Japan - Masters of Zen: Ugetsufu by Kuniyoshi Sugawara

Posted By MiOd On Friday, September 30, 2011 0 comments
This CD features the Japanese shakuhachi player Kuniyoshi Sugawara and pieces by modern Japanese composers, some of which have been written specifically for him. There are two solo pieces, some pieces for shakuhachi, koto, and/or jushichigen (17-stringed koto), and a duet for shakuhachis written by the late koto master and composer Tadao Sawai (1937-1997). Sugawara is an accomplished shakuhachi player who deserves to be known outside Japan. By offering a CD of only modern pieces (some of which are more traditional in style while others are more avant-garde in style), Sugawara demonstrates that many Japanese composers are still interested in writing music for their traditional instruments (although it was for some on this CD their first or second piece) and that their pieces are masterworks of great musical interest. A CD of great value.

[01]. Ugetsufu, Yoshimatsu
[02]. Kaei, Hoki
[03]. Kotoba No Yoru, Chikuma
[04]. Rezan, Sawai
[05]. Kata-Ashi Torii No Eizo, Sato
[06]. Kata-Ashi Torii No Eizo, Sato
[08]. Kata-Ashi Torii No Eizo, Sato
[09]. Nihon Minyo Kumikyoku Dai Ichi-Ban, Fukushima
[10]. Nihon Minyo Kumikyoku Dai Ichi-Ban, Fukushima
[11]. Nihon Minyo Kumikyoku Dai Ichi-Ban, Fukushima
[12]. Nihon Minyo Kumikyoku Dai Ichi-Ban, Fukushima
[13]. Nihon Minyo Kumikyoku Dai Ichi-Ban, Fukushima

Flac tracks (EAC Rip): 330 MB | MP3 - 320 kbs: 170 MB | Front Cover

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Cheb Khaled - Sahra

Posted By MiOd On Friday, September 30, 2011 0 comments
Khaled is the poster boy for the modern form of Algerian desert blues known as Raï. Certainly he's been its most successful modern exponent, the first to find success on the international stage. Born Khalidu Hajji Brahim in Oran, the traditional center of Raï, he was attracted to music from an early age, especially to Raï, which was seen at the time of the music of outcasts, drunks, and prostitutes, although he also loved James Brown and the Beatles. He taught himself to play guitar, bass, harmonica, and accordion, releasing his debut disc, "Trigh Lycee," when he was just 14. Leaving home, he began on the peripatetic life of the musician, performing frequently at clubs, parties, and weddings (the only places where Raï was seen as an "acceptable" form of entertainment). It was in the early '80s that Cheb (meaning "young") Khaled's fortunes changed, when he met up with producer Rachid Baba Ahmed, who was revolutionizing the Raï form by introducing Western electric instruments and studio techniques. Together, they changed the face of the music. Khaled was the right voice at the right time and the addition of drum machines, synthesizers, and guitars took the music to a new generation, even though much of it continued to be censored by the Algerian government, which considered the style subversive. A number of those early tracks can be found on Le Meilleur de Cheb Khaled on Blue Silver.

By 1986, Khaled (who'd now dropped the Cheb) had been forced to move to Paris, as violence in Algeria claimed lives and he'd been threatened several times (producer Ahmed would, in fact, be murdered, as would several Raï performers). Arriving with a reputation, he attempted to take his music to a global level, although his real debut, Kutche, did him no favors with its jazz-rock arrangements. He fared much better with 1992's Khaled, with some tracks produced by Michael Brook and others by Don Was. It yielded his first big hit, "Didi," and helped consolidate his reputation as Raï's first superstar. That was firmly cemented the following year with the Was-produced N'ssi N'ssi, which mixed funk, rock, and an Egyptian orchestra behind Khaled's persuasive voice and winning smile for a major commercial breakthrough in France, winning a European, as well as North African, audience. In 1996, he hit again with Sahra, whose first single, "Aïcha," written for his daughter, gave Khaled a French number one hit. A mix of producers gave varying sounds, with French hip-hoppers Akhenton & Imhotep proving the hardest on the track "Oran Marseille" with its rapid-fire rap. There was even some reggae on "Mektoubi," which merged relatively seamlessly with the North African sound. While well-received critically, it sold little in the U.S. however, unlike France, where the album became Khaled's biggest success. Perhaps the moment that justified his title of King of Raï, however, came in 1999, when he headlined the 1-2-3 Soleils concert in Paris (which led to the album of the same name), over Rachid Taha and Faudel. It was the biggest Algerian show ever staged in France and left no doubt that Khaled remained Raï's hottest attraction. 2000 brought Kenza and a change of producer, as former prog rocker Steve Hillage helped bring a more organic feel to the proceedings. A smash in Europe, once again it did little business in the U.S. ~ Chris Nickson, All Music Guide

[01]. Sahra
[02]. Oran Marseille (Oran Mix)
[03]. Aïcha
[04]. Lillah
[05]. Ouelli El Darek
[06]. Detni Essekra
[07]. Walou Walou
[08]. Ki Kounti
[09]. Wahrane Wahrane
[10]. Haya Haya
[11]. Mektoubi
[12]. Hey Ouedi
[13]. Oran Marseille
[14]. Sratli
[15]. Le Jour Viendra

Flac (EAC Rip): 450 MB | MP3 - 320 kbs: 160 MB | Covers

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Natacha Atlas - Ana Hina

Posted By MiOd On Friday, September 30, 2011 0 comments
Natacha Atlas & the Mazeeka Ensemble
Singer Natacha Atlas is now recording in London rather than Cairo, but perversely this is her most traditionally Arabic album, at least in terms of its nostalgia. Working with musical director Harvey Brough, she's chosen a classicist acoustic approach, as opposed to her usual electronic reinventions of Middle Eastern and North African sounds.

Natacha's fluttering voice is very prominent in the mix, allowing the space to savour every detail of her ornamented phrasing. Around half of the songs have a 1940s or 50s aura, sensitively interpreted by an orchestra of serpentine strings, ney flute, oud, percussion and a horn section that includes Julian Siegel. The Egyptian star Gamal Al Kordy makes a notable contribution on accordion; an apt inclusion given his involvement in many of the original recordings of these songs.

It's not all Arabic traditionalism, though. The Atlas/Brough songwriting partnership has produced four originals and a pair of arrangements, which revisit ancient folk forms, both Western and Eastern. Two of the originals possess strange echoes of other songs, with the title track evoking both Jacques Brel and James Brown's It's A Man's World.

A reading of Black Is The Colour follows Nina Simone's formula; just voice, piano and strings, sung in English. There's also an eerie version of a Frida Kahlo poem, in its original Spanish, sung as a duo with baroque guitarist and oud player Clara Sanabras, who this time opts for a pinging ukulele. And then, Brough re-arranges Hayati Inta, taken from the last Atlas album, driving all night down the highway of doom.

El Asil, from the book of Egyptian singer Abdul Halim Hafez, is followed by a lush arrangement of a tune that's at least 500 years old, with an exquisite ney/accordion conversation as its introduction. Such diversity might sound excessive in print, but the experience of gliding down these wayward alleyways produces a seamless sensation of high creativity, tastefully programmed. Ana Hina is set to be one of the year's finest albums.

(01) [Natacha Atlas] Ya Laure Hobouki
(02) [Natacha Atlas] Beny Ou Benak Eih
(03) [Natacha Atlas] Ana Hina
(04) [Natacha Atlas] La Shou el Haki
(05) [Natacha Atlas] Black Is The Colour
(06) [Natacha Atlas] La Teetab Alayi
(07) [Natacha Atlas] La Vida Callada
(08) [Natacha Atlas] Hayati Inta Reprise
(09) [Natacha Atlas] El Asil
(10) [Natacha Atlas] Lammebada
(11) [Natacha Atlas] He Hesitated
(12) [Natacha Atlas] El Nowm

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

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Chinese Flower Music Vol. [1-6]

Posted By MiOd On Thursday, September 29, 2011 0 comments
1. Chinese Flower Music-Bamboo Dreams
When it comes to Chinese music,
we cannot help but notice that the majority of Chinese musical instruments, especially the wind instruments, are made of bamboo.

The music of this album is intimately associated with bamboo and played on a variety of bamboo made musical instruments. Treat yourself to the Bamboo Dreams and experience its exotic Oriental romance!

1.Heart-touching Sound of Bamboo
2.A Leisurely Heart Deep in the Bamboo Grove
3.Bamboo Watching
4.Sprouts of Spring
5.A Pool of Cool Freshness
7.A Humble Heart
8.Bamboo Singing in the Moonlight

Performers:Composers:YANG Chun-lin, MU Yi & HAO Han|
Performers:ZHAO De-rong, HU Ai-zhen & Jiang Kai

Ape (EAC Rip): 260 MB | MP3 - 320 kbs: 120 MB | Front Cover

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2. Chinese Flower Music - Chrysanthemum
Fall-blooming chrysanthemums are compared to the soul of autumn in Chinese poetry. The music of the album aims at presenting the flowers' graceful poise and the fine autumn scenery of the countryside. Common traditional Chinese musical instruments such as the erhu, guqin, xiao, pipa, and guzheng are used to sing the beauty of six kinds of chrysanthemums.

1.Wild Beauty by County Fences - Wild Chrysanthemum
2.Cold and Elegant - Peach-blossom Chrysanthemum
3.A Beauty from a Distance - Cliff-like Chrysanthemum
4.Twin Beauties - Two-colored Chrysanthemum
5.Goddess of the Moon - White Chrysanthemum
6.Nightly Fragrance in the Air -Wintry Chrysanthemum

Ape (EAC Rip): 220 MB | MP3 - 320 kbs: 120 MB | Front Cover

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3. Chinese Flower Music - Orchid
Chinese orchids have clear colored flowers and finely organized foliage, possessing a placid and charming quality. In this collection, music is used to convey the characteristics of orchids to listeners. Musical instruments such as the pai-xiao, guzheng, erhu, and pipa are employed to present the lofty realm of truth, good, and beauty that orchids represent.

1.Fragrance of the Country-Fujian Orchids
2.Origin of Fragrance-Spring Orchids
3.Flowers of Nobility-Chiya-suxin Orchids
4.Royal Fragrance-Daming Orchids
5.A Beautiful Lady from Empty Valleys-Winter Orchids
6.Supreme Fragrance in the World-Baosui Orchids

Ape (EAC Rip): 290 MB | MP3 - 320 kbs: 130 MB | Front Cover

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4. Chinese Flower Music - Plum blossom
in this album, the upright spirit of the blossom is transformed into the music of sheer texture. the interwoven sounds of nature and various chinese instruments depict the crystal beauty of the plum blossom, blooming under the winter moon

1. The Unworldly Beauty- The Wild Plum Blossom
2. Fairy By The Moonlight- The Vermilion Plum Blossom
3. Queen Of The Blossoms- The Green-Sepaled Plum Blossom
4. Extreme Beauty- The Yellow Plum Blossom
5. Fairy Of Delicacy- The Blossom Of Aged Plum Tree
6. Twins Lying On One Sepal- The Plum Blossom Couple

Ape (EAC Rip): 230 MB | MP3 - 320 kbs: 115 MB | Front Cover

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5. Chinese Flower Music - Waterlily
Based on Chinese literature the waterlily was compared to a man of noble character. To capture its spirit Shi Zhi-you the composer of this album fully delineates the unconquerable beauties of varied waterlilies with the Chinese musical instruments. Sounds of birds, insects and water are also employed in the compositions to add a feel of genuine and natural beauty.

1. Dancing Fairy - The White Waterliily of East Lake
2. Guest of the Moon - The Yellow Waterlily
3. Longlasting Glamour - The Ancient Waterlily
4. Image of Majesty - The Buddha-seated Waterlily
5. Beauty from Water - The Red Waterlily of West Lake
6. Intertwining Shadow - The Twin Waterlily

Ape (EAC Rip): 220 MB | MP3 - 320 kbs: 115 MB | Front Cover

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6. Chinese Flower Music-Waves of Pine
An unconventional new age fusion from an excellent team of Chinese musicians and a beautiful inspiration of pines create this album of elegant surprise. Traditional instruments such as ancient guqin (Chinese long zither), liuqin (plucked-string), Chinese flute and xuan (ceramic-made), inspired by the enchanting lines and waves of pines, interweave and bring to you a new vogue of Eastern naturalistic joy. When you listen to these waves of pines, you will be transformed to a blissful state of peace and relaxing intoxication.

1. Tea under a Pine
2. Waves of Pine
3. In Deep Clouds
4. Friends of Winter
5. The Dance between Wind and Pines
6. In and out of a Dream
7. Ghostly Shadows
8. A Pine upon a Mirror

Ape (EAC Rip): 235 MB | MP3 - 320 kbs: 105 MB | Front Cover

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Electric & Acoustic Mali

Posted By MiOd On Wednesday, September 28, 2011 0 comments
Splendid music aside, two things stand out in this fine anthology: a frequent blend of balafon and electrics rather than kora-influenced guitar work, and the fact that almost every group here is new to the West (Ami Koita is the only known quantity). All of which makes for a really fresh (and pleasingly varied) take on the classic Malian spectrum of traditional/contemporary balances. Insightful notes are included, too. ~ John Storm Roberts, Original Music, All Music Guide

ELECTRIC & ACOUSTIC MALI is a sampler of diverse popular musics from that African nation.

Splendid music aside, two things stand out in this fine anthology: a frequent blend of balafon and electrics rather than kora-influenced guitar work, and the fact that almost every group here is new to the West (Ami Koita is the only known quantity). All of which makes for a really fresh (and pleasingly varied) take on the classic Malian spectrum of traditional/contemporary balances. Insightful notes are included, too. ~ John Storm Roberts, Original Music

Mali Is Home To Some of The Greatest and Most Dynamic Music In All Africa, and Here Is A Sampling of Many of Its Best Artists Performing In A Wide Variety of Styles. From Traditional Performance To Modern Fusions, Both Acoustic and Electric, Here IsMusic From The Creative Cauldron of Africa.

Jazziz (10/95, p.26) - "...a fascinating and fairly broad-ranging showcase..."

(01) [Sekouba Bambino Diabate - Ka Souma Man] Sekouba Bambino Diabate - Ka Souma Man
(02) [Kadja Tangara - Konifale] Kadja Tangara - Konifale
(03) [Lobi Traore - Tchana Diani] Lobi Traore - Tchana Diani
(04) [Dounanke Koita - Ouere Hana] Dounanke Koita - Ouere Hana
(05) [Bougouniere Diarrah Sanogo - Faso] Bougouniere Diarrah Sanogo - Faso
(06) [Les Soeurs Sibide - Sabali] Les Soeurs Sibide - Sabali
(07) [Issa Bagayogo - Fengue] Issa Bagayogo - Fengue
(08) [Djeneba Diakite - Liberia] Djeneba Diakite - Liberia
(09) [Dounanke Koita - Sinsinbo] Dounanke Koita - Sinsinbo
(10) [Kagbe Sidibe - Kulunba] Kagbe Sidibe - Kulunba
(11) [Wassolon Fenin - Diarabi] Wassolon Fenin - Diarabi
(12) [Ami Koita - Hampate Ba] Ami Koita - Hampate Ba
(13) [Kerfala Kante - N'Na Djanssama] Kerfala Kante - N'Na Djanssama

WV (EAC Rip): 390 MB | MP3 - 320 kbs: 165 MB | Booklet Scans

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African Tribal Music And Dances

Posted By MiOd On Wednesday, September 28, 2011 0 comments
Experience the sounds of the Malinke tribe, the Baoule and several other peoples from various countries in Africa on this award winning CD. Male and female choruses are featured in selections such as "The Dance of the Hunters" and "Dance of the Women." Solo instrumental performances are played with the flute, musical bow, xylophone and harp in "Solo for Musical Bow", "Duet for Flutes" and "Xylophone Solo". Vibrant African drums and other percussion instruments are played throughout the CD. There are 22 tracks in all.

African Tribal Music is a solid if nondescript collection of traditional African chants and rhythms. Some of the titles are a little lurid ("Drums of Passion," "White Zombie," and "Witch Doctor" seem more like B-movies), but by and large the set offers a good overview of its subject.

Music Of The Malinke
[01]. Festival Music
[02]. Solo For The Seron
[03]. Hymn Of Praise
[04]. Percussion Instruments
[05]. Festival Of The Circumcision
[06]. Dance Of The Hunters
[07]. Dance Of The Women

Music Of The Baoule And Others
[08]. Invocation, Entrance And Dance Of The Glaou
[09]. Duet For Flutes
[10]. Solo For Musical Bow
[11]. Xylophone Solo
[12]. Male Chorus And Harp
[13]. Dance Of The Witch Doctor
[14]. Sicco
[15]. Toffi
[16]. Ibonga
[17]. Gnounba Gnibi
[18]. Dianka Bi
[19]. Sibi Saba
[20]. Sindhio
[21]. Didrenquo
[22]. Bonomiollo

APE (EAC Rip): 310 MB | MP3 - 320 kbs: 155 MB | Front Cover

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Maestro's Choice: Best of Indians Masters (+30CDs)

Posted By MiOd On Tuesday, September 27, 2011 0 comments
[01]. Maestro's choice - Bismillah Khan
Certain instruments become indelibly linked with particular performers. In the Hindustani realm, the santoor is closely associated with Shivkumar Sharma and the rudra vina with Zia Mohiuddin Khan, but historically, perhaps the closest and most intimate association has been with Bismillah Khan and the shehnai.

Born in 1916, he has raised the status of one of India's most distinctively voiced instruments unprecedentedly. In its folk form this double-reeded instrument is used on a variety of ritual occasions but is especially associated with weddings. Bismillah Khan has recorded extensively and like many Indian classical artists most of his early work was released by EMI India or its overseas partners. His historic jugalbandi with Vilayat Khan was chosen to inaugurate the Music of India series on EMI India's parent company in Britain. This series licensed the work of masters such as Ravi Shankar, Ali Akbar Khan and Nikhil Banerjee. The debut release in the Music of India series, however, featured in the terminology of the album duettos on "Chaiti-Dhun" and "Bhairavee Thumree." The third in the series was another shehnai jugalbandi, this time with violinist V.G. Jog. It was a further indication of the esteem in which Bismillah Khan was held. Time has only reinforced that.

1. Raga Rageshwari
2. Raga Shivaranjani


[02]. Maestro's choice - Ravi Shankar
Ravi Shankar is the Indian-born sitar player who helped introduce the instrument to the West. His virtuosity on the instrument has made him the musician that all other sitar players look up to.

Tutored on sitar as a young boy, Shankar began performing as a teen in the 1930s although he took further training, under Indian music maestro Allaudin Khan, from 1938 until l944. As his reputation in India grew, he wrote scores for Indian films, music for ballet and became the music director for All India Radio.

He began to tour outside India in the 50s and 60s, during which time there was a rise in interest in eastern culture in Europe and the States. George Harrison studied the sitar under him, and The Beatles had him play on “Norwegian Wood”, from the Rubber Soul album. The track has since been described as among the first world music recordings. In 1966 this greater attention led to invites to play at the Monterey Pop Festival and Woodstock.

Shankar’s collaborations helped to introduce his music to listeners not necessarily versed in Indian traditional music. He has worked with Philip Glass, George Harrison and Russian State musicians, including a folk ensemble and the Moscow State Orchestra.

Shankar regularly tours with the cream of Indian musicians, and has worked with his daughter Anoushka, who he taught to play the sitar. He has also written work for films, and included in his credits are the Oscar nominated Ghandi and Indian film director Satyajit Ray’s Apu trilogy.

1.Raga Asa Bhairav 30:16
2.Raga Kausi Kanhra 20:40
3.Mishra Ghara Dhun 9:03

Sitar, Other – Ravi Shankar
Tabla – Kumar Bose


[03]. Maestro's choice - Bhimsen Joshi
Born in February 1922 in Gadag in the present-day Indian state of Karnataka, Bhimsen Joshi is one of the truly matchless male vocalists of Hindustani music: his performances are always a source of joy. From early in his life he was driven by music, a drive which led him to leave home quite young. After many adventures he settled down studying with Sawai Gandharva of the Kirana gharana and one of the foremost students of Abdul Karim Khan. Bhimsen Joshi has a rich and resonant voice which, while utterly classical in tone, has a warm, lived-in quality.

1. Raga Ramkali (Khayal Vilambit And Drut In Teentaal)
2. Raga Shuddh Kalyan (Khayal Vilambit And Druit In Teentaal)


[04]. Maestro's choice - Gangubai Hangal
Hangal's family was considered to be of low social status and for women of her generation singing was not considered appropriate employment; Hangal struggled against this prejudice and made a career. She performed all over India and for All India Radio stations until 1945. Hangal had initially performed light classical genres, including bhajan and thumri, but concentrated on khyal. Later, however, she refused to sing light classical, saying she sang only ragas. Hangal served as honorary music professor of the Karnatak University. She gave her last concert in March 2006 to mark her 75th career year. She had overcome bone marrow cancer in 2003, and died of cardiac arrest at the age of 96, on 21 July 2009, in Hubli, where she resided. She had her eyes donated to increase awareness for organ donation.

1. Raga Bihag - Khayal Vilambit In Ektaal, Drut In Teentaal
Gangubai Hangal W. Krishna Hangal, S.K. Hangal, Appa Jalgaonkar 30:04

2. Raga Bageshree - Khayal Vilambit In Ektaal, Drut In Teentaal
Gangubai Hangal W. Krishna Hangal, S.K. Hangal, Appa Jalgaonkar 29:55


[05]. Maestro's choice - Kishori Amonkar
Kishori Amonkar has such a well-turned, heart-felt and often sensual way of phrasing that anything by her is likely to repay investigation. Maestro's Choice -- Kishori Amonkar contains two performances -- "Raga Ahir Bhairav" and "Raga Sampurna Malkaus" -- with sarangi accompaniment by Sultan Khan and tabla accompaniment by Balkrishna Iyer. An immensely pleasurable album.

1. Raga Ahir Bhairav
2. Raga Sampurna Malkaus


[06]. Maestro's choice - Jasraj
Born in 1930 in Hissar (Haryana), Pandit Jasraj is one of the best-known classical vocalists. He belongs to the Mewati gharana, as did his father, Pandit Motiram. One of the joys of Jasraj's music is his depiction of the unusual. He has recorded extensively, especially since the late '80s, for a number of the leading companies specializing in Indian classical music including Chhanda Dhara, EMI India, Magnasound/OMI, Moment and Navras.

1. Raga Bairagi Bhairav (Khayal Vilambit In Ektaal, Drut In Teentaal)
Pandit Jasraj W. Appa Jalgaonkar & Kedar Pandit 29:41

2. Raga Darbari Kanhra (Khayal Vilambit In Ektaal, Drut In Teentaal)
Pandit Jasraj W. Kedar Pandit, Aravind Thatte, Kala Ramnath, & Rattan Sharma 29:31


[07]. Maestro's choice - Shivkumar Sharma
Shivkumar Sharma is one of the truly great visionaries in the Hindustani classical music firmament. His popularity has created a knotty problem for his admirers. Popularity has led to a demand for recordings by him, to a degree that having a Shivkumar Sharma album acts like a kind of validation for a label. Consequently the market is flooded with his recordings. His playing is consummate, therefore he is unlikely to produce a piece of work that is below par, which makes selecting a shortlist even more difficult.

Sharma's story is one of dedication. He was born in January 1938 in Jammu Kashmir. His father Uma Dutt Sharma asked him to pursue the development of the Kashmiri santoor. Being a dutiful son he obeyed and persevered despite private reservations. Though its Persian relative, the santur, had associations with Persian and Iranian classical music, elevating the Indian instrument to the classical concert platform was widely viewed as folly in conservative quarters. But Shivkumar Sharma persisted, experimented, restrung and reconfigured his instrument. His first major santoor recital took place in Bombay in February 1955, but it took, he reckons, until the 1970s to finally silence the querulous, "the die-hard connoisseurs of the music, musicologists and purists." Parallel with his development of the santoor he worked as a tabla player (he accompanied acts as diverse as the renowned Punjabi folksinger Surinder Kaur and sitar maestro Ravi Shankar), and his understanding of tabla playing and rhythm has immeasurably enhanced his performance style and stagecraft.

1. Raga Bhoopal 28:01
2. Raga Kirvani 29:48

Flac(EAC Rip): 320 MB | MP3 - 320 kbs: 140 MB | Booklet Scans

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[08]. Maestro's choice - Shivkumar Sharma, Series 2
1. Raga Charukeshi - Alap, Jod And Jhala Gat Vilambit, Madhyalaya And Drut In Teentala
Shivkumar Sharma, Anindo Chatterjee, Nandkishore Mulay 59:13

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[09]. Maestro's choice - Imrat Khan
Ustad Imrat Khan is one of the world's greatest players of the surbahar, a deep-toned, sitar-like stringed instrument that was developed by his great-grandfather, Ustad Sahabdad Khan, and Ustad Imdad Khan. With its four-octave range, the instrument is used to play the ultra-strict dhrupad style of Indian classical music. Still young when his father died, Imrat Khan was taught to play the surbahar and to sing in the highly ornamental classical vocal style of khyal by his mother, Bashiran Begum, and his maternal grandfather, Ustad Bandeh Hassan. Forming one of the first sitar-and-surbahad duos with his older brother, Vilayat Khan, Imrat helped to pioneer the unique gayaki ang ("vocal manner") approach to Indian instrumental music. In 1956, the two brothers were invited to accompany the first Indian cultural delegation to the Soviet Union and Eastern Europe. Although they elected to go their separate ways, Imrat and Vilayat have both continued to play major roles in the evolution of Indian classical music. Teaching at Dartington College of the Arts in England from 1968 to 1970, Imrat became the first Indian classical musician to perform at the Royal Albert Hall in London, England, in 1971. He received a prestigious Sangeet Natak Akademi Award from the president of India in 1988. During the '90s, Imrat performed many shows and recorded with his four sons: Nishat (sitar), Irshad (sitar), Wajahat (sarod), and Shafaatullah (tabla). Imrat composed and/or performed on Satyajit Ray's Jalsaghar (Le Salon de Musique), and the soundtracks of such films as James Ivory's The Guru and the Michael Caine/Sidney Poitier-starring movie The Wilby Conspiracy.

1. Mian Ki Malahar 29:56
2. Shyam Kalyan 29:17

Wv(EAC Rip): 240 MB | MP3 - 320 kbs: 130 MB | Front Cover

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[10]. Maestro's choice - Amjad Ali Khan
In a career spanning over 50 years, Amjad Ali Khan has single-handedly elevated the Sarod to one of the most popular instruments in the Northern Indian tradition. He has to his credit the creation of many new Ragas which earned him unanimous praise for successfully striking the delicate balance between innovation and respect of a timeless of tradition. His concerto for Sarod and orchestra, Samaagam, the result of an extraordinary collaboration with the Scottish Chamber Orchestra, is the latest embodiment of his unique ability to give new form to the purity and discipline of the Indian classical music tradition. Samaagam was released worldwide in April 2011 on Harmonia Mundi’s World Village label.

In the season 11/12, Amjad Ali Khan will be the focus of a 4-concert residency at the Wigmore Hall in London. Other highlights include recitals at the Edinburgh International Festival, the Enescu Festival in Bucharest, a concerto tour in India with the Mahler Chamber Orchestra and recitals throughout the USA and Australia.

Personnel includes: T.N. Krishnan (violin).
Personnel: Amjad Ali Khan (sarod); Rashid Mustafa Thirakwa (tabla).

1. Raga Kamalshree
2. Raga Durga


[11]. Maestro's choice - Vilayat Khan, Series 2
1. Raga Sanjh Sarawali 9:50
2. Raga Mand Bhairav 9:20
3. Raga Pilu 10:04
4. Raga Rageshree 10:01
5. Raga Gauti 10:54
6. Raga Sughrai 9:30

Vilayat Khan - Sitar
Sabir Khan Tabla
Hidayat Khan - Tanpura


[12]. Maestro's choice - Alla Rakha, Zakir Hussain
With the passing of Ustad Alla Rakha (born: Allarakha Kahn) on February 3, 2000, from a heart attack, India lost one of its most influential musicians. Called the "Einstein of rhythm" by Grateful Dead percussionist Mickey Hart, Rakha helped introduce Indian classical music to the western world with his tabla playing. A longtime accompanist of sitarist Ravi Shankar, Rakha is remembered for the highly melodic rhythms that he coaxed from his instrument. Shortly after his death, Indian president K.R. Narayanan announced that "an uncommon pulsation has been stilled. His wrists, palms, and fingers produced from the tabla percussion of magical quality which maintained the tenor and tempo of India's uniquely assimilative musical culture."

The son of a farmer, Rakha was born in the Phagwal village of Jammu, 80 km from Lahore. Leaving home, at the age of 12, he moved into an uncle's home in Gurdaspur. Inspired by the playing of local musicians, he convinced tabla player Mian Qader Baksh of the Punjab Gharana (school) to take him on as a disciple. He also studied with Ustad Ashiq Ali Khan, who taught him the melodic vocal style Raag Vidya.

Rakha mastered his lessons quickly. By his 15th birthday, he had begun working with a theater company. After working as an accompanist in Lahore, Rakha accepted a position with All India Radio in Delhi in 1936. He remained with the station until 1940 when he became involved with the Hindi film industry as a session musician. He eventually rose to the position of music director for Rangmahal Studios.

Moving to classical music in 1948, Rakha resumed his career as an accompanist. In addition to working with Ravi Shankar throughout the 1960s and ‘70s, he collaborated with sitarist Vilayat Khan and American drummer Buddy Rich, with whom he recorded the East-meets-West album Rich A La Rakha.

Rakha's legacy is continued by his sons Zakir Hussein and Fazal Quereshi. His beloved daughter, Razia, died of a sudden heart attack the night before his own death.

1. Matta Taal 27:49
2. Jai Taal 21:06
3. Pashto 8:29


[13]. Maestro's choice - Zakir Hussain
The tradition of Indian percussion has been revolutionalized by tabla player Zakir Hussain. The son of Ustad Allah Rakha, the long time collaborator of Ravi Shankar, Hussain has inherited his father's quest for bringing the music of India to the international stage. His recording credits include albums with George Harrison, Joe Henderson, Van Morrison, Jack Bruce, Tito Puente, Pharoah Saunders, Billy Cobham, the Hong Kong Symphony and the New Orleans Symphony. His work with Mickey Hart of The Grateful Dead have included performances and albums with the Diga Rhythm Band and Planet Drum. Hussain joined with British guitarist John McLaughlin and Indian violinist L. Shankar to form the east-meets-west supergroup, Shakti, in 1975. Although the group disbanded in 1978, they reunited to tour as Remember Shakti in 1998. Hussain has been equally successful as a bandleader. During the 1980s, he toured with Zakir Hussain's Rhythm Experience. His debut solo album, Making Music, released in 1987, was called "one of the most inspired East-West fusion albums ever recorded". In 1992, Hussain launched a record label, Monument Records, that focused on Indian music. A lengthy list of awards have been bestowed upon Hussain throughout his career. In 1988, he became the youngest percussionist to be awarded the title "Padma Shri" by the Indian government. Two years later, he recieved the Indo-Ameican award in tribute to his contributions to furthering relations between the United States and India. Planet Drum, an album co-produced with Hart in 1992, received a Grammy for "best world music album", a NARM Indie Best Seller award and won the Downbeat Critics Poll for "Best world music album". Still a youngster when he began to attract attention with his virtuosic playing, Hussain began his musical career at the age of seven and was touring by the age of twelve. In 1970, he made his American debut as accompanist for Ravi Shankar. Three years later, he became the leader of the Tal Vadya Rhythm Band. The group subsequently evolved into the Diga Rhythm Band. In 1976, the band collaborated on a self-titled album with Mickey Hart. Hussain has performed on the soundtracks of numerous films including Apocalypse Now!, In Custody and Little Buddha. At the 1983 Cannes Film Festival, he was nominated for an award as composer and music director of the film, Heat And Dust.

1. Ektala
2. Teentala


[14]. Maestro's Choice - Ajoy Chakraborty
Born in 1953 in Calcutta, Ajoy Chakrabarty is one of the finest classical vocalists of today. His style of singing follows the teachings of Bade Ghulam Ali Khan, the doyen of the Patiala gharana. From 1969 he learned with Bade Ghulam Ali Khan's son, Munawar Ali Khan and he applies these lessons well. Ajoy Chakrabarty also has recorded regional and devotional song forms.

1. Raga Abhogi - Kaa Se Kahun, Vilambit Ektala; Lagan Mori Laagi, Drut Teentala
Ajoy Chakrabarty, Samar Saha, Brojo Mukhurjee, Anal Chatterjee, Bidhan Mitra 29:51

2. Raga Hamsadhwani - Tera Bhaag Jaagaa, Vilambit Ektala; Lagan Mori Laagi, Drut Teentala; Vataapi Ganapatim Bhajehum, Addha Teentala
Ajoy Chakrabarty, Samar Saha, Brojo Mukhurjee, Anal Chatterjee, Bidhan Mitra 30:05


[15]. Maestro's Choice - Amir Khan
1. Raga Bihag 38:08
2. Raga Kalashri 15:43
3. Raga Ramdasi Malhar 10:40


[16]. Maestro's Choice - Biswajit Roy Chowdhury
Pandit Biswajit Roy Chowdhury was born in 1956, in Deogarh, Chowdhury was initiated into music by his father Shri Ranajit Roy Chowdhary, who was teacher of chemistry by profession but, more importantly, a serious Sarod player trained under the Late Ustad Hafiz Ali Khan and others. In 1978, Roy Chowdhury's talents were spotted by the Maestro Ustad Amjad Ali Khan accepting him as a disciple. A turning point came when Pandit Mallikarjun Mansur took an interest in young Roy Chowdhury's quest in 1982. The union of an instrument player with Pandit Mansur set the journey on the path of fulfilling this quest. Biswajit Roy Chowdhary’s tutelage with Pandit Mallikarjun Mansur was formalized in a gandhabandhan ceremony in 1985 and the intensive guidance and training lasted till the demise of the guru in 1992. He is perhaps the only Sarod player who plays the coveted compositions from the Jaipur-Atrauli tradition.

Over the years Biswajit Roy Chowdhary has performed in various locations all over India and has participated regularly in some of the prestigious concerts. These include The Tansen Festival in Gwalior, the Shankar Lal Festival, New Delhi, the Harvallabh Sangeet Samaroha in Jalundhar, the Vishnu Digambar Jayanti in Delhi, the Sankat Mochan Music Festival in Banaras, the BKF Mansur Festival in Bangalore, among others.

Biswajit Roy Chowdhary is an acclaimed artist of the All India Radio and Doordarshan and has featured in the National music concert and the annual Radio Sangeet Sammelan

Raga Gaud Malhar - Auchaar,Vilambit & Drut Compositions In Teentala
Biswajit Roy Chowdhury, Rafiuddin Sabri, Yogesh Dutt, Satyanand Parihast

Raga Mishra Kafi - Auchaar, Gat In Rupaktala
Biswajit Roy Chowdhury, Rafiuddin Sabri, Yogesh Dutt, Satyanand Parihast


[17]. Maestro's Choice - Ghulam Mustafa Khan
1. Raga Deepak 29:55
2. Raga Megh 21:27
3. Kajri - Raga Mishra Pilu 7:28

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[18]. Maestro's Choice - Kumar Gandharva
1. Raag Bhimpalasi (Vilambit Madhyalaya)
2. Raag Shree (Madhyalaya Teentala)
3. Raag Shree (Tarana)
4. Raag Malkauns (Madhyalaya Teentala)
5. Raag Malkauns (Madhyalaya Ektala)
6. Raag Malkauns (Drut Ektala)


[19]. Maestro's Choice - L. Subramaniam
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.

1. Ragam Bahudari
2. Brova Barama (Kriti); Ragam - Bahaduri; Talam - Adi
3. Ragam - Kanada
4. Mamava Sada (Kriti); Ragam - Kanada; Talam - Rupakam


[20]. Maestro's Choice - M. Balamurali Krishna
Dr. Mangalampalli Balamuralikrishna is one of southern India's most influential vocalists and composers. Known for the optimism and clarity of his three-octave vocals, Balamuralikrishna has consistently displayed a mastery of classical musical traditions of India and has composed more than 400 pieces. In addition to performing more than 18,000 concerts throughout the world, Balamuralikrishna has released more than 250 cassettes in his native country. According to Swarmi Chimayanda, when you listen to Balamuralikrishna's music, "you can realize what the crazy groupies felt in their ecstasy of divine love."

A native of Sankaraguptan, a small village in Rojolu Taluk in the East Godvari District of Andhra Prodesh, Balamuralikrishna inherited his musical skills from his parents. His father, Pattabiramayya, played flute, violin, and veena, and, his mother, Suryakantamma, played veena. His mother died when he was just 15 days old, however, and he was raised as an infant by his maternal aunt, Subhamma. Relocating to Vijayawada at the age of two, he began to study music with his father. When he showed an aptitude for music, his father sent him to study with Parupalli Ramakrishna Pantulu. Balamuralikrishna made his public debut when he performed during Sadguru Arandhana Utsava at the age of eight, a felicitation to Ramakrishna's guru, Sri Susarla Dakshinamoorthy, in Vijayawada. Leaving school during the sixth grade, Balamuralikrishna began to pursue music full-time. By the age of 15, he was known throughout India and had composed 72 Melakarta ragas.

Balamuralikrishna has worked extensively with India's radio stations. In the late '60s, he served as music producer for the Vijayawada and Hyderabad All-India radio station and launched an early morning show of devotional readings, "Bhakthi Ranjani." He served, simultaneously, as the principal of the Government Music college in Vijayawada. Transferring to the All-India radio station in Madras, he settled in the city where he continues to reside.

A score of awards and titles have been bestowed upon Balamuralikrishna throughout his career. These include an honorary Ph.D., D.Sc., and D.Lit. certificates from Andhra University, Jawaharial Nehru Technological University, and Sri Verkateswara University and an honorary "first citizen" award from Vijayawad. In 1978, Balamuralikrishna was named "Sangeetha Kalanidhi." He received the award as "Wisdom man of the year" in 1992. Four years later, he was named "Naada Maharishi" by the Nrityala Aesthetics Society.

Balamuralikrishna has been equally successful with film. He received a national award as "best playback singer" for his participation in the film Hamsageeth and as "best music director" for the film Madhvacharya. Balamuralikrishna has used his influence as a musician to start several institutes including the Academy of Performing Arts and Research in Switzerland. He established the MBK Trust as a vehicle for fostering art and research in music theory. A dance and music school is operated by the MBK Trust in Vipanchee.

1. Needaya Rada - Purvikalyani 14:56
2. Vegamaya - Abhogi 14:53
3. Brihadiswara - Kanada 9:51
4. Omkara - Lavangi 9:41
5. Tillana - Behag 9:40


[21]. Maestro's Choice - Parween Sultana
Parveen Sultana gave her first stage performance in 1962 when she was only 12 and has been recording music since 1965.

Sultana has sung for movies like Gadar, Kudrat, Do Boond Pani, and Pakeezah. Recently, she sang the theme song of Vikram Bhatt’s latest opus 1920. She also sang Humein Tumse Pyaar Kitna - Kudrat 1981.

Parveen Sultana has recorded for HMV, Polydor, Music India, Bharat Records, Auvidis, Magnasound, Sonodisc, Amigo.

1. Raga Maru Bihag
2. Raga Amba Manohari
3. Raga Hansdhwani (Tarana)


[22]. Maestro's Choice - Rajan & Sajan Mishra
'Rajan (born 1951) and Sajan Mishra' (born 1956) received their musical training from their grandfather, Bade Ram Das Ji Mishra, and also their father, Hanuman Prasad Mishra, and from their uncle, sarangi virtuoso, Gopal Prasad Mishra, and started performing while they were still in their teens, their first concert abroad, was in Sri lanka in 1978, and soon they went on to perform in many countries across the world including, Germany, France, Switzerland, Austria, USA, UK, The Netherlands, USSR, Singapore, Qatar and Muscat.

Born and brought up in Varanasi, they moved to Ramesh Nagar in Delhi, in 1977, where they continue to live.



[23]. Maestro's Choice - Rashid Khan
1. Raga Hameer
2. Raga Jog Kauns


[24]. Maestro's Choice - Satish Vyas
Pandit Satish Vyas is a widely acclaimed santoor player, blessed with formidable musical training and talent. He was initiated into vocal music at an early age by his father Pt. CR Vyas, a doyen of Hindustani classical singing. In 1978 he became the senior-most disciple of santoor maestro Pt. Shiv Kumar Sharma. In this album, Pandit Satish Vyas explores two ragas in this album. Both of them - 'Dhani' and 'Chandrakauns' - are popular among classical music aficionados, and have been interpreted brilliantly by the artist, who masterfully overcomes the difficulties traditionally associated with playing Hindustani classical music on the santoor, a folk instrument from the northern regions of the subcontinent.

1. Raga Dhani - Alap And Gat In Jhaptaal
Satish Vyas, Vijay Ghate, Kunal Gunjal 24:46

2. Raga Dhani - Drut Gat In Ektaal
Satish Vyas, Vijay Ghate, Kunal Gunjal 10:03

3. Raga Chandrakauns - Alap And Vilambit Gat In Teentaal
Satish Vyas, Vijay Ghate, Kunal Gunjal 23:51

4. Raga Chandrakauns - Drut Gat In Teentaal
Satish Vyas, Vijay Ghate, Kunal Gunjal 10:20


[25]. Maestro's Choice - Shahid Parvez
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.

1. Raga Deshkar 15:16
2. Raga Mand 14:51
3. Raga Hansadhwani 14:40
4. Raga Tilak Kamod 15:05


[26]. Maestro's Choice - Shubha Mudgal
Shubha Mudgal started performing as a classical singer in the 80s and gained a certain reputation as a talented singer. In the 90's, she started experimenting with other forms of music, including pop and fusion varieties. She says, "I believe in music. Khayal and thumari are my favourites, but that doesn’t mean I should not experiment with other forms, Why should I curtail my musical urges?" asks the singer and adds, "I want to allow the artist in me to come through. If you are a musician, how can you say, 'this one is from devotional poetry, so I'm not going to sing it.[8]' In addition to her recordings and concerts, she also briefly ran a website called raagsangeet.com aimed at lovers of traditional Indian music.

1. Raga Yaman (Mera Mann Bandh Leeno, Vilambit In Ektaal) 33:05
2. Raga Adana (Ram Raghubir Randhir, Vilambit In Rupak) 20:00
3. Raga Mala (Ae Mann Kalyan Hove Tero, Madhyalaya In Teetaal) 12:13


[27]. Maestro's Choice - Sultan Khan
Emotional depth, virtuosic instrumental skills, and a passion for melody have been combined through the music of sarangi player Sultan Khan. Taught the rudiments of the sarangi by his father, Ustad Gulab Khan, Khan has continue to evolve as an instrumentalist. Performing his debut concert at the age of 11 at the All-Indian Conferences, Khan is a two-time winner of the prestigious Sangeet Natya Academy Award. He also received the gold medal award of Moharashtra and an American Academy of Artists award in 1998. Attracting international attention when he accompanied Ravi Shankar on George Harrison's Dark Horse tour in 1974, Khan has featured on the soundtracks of Gandhi and In Custody. In 1997, Khan performed at Prince Charles' 50th birthday celebration.

1. Raga Ahir Bhairav
2. Raga Patdeep
3. Thumri


[28]. Maestro's Choice - Ulhas Kashalkar
Ulhas is a fabulous vocalist, still in his middle years and young, who has an old musical head stuffed with innumerable current and rare ragas and compositions. Like a computer he never errs in any raga or composition howsoever intertwined or tricky it may be. He, just seems to press one key and out comes a raga in the true Jaipur colours, another to obtain a melody attired in the Agra style and still another to get a raga in the Gwalior habiliments. One can only imagine Kashalkar's questionless loyalty to his various gurus, and his own prodigious capacity to assimilate and consolidate the incoming knowledge.

1. Raga Bhairav Bahar 30:06
2. Raga Nat Bihag 30:41


[29]. Maestro's Choice - Veena Sahasrabuddhe
Veena was born in a musical family. Her father Shankar Shripad Bodas was a disciple of vocalist Pandit Vishnu Digambar Paluskar. She began her early musical education under her father, and then under her brother Kashinath Shankar Bodas. She also learned Kathak dancing in her childhood.

Veena's musical mentors include Padmashri Balwantrai Bhatt, Pandit Vasant Thakar, and Pandit Gajananrao Joshi.

She has a Bachelor's degree in Vocal Performance, Sanskrit Literature, and English Literature from Kanpur University (1968), a Master's degree (Sangeet Alankar) in Vocal Performance from A.B.G.M.V. Mandal (1969), and also Master's degree in Sanskrit from Kanpur University (1979). A.B.G.M.V. Mandal conferred on her a doctorate in vocal music (Sangeet Praveen) in 1988. She was the Head of the Department of Music at SNDT Pune campus.

Veena has given musical performances in India, Australia, Europe, the Middle East, and North America.

1. Raga Abhogi
2. Raga Jog


[30]. Maestro's Choice - Vishwa Mohan Bhatt
Vishwa Mohan "V.M." Bhatt is one of India's most innovative musicians. The inventor of the Mohan Veena, a nineteen string modified archtop guitar with three melody strings, four drone strings and twelve sympathetic strings, Bhatt has created a sound that blends the western Hawaiian guitar with sitar, sarod and veena techniques. The first Indian musician to be awarded the "Musical Scientist award" in Banglore, India, Bhatt was praised by "Acoustic Guitar" magazine as "one of the greatest and mosty expressive slide players in the world". The "Edmonton Journal" referred to Bhatt as "an inspiration even to Western guitarists". A long time student of Ravi Shankar, Bhatt belongs to an elite group of musicians whose imeage traces back to Mughal emperor Akbar's court musician Tansen and his Hindu guru, Swarmi Haridas. In addition to six solo albums, Bhatt has recorded with Ry Cooder, Bela Fleck, Jerry Douglas, Taj Mahal and Arabian oudh player Simon Shaheen. Bhatt became the first Indian to collaborate with a Chinese musician when he toured with Erhu player Jei Bing Chen. Bhatt's collaboration with Ry Cooder, "A Meeting By The River" received a Grammy award in 1994. His collaboration with Bela Fleck and Jei Bing Chen, "Tabula Rosa", recorded in a Santa Barbara, California church in October 1994, was nominated for a Grammy. Tunes from "A Meeting By The River" and "Mumtaz Mahal", recorded with Taj Mahal, were featured on the soundtracks of films, "Two Days In The Valley" and the Oscar award-winning, "Dead Man Walking". Bhatt is a skilled composer. His composition, "Raga Ganga", was performed during celebration of India's fiftieth year of independance.

1. Raga Maru Bihag 25:57
2. Raga Maru Bihag 31:50
3. Raga Pahadi 6:12


[31]. Maestro's Choice - Hariprasad Chaurasia Flute
Hari Prasad Chaurasia is one of the most popular contemporary flutists. The simple bamboo flute transformed by the late Pannalal Ghosh into an important instrument for interpreting the finer nuances of Indian classical music has indeed found a guardian angel in Pandit Hariprasad Chaurasia. At present, because of his efforts, the flute has attained a status of a high level concert instrument.He is ever eager to experiment, and has even tried out techniques employed in Carnatic music.

1. Raga Lalit
2. Raga Bhoopali

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Rim Banna - The Mirrors Of My Soul

Posted By MiOd On Monday, September 26, 2011 0 comments
Palestinian vocalist and composer Rim Banna has made a career out of leveraging respect and dignity for her people using her unmatched artistic expertise and integrity. Banna studied singing and conducting at the High Institute for Music in Moscow, one of the world's more challenging conservatory environments. After the release of two live records, Jafra (1985) and Your Tears, Mother (1986), and six years of formal study, Banna graduated from the High Institute in 1991. That same year she married Ukrainian musician and former classmate Leonid Alexeienko, with whom she relocated to Nazareth. Upon the couple's return to Banna's native region, she released a collection of Palestinian children's songs that were on the edge of disappearance. The Dream (1993) served to preserve and re-popularize the nearly forgotten repertoire. Banna continued to seek out Palestinian texts and set them to traditionally influenced music, becoming a cultural icon among Israeli Arabs. Having achieved stardom in the region, Rim Banna became noteworthy on an international level with her appearance on the 2003 various-artists release Lullabies from the Axis of Evil. The record featured female singers from a variety of nations (deemed enemies of freedom by George W. Bush) singing traditional lullabies alongside English-language stars in hopes of introducing their music and culture to Western peoples. Banna's follow-up, The Mirrors of My Soul, caught the attention of audiences the world over, becoming one of 2005's most acclaimed Arabic crossover releases. Rim Banna's popularity and reputation as a cultural advocate and political agitator continue to flourish. Her 2006 album, This Was Not My Story, found a place on European charts among the year's most popular world music releases. ~ Evan C. Gutierrez, All Music Guide

(01) [Rim Banna] The mirrors of my soul
(02) [Rim Banna] The Carmel of my soul
(03) [Rim Banna] Malek
(04) [Rim Banna] Ya Jammal
(05) [Rim Banna] Masha'al
(06) [Rim Banna] Sarah
(07) [Rim Banna] The moon glowed
(08) [Rim Banna] The top of the mountain
(09) [Rim Banna] Fares Odeh
(10) [Rim Banna] The grandma with a limp
(11) [Rim Banna] The voice, the fragrance and the figure

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Dr. S. Balachander - Veena - Ragas Shankarabharanam & Shanmukhapriya

Posted By MiOd On Saturday, September 24, 2011 0 comments
Born on January 18, 1927, in Madras, Dr. S. Balachander was a key figure in Carnatic classical music. His veena playing was exquisite but he also played a range of other instruments to various degrees of mastery including tabla, harmonium, mridangam, shehnai, dilruba and sitar. He started out, like many instrumentalists, as a vocalist and by the age of six he was on the concert stage. Between the age of 12 and 16 he gave concert recitals on a Hindustani instrument, the sitar. During the 1960s his work was put before the public by Richard Bock's World Pacific label. Through albums such as Magic Music of India (World Pacific 1426) and Sounds of the Veena (WPS 21436) the latter with the flautist N. Ramani and later The Music of India (Nonesuch Explorer H-72003) he became one of the best-known Carnatic instrumentalists in the U.S.A. His work has also appeared on labels such as Bharat Records, EMI India, Oriental and Polydor. His death in Bhilai on April 15, 1990, was a great loss to Carnatic music. Often controversial, sometimes confrontational, he enriched the field immeasurably.

[01]. Buddhi Raadu - Raga Sankarabharanam - Chapu - Thyagaraja
[02]. Marivere Dikkevarayaa - Raga Shanmukhapriya - Adi - Patnam Subramania Iyer

Credits to "Wildstrings"

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Flamenco de Carlos Saura Vol. [1-2]

Posted By MiOd On Friday, September 23, 2011 0 comments
Flamenco de Carlos Saura Vol. 1
The master filmmaker Carlos Saura with their production 'Flamenco' in 1995 could take form on the big screen a sample of the greatness of soul and flamenco art. With a luxurious list of the most acclaimed performers singing, playing and dancing the film is worthy of inclusion in any musical film library and recordings, of which this album is a reference, the first of two CDs released in 1995. Both CD are equally worthy of inclusion in the Parnassus of the flamenco creations. Indispensable in any flamenco discotheque.

1. El perol (tangos) –Paco de Lucía
2. Rizo de pámpano (soleá) –José Mercé
3. Seguirilla (siguiriyas) –Enrique Morente
4. Soleá de la Fernanda (soleá) –Fernanda de Utrera
5. A dibujar esa rosa (alegrías) –Rancapino y Chano Lobato
6. Borracha de aromas (bulerías) –Potito y Tomatito
7. Yo no sé cómo (bulerías) –Potito y Tomatito
y 8 bulerías más

Flamenco de Carlos Saura Vol. 2

[01]. La puerta del príncipe (alegrías) –Manolo Sanlúcar
[02]. Un cuento para mi niño (bulerías) –Lole y Manuel
[03]. A rezar una esperanza (taranta) –Carmen Linares y Rafael Riqueni
[04]. Hermosísima cubana (guajira) -Pepe de Lucía
[05]. Mi candil (tangos) –Juana la del Revuelo
+ 1 tango y 3 martinetes más
[06]. Soleá del Farruco (soleá) –Chocolate
[07]. Sentenciao estoy a muerte (petenera) –José Menese
[08]. El cante que más quiero (fandangos) –Antonio Toscano y Paco Toronjo
[09]. Villancicos de Gloria (villancicos) –La Macanita
[10]. Verde que te quiero verde (rumba) –Manzanita y Ketama

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The Art of Qin Music Vol. [1-3]

Posted By MiOd On Friday, September 23, 2011 0 comments
The Art of Qin Music Vol.1 - Tong, Kin-woon
Night Mooring at the Qiu River, Prologue of Peach and Plum Garden, Piece in Shang Mode, The Autumn Moon over the Han Palace and others
TONG Kin-woon; DING Cheng-yun; XIE Dao-xiu; DAI Xiao-lian; LIU Zheng-chun; ZENG Cheng-wei; TSE Chun-yan; DING Ji-yuan (Qin).
69 minutes

[01]. Memories of an Old Friend 7:41
[02]. Dialogue between Fisherman and Woodcutter 9:04
[03]. Meditation in Autumn by the Donging River 2:47
[04]. Harmony between Man and Good 4:16
[05]. Fantasy Tune 5:16
[06]. Innocent Seagulls 4:22
[07]. Water and Cloud of Rivers Xiao and Xiang 9:54
[08]. Wild Geese Descending on the Sandbank 7:08
[09]. Night Mooring at the Qiu River 3:59
[10]. Prologue of Peach and Plum Garden 2:11
[11]. Piece in Shang Mode 4:39
[12]. The Autumn Moon over the Han Palace 7:00

The Art of Qin Music Vol.2
Recording date: July 1995 (Chengdu; International Symposium on the Art of Chinese Ancient Qin)

[01]. Song Of The Peaceful Evening - Xie, Xiao-Ping
[02]. Zhuanh Zhou Dreams To Be A Butterfly - Chen, Chang-Lin
[03]. Mourning For Yan Hui - Xu, Xiao-Ying
[04]. Crows Caw At Night - Zhao, Jia-Zhen
[05]. Dialogue Between The Fisherman And The Woodcutter - Zh
[06]. Lament At Changmen Palace - Li, Yu-Xian
[07]. Five Modes Of Xia Wai Shen Pin - Li, Feng Yun
[08]. Three Variations Of The Plum Blossom - Li, Feng Yun
[09]. Water Spirit - Sou, Si-Tai
[10]. Observing Calmly - Sou, Si-Tai
[11]. Memories Of An Old Friend - Mei, Ri-Qiang
[12]. Liquormania - Mei, Ri-Qiang

Playing time: 74'

The Art of Qin Music Vol.3
The present volume includes tracks with the qin in combination, especially with the voice and xiao (vertical flute). These are the two usually admissable accompaniments to qin. Track #11 is an unusual larger combination with percussion.

[01]. Li Xiang-Ting: Mountain Tai
[02]. Li Xiang-Ting: Autumnal Lamentations
[03]. Sun Yu-Han: Innocent Seagulls
[04]. Chen Chang-Lin: Moonlit River in Spring
[05]. Li Yu-Xian: The River All Red
[06]. Tse Chun-Yan: Falling Plum Blossoms (w/ Sou Si-Tai, xiao)
[07]. Wei Jia-Li: The Eighth of the Fourth Lunar Month
[08]. Xu Xiao-Ying: Three Variations of the Yang Pass (w/ voice)
[09]. Zhang Tong-Xia: Soliciting the Hermits (w/ voice)
[10]. Zhang Tong-Xia: Lamenting the Ancients (w/ voice)
[11]. Huang Yung-Ming: Incantation of Pureness (w/ voice; Cheng Jung-Lung, xiao; Lee Kung-Yuan, zhonghu; Sun Yu-Han, yinqing; Lin Fa, qing & muyu)
[12]. Gao Zhong-Jun: Dialogue between the Fisherman and the Woodcutter (w/ voice)

Playing time: 65'

Recording date: July 1995 (Chengdu; International Symposium on the Art of Chinese Ancient Qin)

Flac (EAC Rip): 850 MB | MP3 - 320 kbs: 640 MB | Front Covers

Archives have 5% of the information for restoration

The Art of Qin Music Vol.1 - Tong, Kin-woon
Part 1 | Part 2
OR MP3 320 kbps
Part 1 | Part 2

The Art of Qin Music Vol.2
Part 1 | Part 2
OR MP3 320 kbps
Part 1 | Part 2

The Art of Qin Music Vol.3
Part 1 | Part 2
OR MP3 320 kbps
Part 1 | Part 2

The Ondekoza - Legend

Posted By MiOd On Thursday, September 22, 2011 0 comments
Here is one of those Japanese taiko drum records that really test your hi-fi setup - especially the loudspeakers. Ondekoza is the first of the world-renowned Japanese taiko drum groups. Founded on the Japanese island of Sado in 1969, they went on their first international tour in 1975. Since then, they and especially the Odaiko, the great drum that weighs 300 kilos and measures one and a half meters in diameter, have become part of the world music scene. Ondekoza split up in 1981, and it is said that the reason was the dictatorial style of the leader. Before a concert he liked the group to run a marathon, or at least 15 km. in the morning, and 35 km. in the afternoon. This finally became too much for some of the members, who stayed on the island when Ondekoza, with its founder, Tagayasu Den, left. This then became the group we now know as Kodo, at least as well known as Ondekoza today.
The music on this CD is full of energy, power, the drums are quite often accompanied concentratedly by a couple of flutes and a string instrument. Quiet passages interchange with passages of enormous energy. The odaiko sometimes sounds just like the thunder which it worthily imitates.The other drums are played with disciplined potency, in many impressively synchronised patterns of percussive energy.
A fine introduction to the genre for new listeners, and once again a great experience for old fans.

[01]. Odaiko
[02]. Mikuni Genso Kyoku
[03]. Itsuki No Komoriuta
[04]. Yatai-Bayashi
[05]. Chindonya
[06]. Utsu Hachijo

Artwork By – Masayoshi Yoshida, Yoshikazu Tanaka
Composed By, Arranged By – Ondekoza
Drums – Arthur Lee (2), Kelvin Underwood, Tateishi Rintarou, Yamamoto Shigeru
Drums, Cymbal [Chappa] – Nakajima Akio
Drums, Flute [Fue] – Takakubo Yasuko
Drums, Flute [Fue], Shamisen, Banjo [Sanshin] – Inoue "A" Kouhei*
Drums, Performer [Kengari] – Peku Hyunjyun
Drums, Shamisen – Inoue "UN" Ryouhei*
Engineer [Recording] – Hideaki Okuhara
Executive Producer – Shigeru Kurokoji, Tagayasu Den
Mastered By [Mastering Engineer] – Hiroshi Kawasaki
Photography – Hiroshi Noguchi
Recorded By [Assistant Camerata Music] – Motoki Myata*, Yasuhisa Takashima, Yuichi Ito
Recorded By [Assistant] – Keizo Awano, Yoshinori Nakayama
Recorded By [Director] – Soh Fujimoto
Shakuhachi, Drums, Flute [Fue]

Taiko drums music recorded July 18-20 and August 20-23 1994 at Tokorozawa Muse Hall and Tamamura-Cho Bunka Center.

Flac(EAC Rip): 295 MB | MP3 - 320 kbs: 135 MB | Booklet Scans

Archives have 5% of the information for restoration

Part 1 | Part 2

OR MP3 320 kbps

Concha Buika - Buika

Posted By MiOd On Thursday, September 22, 2011 0 comments
Vibrant and lively 2005 release from Concha Buika, one of Spain's most distinctive performers. This album is sizzling with World Beat flavors including Flamenco, Latin Jazz, Soul and other vibes that are woven into the musical fabric. 11 tracks including 'New Afro Spanish Generation', 'Talk To Me', and 'Little Freaky Girl'. Warner.

Concha Buika (born 1972 in Palma de Mallorca) is a Spanish singer. Her album Niña de Fuego was nominated for the 2008 Latin Grammy Award for Album of the Year.

Buika's family is originally from Equatorial Guinea. She grew up in Mallorca among Spanish Romani people (Gitanos) - who imbued in her the traditional "cante" flamenco - as the only person of African descent in her neighborhood. Her music mixes flamenco and coplas with soul and jazz.

[01]. New afro spanish generation (5:58)
[02]. Little freaky girl (3:22)
[03]. Jodida pero contenta (4:12)
[04]. Échate a mi vera (3:26)
[05]. Qué pasa (1:16)
[06]. Talk to me (háblame) (4:53)
[07]. Se me escapan las palabras (3:23)
[08]. Tu caramelo (3:25)
[09]. Soleá de libertad (6:09)
[10]. Niña de fiesta + Bailando mi pena (8:40)
[11]. Nostalgias (6:20)

320 kbps including Covers