Barriers

Posted By MiOd On Monday, March 14, 2011 0 comments
All-time favourite Christmas Carols and hymns rendered on the Sarod
Breaking Barriers releases in India and Hope releases worldwide on itunes. Taking the onus on himself in binding the society with music,the cultural ambassador of UNESCO has for the first time come out with an album aptly named "Breaking Barriers" in India and 'Hope' worldwide, containing Christmas carols and hymns played on the sarod. "It is for the first time I have attempted such a different type of music. In every religion, people are trying to connect to god through music. This was my way of paying tribute to Jesus and play a small part in the celebration of Christmas and New Year," he says. The album contains the all time Christmas favouries including Joy to the world , The Lord is my Shepard , O come All ye faithful and Silent Night amongst others - December 2007 News.

1. Joy To The World
2. Silent Night
3. O Come, All Ye Faithful
4. Jingle Bells
5. The Lord Is My Shepard
6. O Lord And Master Of Us All
7. We Three Kings
8. We Wish You A Merry Christmas
9. Joy To The World (Remix)

WV (EAC Rip): 580 MB | MP3 - 320 kbs: 230 MB | Booklet Scans

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Zeynep Karababa - Gülyüzlüm (Rose Face)

Posted By MiOd On Monday, March 14, 2011 0 comments
Sivas’ın, pek çok halk ozanının yetiştiği ünlü Çamşıhı yöresinin, bugün hayatta olmayan ozanlarından Mehmet Ali Karababa’nın kızı Zeynep Karababa’nın solo albümü “Gülyüzlüm” Kalan Müzik tarafından yayınlandı. Albümde ağırlıklı olarak Mehmet Ali Karababa, Âşık Kul Ahmet, Âşık Meluli, Feyzullah Çınar gibi geçtiğimiz yüzyılda yaşayan halk ozanların eserleri yer alıyor. Araştırmacı, resaam, yazar Fikret Otyam’ın desteği ile ortaya çıkarılan repertuarda, yine Otyam tarafından derlenmiş deyişler ve semahlar da yer alıyor. Düzenlemeleri Mete Artun ve Mehmet Kartalkanat tarafından yapılan albüm, sade düzenlemeleri ve güçlü repertuarı ile dikkat çekiyor.

01. GüL YüzLü SuLtanım
02. CanLar
03. ELa GözLüm
04. DağLar
05. Latife
06. İnsan Kısım Kısım
07. Kınamayın Beni Hakkı SevenLer
08. ALi ALi Diye
09. Yüce Dağda Pınar OLsan
10. Turna Semahı
11. Yaz Bahar AyLarı

256 kbps including Covers


Haydn: The Heart Of Invention (Trio Goya)

Posted By MiOd On Monday, March 14, 2011 0 comments
Trio Goya plays classical chamber music on period instruments. Formed out of a collective fascination with the new colours and narratives that these instruments suggest, the group concentrates its repertoire on the trios by Haydn and Mozart and the Opus 1 set by Beethoven.

A fortepiano by Paul McNulty after Anton Walter, Vienna 1795 is the centrepiece of their performances. The Trio takes its name from the fact that the working lives of all these composers were encompassed by the lifespan of Francisco Goya (1746 - 1828): his place in the development of painting is comparable to that of Beethoven in music, and the Trio's chosen repertoire follows the same Enlightenment path, from classical elegance to romantic expression.

The piano trio formed an important part of Haydn's chamber music output. During the 1790s, when the composer was at the height of his fame, the genre became very fashionable in Paris and London. The 1790s was also the period when Haydn came to England to perform his works at the famous Salomon concerts, for which he wrote his twelve 'London' symphonies. Many of Haydn's greatest works for piano trio including the pieces on this recording were written during this period. The range of colour and imagination displayed by the works on this disc is striking, from the brilliance of the opening movement of the C major Trio, Hob. XV: 27 to the darker-hued colours found in the F sharp minor Trio, Hob. XV: 26. Each of the trios is imbued with the bubbling vitality and classical elegance for which this composer is famous.

01. Keyboard Trio No. 27 in C major, Hob.XV:27 : I. Allegro
02. Keyboard Trio No. 27 in C major, Hob.XV:27 : II. Andante
03. Keyboard Trio No. 27 in C major, Hob.XV:27 : III. Finale: Presto
04. Keyboard Trio No. 28 in E major, Hob.XV:28: I. Allegro moderato
05. Keyboard Trio No. 28 in E major, Hob.XV:28: II. Allegretto
06. Keyboard Trio No. 28 in E major, Hob.XV:28: III. Finale: Allegro
07. Keyboard Trio No. 26 in F sharp minor, Hob.XV:26: I. Poco Allegretto
08. Keyboard Trio No. 26 in F sharp minor, Hob.XV:26: II. Andantino et innocentemente
09. Keyboard Trio No. 26 in F sharp minor, Hob.XV:26: III. Finale in the German Style: Presto assai
10. Keyboard Trio No. 24 in D major, Hob.XV:24: I. Allegro
11. Keyboard Trio No. 24 in D major, Hob.XV:24: II. Andante
12. Keyboard Trio No. 24 in D major, Hob.XV:24: III. Allegro ma dolce

FLAC (EAC Rip): 250 MB | MP3 - 320 kbs: 150 MB | Covers

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Dhikr y Sama - Musica Sufi Andalusi

Posted By MiOd On Tuesday, March 08, 2011 0 comments
Dhikr y Samá'
Poemas del místico Al-Shushtarí, Granada 1212 - Damieta 1269
Cofradía Al-Shushtarí - Omar Metioui, dir.
Dhikr & Samá' is a recording of the al-Shushtariyya brotherhood's music, released by Pneuma as a continuation of Sony Classical's "Ritual Sufí-Andalusí" in the Hispánica series; the musicians, composers and production team being the same. This recording reveals the Sufi spirit and practices which are unknown to the Western world, together with al-Shushtarí's intoxicating poems, whose beauty and intensity can be universally understood in a religious and sensorial context.

I. Iftitáhiyya (Preludio)
1. Súrat al-Ahzáb (33), del 41 al 48 (¡Oh, los que creéis!)

Ibn Mashísh
2. as-Salat al-Mashíshiyya (Oración)

3. al-Bará'a (Oración) (O Dios, a nuestro señor Muhammad)
II. Tubú' (Modos)`Gríbt l-Hsín / Gríba Muharrara / Síka
4. Basít, Fayru l-Ma'árifi (En el oriente de la recta senda)
5. -
1. Basít, In Kunta Tunsifuhu (Si a su mitad llegaras)
2. Tawíl, Jala'tu 'Idhárí (De amor a Ti)
3. Basít, Wa Bi' Tiyábaka (Desprendente de todos tus vestidos)
6. Inshád, Dhá sh-Sharáb Lahu Awání (Esta bebida tiene vasijas que no cata el ignorante)
7. -
1. Muwashshah, Badaytu bi-Dhikri l-Habíb (He comenzado por invocar al Amado)
2. Muwashshah, Mudámk Yá Shayj l-Hadra (Tu vino maestro de la sesión, es vino maravilloso)
3. Tawíl, Wa Dhawwaqa li-l-Halláy (Al buen Hallách)
4. Muwashshah, Nashrab Ma' Nadímí (Búscame, en la taberna me verás)
5. Muwashshah, Min Sharábiya 'Ishrab (Bebe la bebida de mi secreto)
6. Wáfir, Sharibnáhá Bi-Dayrin (Hemos bebido vino en la bodega)
7. Muytath, Ta'allaqa I-Waydu Biyyá (No me deja el sentimiento)
8. Jafíf, Tába Shurbu l-Mudámi (Qué gozo el vino añejo)
III. Al-Imará, Danza Sufí o Hadra (Éxtasis o Trance)
Tubú' al-Hiyáz al-Mashriqí. Raml l-Máya Hamdán
8. Hulal, Lá Iláha Illá l-Láh / Alláh
9. -
1. Tawíl, Famá Zála Yasqíná (No cesa de servirnos de su gracia)
2. Jafíf, Tába Shurbu l-Mudámi (Qué gozo el vino añejo)
3. Muwashshah, Yá Nadím 'Isqi l-Awání (Compañro, llena las vasijas)
4. Zayal, Sultán Hád l-Hadrá (Sultán de esta sesión es un copero)
5. Kámil, Wa Shrab Mina r-Ráhi (Bebe el vino de dicha que se ofrece)
6. Mujalla' al-Basít, Yá Sáhi Hal Háhihi Shmúsu (Ay compañero)
7. Muwwál 1, Fa-'Ayába l-Faqíhu (Declara el alfaqui: del fermentado producto de la vid)
8. Muwwál 2, Áhi Yá Dhá l-Faqíh (Consideramos el consumo ilíto)
9. Muwwál 3, Latarkta d-Dunyá (Ay Alfaqí si tu lo degustaras)
10. Zayal, Hayyamní Lammá Tayallá li-l-Fu'ád (Me enamoró cuando se manifestó al corazón)
11. Muwashshah, Law Kunta Dhá t-Tisáli (Si tuvieras conexión varías que la excelsitud tiene luz)
12. Muwashshah, Al-Hubbu Afnání (El Amor me ha extinguido cuando vivía)
13. Zayal, Ta'lam Yá Jillí (Amigo es cualidad mía beber néctar)
14. Muwwál 4,Wa Shrab Mina r-Ráhi (Bebe el vino de dicha que se ofrece)
15. Muwwál 5,Wa Djul Ma'a n-Nudmáni (Escucha y abandonate a los sones)
16. Muwwál 6, Wa Jla' 'Idháraka (Y de estos allegados comensales)
17. Zayal, Man Yahím Fi Yamalí (Quien se prenda de mi bellaza)
18. Jafíf, Záraní Man 'Uhibbu (Me visitó el amado antes del alba)
19. Zayal, 'Innamá Nafshí Sirrí (Sólo revelo mi secreto a mis íntimos)

10. Súrat at-Tawba (9), del 127 al 128 (¡Profeta! Nos te hemos enviado como testigo)

Playing time: 68' 58"

Cofradía Al-Shushtarí [Omar Metioui (ud, voice), Hasan Ajyar (voice), Mohammed Berraq (voice), Abdeslam El Amrani Boukhobza (tar, voice), Ahmed Al Gazi (rebab), Abedehamid Al-Haddad (voice), Abderrahim Abdelmoumen (voice), Said Belcadi (voice), Mohamed Alami (voice), Abdeljalaq Hadaddou (voice, faqir), Mohamed Agdour (darbuga, bendir)] - Omar Metioui, dir.

128 kbps including Covers

Al Shushtari, Omar Metioui - Ritual sufi-andalusi

Posted By MiOd On Tuesday, March 08, 2011 0 comments
Ritual Sufi-Andalusi: al-Shushtari (1212-1269).
Ritual Sufi-Andalusi: al-Shushtari (1212-1269). Omar Metioui and Mohamed Mehdi Temsamani. Sony Classical SK 62999, Hispanica series, 1997. Distributed by Sony Music Entertainment (Spain).This contains 35 selections, primarily from the poetry of al-Shushtari, an Andalusian Sufi disciple of the great philosopher Ibn Sab`in, in a nonclassical dialectal form of Arabic; the accompanying booklet contains the Arabic text handwritten in a Maghribi hand together with Spanish translations by Federico Corriente and Pablo Beneito, plus extensive notes in Spanish on the poet, Islamic music, and Sufi practice. The recitation of these verses, which are still sung by the Sufi brotherhoods of North Africa, includes the call to prayer (No. 1) in a remarkable choral intertwining of voices, plus three passages from the Qur'an (Nos. 2-3, 35). The recording in the Andalusian style was made by Moroccan musicians under the direction of a Sufi shaykh.

Contains 35 selections, primarily from the poetry of al-Shushtari, in a nonclassical dialectal form of Arabic.

The recitation of these verses, which are still sung by the Sufi brotherhoods of North Africa, includes the call to prayer (No. 1) in a remarkable choral intertwining of voices, plus three passages from the Qur'an (Nos. 2-3, 35).

The recording in the Andalusian style was made by Moroccan musicians under the direction of a Sufi shaykh.

Shushtari was born in Shushtar, near Guadix (Spain) around year 1203, and died in Egypt the sixteen of October of 1269. His first studies sufies made them with lbn Suraqa, in their adolescente began in the practices of the sufies.

He went to Morocco where he established in Rabat, but mainly resided in Meknés, where already he was recognized like a teacher with an eccentric character.

In a zéjel it says of itself:

An old poor man by territories of Meknés in the middle of the zocos sings:

What people concerns to me!

And what I concern to people!

In 1253 he knew in Mecca who would be his true and definitive teacher, lbn Sab’in al-Mursi, he initiated him in the Sab’inia.

When lbn Sab’in died, Shustari became teacher of the disciples of ibn Sab’in and went with them to Egypt, where he died in 1.269.

His poems soon were sung, and becoming to comprise of the practices of Sama.

In Magreb and Syria they are used in the meetings of the shadzilies sufies.


Rahul Sharma - Spring

Posted By MiOd On Tuesday, March 08, 2011 1 comments
A sumptuous evocation of the delicate and powerful interplay between the ascending talent of Rahul Sharma and the great percussion masters of Pakhawaj and Tabla.

Being the son and student of one of India's music legends does not guarantee an easy road to success. With the privilege of having access to a vast treasure of musical knowledge, comes the burden of comparison and the responsibility of carrying the family name forward. Rahul Sharma is the son of Santoor virtuoso Shiv Kumar Sharma, who has single-handedly transformed the little known and rarely played Indian Santoor into a favourite with world music audiences, and against the odds firmly established it as an integral part of the Indian classical repertoire. Rahul Sharma is now emerging as one of the most innovative instrumentalists in North Indian music. His captivating performances suggest a musician poised to take the Santoor onto a new level of popularity. He first performed live with his father in 1996, the tradition of Jugalbandi, or duet playing, providing the ideal platform for the youngster to craft his art under the watchful eye of his father. Through this testing apprenticeship his attitude towards his predicament has remained characteristically positive. "Comparisons are inevitable", he reveals, "But nothing to get scared of. In fact they are a big challenge. And I am enjoying it," In fact, Rahul has seized his opportunity with both hands. He has already entered into a number of successful music collaborations with international artists, and composed the music for Bollywood film hit 'Mujhse Dosti Karoge', working with veteran producer-director Yash Copra. His renditions of traditional folk tunes from Kashmir and the Sufi music tradition are soulful, innovative, and at the same time always sincere to their roots. From the beginning, his father encouraged the young Rahul to listen to music from each and every corner of the world, and many of these influences are now being absorbed into his performances. This recording captures Rahul performing at the annual Saptak Festival, one of India's most prestigious musical gatherings, in front of an audience made up of seasoned listeners and connoisseurs. Raga Kalavati is a popular raga, adopted by the North Indian Hindustani musicians from the South Indian Carnatic system. The two musical traditions share the same roots, but have developed separately since the thirteenth century, when the northern part of India was invaded by the Moghuls from Persia through Afghanistan. The performance begins with the customary Alap, an unhurried, improvised note by note exposition of the raga. The alap itself is divided into three distinct parts, alap, jor and jhalla; the introduction of jor (track 2) is marked by the introduction of a gentle rhythmic pulse, sensitively played by Bhavani Shankar on Pakhawaj. Bhavani Shankar was born into a distinguished musical family, learning from his father Pandit Babulalji, a renowned performer of Kathak, a popular style of dance which specialises in intricate rhythmic patterns. The Pakhawaj is a horizontal barrel-shaped, double headed drum with a deep, majestic resonant sound, traditionally used to accompany the ancient dhrupad style of music. Its use in this performance demonstrates Rahul Sharma's partiality for experimentation and innovation. The jhalla section (track 3) marks a swift increase in pace. You can hear the audience's appreciation of some intricate improvised phrases accompanied by fast rhythmic patterns, as both musicians reveal new facets of their virtuosity. The alap section is followed by three gat compositions (tracks 4-6), on which Rahul Sharma is accompanied by Shafaat Ahmed Khan on tabla. Shafaat Ahmed Khan is one of the most popular tabla accompanists on the circuit, having played regularly with all the great Indian musicians including Amjad Ali Khan and Shiv Kumar Sharma. Music is in Shafaat's blood, having started to play tabla before he even could walk from his father Ustad Chamma Khan, a maestro of the Delhi gharana of tabla- rhythm. The first gat (track 4) played in a rhythmic cycle of seven beats (Rupak) incorporates a rich melodic sense combined with a keen grasp of intricate rhythmic permutations. The performance concludes with a second jhalla (track 7), this time providing a platform for some skilful interplay between the Santoor and Tabla. As the recital gallops to a finale at an electrifying tempo, the Pakhawaj joins in to play an elaborate synchronised phrase (tehai) repeated three times to round off an invigorating recital - John Ball.

1. Alap
2. Jod (With Pakhawaj)
3. Jhalla (With Pakhawaj)
4. Gat in Rupak Taal (With Tabla)
5. Gat in Teentaal (Medium Tempo)
6. Gat in Teentaal (Fast Tempo)
7. Jhalla in Teentaal (Fast Tempo)

Rahul Sharma – Santoor
Pt. Bhavain Shankar – Pakhawaj
Shafaat Ahmed khan – Tabla

FLAC (EAC Rip): 415 MB | MP3 - 320 kbs: 195 MB | Scans

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Argentina - the Story of Tango 2

Posted By MiOd On Monday, March 07, 2011 1 comments
Argentina - the Story of Tango 2
Ah, the tango. It conjures up steamy images of late nights in dark bars, roses in the teeth, and deep, backbreaking dips. We've all seen the movies, and many of the songs on this album are songs that have been heard in many different contexts over the years. The beauty of this record is that now you hear them in their original form, as lush and juicy as you could imagine. The dangerous sound of Ricardo Pedivilla and his orchestra, with its choppy violins and lush piano riffs, is classic tango. The more stripped-down sound of Enrique Mora and his quartet (violin, piano, accordion, and bass) is the prototype for the experiments of Astor Piazzolla yet to come. The overripe orchestrations of Lorenzo Barbero are right out of a 1930s spy movie but have some surprising twists as well. All 15 of the tracks here are from the 1950s, a golden era for the tango as it moved from the alleys to the concert halls and before it became a revolutionary force in the new "world music" of the 80s.

01. Halcon Negro - Artola, Hector Maria
02. El Enterriano - De Maria, Carlos
03. El Amanecer - Pedeville, Richardo
04. Jueves - D'Amario, Victor
05. Chiquw - Del Piano, Eduardo
06. El Africano - Varela, Hector
07. La Guitarrita - Baliotte, Armando
08. Milonga Sentimental - Diaz, Juancito
09. Mal De Amores - Demarco, Mal
10. El Nego Pintos - Attadia, Alfredo
11. El Lloron - Cambareri, Juan
12. La Payanca - Mora, Enrique
13. El Internado - Polito, Juan
14. Cenizas - Maderna, Osmar Orchestra
15. El Cabure - Barbero, Lorenzo

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L. Subramaniam & Ustad Ali Akbar Khan - Sangeet Sangam

Posted By MiOd On Monday, March 07, 2011 2 comments
A gifted South Indian counterpart of Jean-Luc Ponty on the electric violin, and endlessly curious about all kinds of music, Subramaniam has been a pioneer in exploring intelligent fusions between European classical music, American jazz, rock, and South Indian music. His father, a master Indian violinist, and mother, who played the Indian vina, were his first musical influences, and after abandoning a career in medicine, he formed a violin trio with his two brothers while still in India. He toured America and Europe with Ravi Shankar and ex-Beatle George Harrison in 1974, made his first fusion album in Copenhagen (Garland), and wrote material for Stu Goldberg and Larry Coryell in 1978. He settled in the Los Angeles area in the late '70s in order to earn a doctorate in Western music at the California Institute of the Arts, where he also taught South Indian music. He led a group with Coryell, George Duke, and Tom Scott in the 1980s, and recorded several fascinating LPs for Milestone -- including an LP with Stephane Grappelli -- that fused classical music, electric and acoustic jazz, and South Indian music. Subramaniam has also written works for classical orchestras; his Violin Concerto juxtaposes naïve Hollywood-ish romantic music with South Indian instruments and structures. His debut for the Erato Detour label, Global Fusion, followed in 1999.

Instrument: Sarod, Violin
Mridangam Player: Ramnad V Raghavan
Raag: Jog, Nattai
Taal: Teentaal
Tabla Player: Zakir Hussain (Ustad)

Track Listing

(01). Raga Jog
(02). Ragam Naatai

FLAC(EAC Rip): 135 MB | MP3 - 320 kbs: 105 MB | Scans

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Kudsi Erguner - The Turkish Ney

Posted By MiOd On Sunday, March 06, 2011 0 comments
The Turkish Ney
Kudsi Erguner
Naïve Unesco (Traditional Musics of Today)
The ney is the emblematic flute of the Turko-Arab-Persian world. It is a simple reed with no mouthpiece or pipe; an "oblique" flute, falling somewhere between the straight and transverse flute.

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

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

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

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

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

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

Makam Segah
11. Taksim

Percussion performers: Pascal Quesnel & Nourredine Agoumi (bendirs)

Playing time: 69'59"

Recording date: 1990

Composers are given parenthetically above.

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

128 kbps sorry "normal quality &no scans"