Hamid Ali Khan - Ragas Malkauns

Posted By MiOd On Wednesday, February 29, 2012 0 comments
Ustad Hamid Ali Khan was born in 1953. Being a distinguished representative of the Patiala Gharana, Ustad Hamid Ali Khan Saheb is one of the finest exponents of Ghazal and classical singing alike. He is considered to be the leading example of one of Hindustani music`s most famous traditions of classical singing. He has released several records and besides performing with other famous Indian artists, he has also collaborated with many UK based international artists, some of the recent ones being Partha Sarathi Mukherjee (Tabla) and Fida Hussain (Harmonium). With his voice, Ustad Hamid Ali Khan possesses a gift which only few other contemporary singers in the Indian subcontinent possess.

1. Raga Malkauns - Alaap
2. Raga Malkauns - Khayal in Jhaptaal
3. Raga Malkauns - Tarana in Drut Teentaal
4. Raga Miyan Ki Malhar - Alaap
5. Raga Miyan Ki Malhar - Khayal in Madhyalaya Teentaal
6. Raga Megh - Khayal in Madhyalaya Teentaal

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Nusrat Fateh Ali Khan - Mustt Mustt

Posted By MiOd On Wednesday, February 29, 2012 0 comments
'...one of the great East-West fusion releases...a beguiling mixture of electronics, harmoniums and tabla, Brazilian percussion, Guo Yue's Chinese flute, guitar and the master's soaring vocals.'
Nusrat Fateh Ali Khan is today acknowledged as the greatest modern master of Qawwali, the devotional music of the Sufis. Having popularised this beautiful and inspirational music beyond Muslim peoples to a worldwide audience, with this album he explored for the first time a whole new musical territory.

In the making of 'Mustt Mustt', Nusrat embarked upon an exploration of various Western styles and rhythms, to which he brought his own Asian approach. The Pakistani musicians from Nusrat's Party are accompanied by guitarist Robert Ahwai (West Indies), bassist Darryl Johnson (USA) and percussionist James Pinker (New Zealand). Produced by Michael Brook, who also plays guitar, the album is a unique meeting of international talent.

The late, great Pakistani Qawwali singer's first collaboration with producer/guitarist Michael Brook took the passionate, gymnastic tenor out of tradition and into trip-hop nation. Recorded at Peter Gabriel's expansive Real World Studios, the album combines ethnic percussion, programmed beats (some by Gabriel himself), Brook's atmospheric and infinite guitar swells, and loop-based motifs with Khan's complex, ornamented vocal delivery and devotional lyrics. On the later Night Song, Brook and Khan perfected their cross-cultural dialogue, though Mustt, with its fiery vocal runs and funky, ethereal production, has become an important touchstone in the ethno-techno movement that includes Transglobal Underground and Loop Guru. --James Rotondi

* Mustt Mustt
* Nothing Without You (Tery Bina)
* Tracery
* The Game
* Taa Deem
* Sea Of Vapours
* Fault Lines
* Tana Dery Na
* Shadow
* Avenue
* Mustt Mustt

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Cheikh N'Digël Lô - Bambay Gueej

Posted By MiOd On Wednesday, February 29, 2012 0 comments
Bambay Gueej (Bamba, Ocean of Peace) is Cheikh Lô’s follow up to his highly acclaimed 1996 debut album Ne La Thiass. The nine new tracks on this recording were co-produced by Nick Gold and Youssou N’Dour and were recorded at N’Dour’s Xippi Studio in Dakar, with additional recording in Havana and London.This album finds Cheikh Lô in an even sweeter voice, with his Dakar-based "N’Diguel" band augmented by very special guests Richard Egües (flute), Pee Wee Ellis (horns), Oumou Sangare (vocals), and Bigga Morrison (Hammond organ). Adding to the rippling Senegalese m’balax rhythms, felicitous Latin inflections, and spiritual intensity of his debut, Cheikh Lô draws on sounds from Burkina Faso, Mali, and Congo and adds influences from Cuba, subtle reggae and blasting African funk into the mix.
Pee Wee Ellis, erstwhile James Brown horn arranger and saxophonist during the Heavy Funk period of Cold Sweat and musical director for Van Morrison, fell in love with Lô’s music on first hearing. To Lô, who grew up listening to the sounds of James Brown, the arrival of Pee Wee at the Dakar sessions was akin to a homecoming. Ellis’s arrangements, in particular on the title track "Bambay Gueej" (which includes the groove-driven Hammond organ of Aswad’s Bigga Morrison, and a spontaneous vocal tribute to Fela Kuti), add a new dimension to the mix.

Lô was nurtured on Cuban music, and he names Richard Egües, for years the mainstay of the Orquesta Aragón, as his favorite musician. Egües, in his 80s during the recording of this record, gives a performance on "M’Beddemi" that was a dream come true for Lô. The Cuban connection is also present on "Jeunesse Senegal" with its spectacular Havana trumpet section featuring members of the Afro-Cuban All Stars.

Lô heard Malian diva Oumou Sangare through their mutual label, World Circuit. They first met at the 1997 Kora Awards in South Africa, where Lô was named Best Newcomer. When he penned "Bobo-Dioulasso," sung in Bambara and dedicated to his hometown in Burkina Faso, Lô immediately thought of her for this atmospheric duet.

Lô is a very spiritual man and the album is dedicated to Cheikh Ahmadou Bamba, the founder of Senegal’s main Muslim brotherhood, Mouridism. The final track, "Zikr," with backing vocals from N’Dour, is a lilting, lyrical adaptation of a traditional chant of the Baye Fall, a branch of Mouridism that Lô follows.

Lô is featured not only as lead vocal, but also on rhythm guitar, drums, and percussion, and his band retains the core of musicians from his first album: Oumar Sow (guitar), Pathé Jassy (bass guitar), Samba N’Dokh M’Baye (tama -talking drum), Thio M’Baye (percussion and Sabar drums), Thierno Kouyate (alto and tenor saxophones), and Badou N’Diaye (drums on "Bamba Gueej"). Members of N’Dour’s Super Étoile, Babacar Faye (percussion) and Habib Faye (bass, acoustic guitar), make additional contributions

1. MBeddemi
2. Jeunesse Senegal
3. N'Jariñu Garab
4. Bambay Gueej
5. N'Dawsile
6. Africadën
7. Bobo-Dioulasso
8. N'Dokh
9. Zikr

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Nusrat Fateh Ali Khan - Dust To Gold

Posted By MiOd On Tuesday, February 28, 2012 0 comments
Nusrat Fateh Ali Khan may have been one of Pakistan's greatest singers, but his posthumous release Dust to Gold feels so academic that you aren't likely to enjoy it unless you're an anthropologist or a Sufi. The album consists of four lengthy qawwali tracks, so traditional that you'll think you should be taking class notes. If you're a qawwali enthusiast, however, you're likely to be thrilled by Khan's dizzying vocal style, which rivals that of the great opera stars.
You might think this posthumous release of Nusrat Fateh Ali Khan and party would either suffer in quality of music or be a patched-together compendium of leftover bits from Real World's archives, but this is not the case with Dust to Gold. These recordings from Nusrat's hometown of Lahore, Pakistan, feature the great singer performing as vibrantly as ever with tabla and clapping rhythms thriving. His voice sounds robust and flexible, as do the ensemble's joined chant. Nusrat trades call and response with ensemble member Farrukh Fateh Ali Khan on tracks "Khawaja Tum Hi Ho" ("Master It Is Only You") and "Koi Hai Na Ho Ga" ("There Was No One, There Will Not Be Anyone"), and the vocal artistry reaches the same divine, drunken brilliance that Nusrat and party concocted when the master was alive, full of life, and touring. It's unclear where exactly these performances were recorded, but the sound quality is stunning. It's perhaps one of Real World's best offerings, without the dryness of such earlier collections as The Last Prophet or Shahbaaz. Here the tabla's low end is round and fruitful, the harmonium bounces off a slight echo, and there's a live-room effect that adds a richness to all tonalities. This is one of Nusrat's final releases, so how satisfying that it's also one of his best.

This collection of unreleased recordings from Pakistan represent four of the best tracks available on any of Nusrat's Real World releases. This work does not feature any of the more fusion oriented materials found on Mustt Mustt, Night Song, or Star Rise, so listeners who only enjoyed these particular releases may want to steer away from this new release.
Each track last approximately between 15 and 17 minutes, which is fairly normal for "unabridged" pieces from the Artist. Prominent here is the virtuoso percussion and harmonium work from his party, along with impressive second-vocals provided by Farrukh Ali Khan. The recordings are crystal clear, and Nusrat's powerful voice pushes each song forward, demonstrating the intensity and skill that is so breathtaking on other albums from Real World.

For a western collector of Nusrat's recordings, this album should be an important addition. For those looking to start exploring Nusrat's compendium of work, the more broad and shorter-tracked Love and Devotional Songs would be more appropriate.

1. Khawaja Tum Hi Ho (Master It Is Only You)
2. Data Teira Durbar (Master In Your Court)
3. Koi Hai Na Ho Ga (There Was No One, There Will Not Be Anyone)
4. Noor-E Khuda Hai Husn-E-Sarapa Rasool (The Light Of God Is The Embodiment Of The Prophet)

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Nusrat Fateh Ali Khan - Body and Soul

Posted By MiOd On Tuesday, February 28, 2012 0 comments
Sufism, Islamic mysticism, is in essence a message of love. The metaphor of love, lover and the beloved was developed so intensely by Sufism that its metaphoric significance was and is sometimes mistaken for wanton sexuality.

Key to sufism is the concept of disciple and master, the master being belover. However, it is important to note that the beloved is an embodiment of a spirtitual beloved entirely beyond physical form.

Of all the Sufi orders that played a part in ppularising the message of love in the Indian sub-continent, the most significant was the Chisti order which had its origins in the village of Chist in North Eastern Iran.

At the end of the 12th century Moinuddin Hasan Chisti established the order in India. His Tomb in Ajmeer, today in India, is a famous centre of pilgrimage for muslims, Hindu, Sikhs and Christians. Moinuddin's disciple was Outbuddin Bakhtiyar, who in turn was the master of farid Uddin Masud, known as Baba Farid Ganj-I-Shakar. Through his many disciples Baba Farid was responsible for the spread of the order of different parts of India.

A central motif in Sufi songs is the image of the seperated beloved. Of the four songs on this rcording only one is a devotional praise song. Mayey Nee Main Dhak Farid Dey Jana (Mother, I have to go to Farid), dedicated to Baba Farid; the others take the form of love songs. Usually evening is the time for lovers' trysts. It is not uncommon practise that the writer of a song sgns it by mentioning his own name in a lyric. OFten the singer takes on the persona of a young woman who yearns to be united with her male beloved.

Undoubtedly in recent times Nusrat Fateh Ali Khan through his music was the most significant bearer of the Sufi message of love.

1. Mayey Nee Main Dhak Farid Dey Jana / Mother, I Have To Go To Farid
2. Mahya Pardesi Hogiya / My Love Has Become A Stranger
3. Barsoon Kay Intizar Ka / Waiting For Years
4. Tasbeh Dei Ik Ik Dhaneh / Each And Every Rosary Bead

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Gaudi, Nusrat Fateh Ali Khan: Dub Qawwali

Posted By MiOd On Tuesday, February 28, 2012 0 comments
Released to commemorate the tenth anniversary of Nusrat Fateh Ali Khan’s death, Dub Qawwali is London-based producer and composer, Gaudi’s ode to one of the world’s greatest Qawwals (singer of Qawwali music).

Considered a legend both in and outside of his home country, Nusrat was dubbed the ‘Elvis of the East’ and the ‘Bob Marley of Pakistan’, and travelled the world promoting his unique brand of music inspired by the mystical faith of Sufism. His untimely death left behind a vast repertoire of songs that have been sampled by countless DJs and composers over the years, as well as being included in international soundtracks (Bandit Queen, The Last Temptation of Christ).

Using recently discovered and rare vocal parts recorded in sessions in Pakistan in the late 60s and 70s, Gaudi pays fitting tribute to the master vocalist with an inspiring arrangement of ten tracks. Blending the chilled out tempos of reggae with Qawwali’s spiritually rousing lyrics, he creates a surprisingly successful harmony in Dub Qawwali.

“Dil Da Rog Muka Ja Mahi” and “Tera Jana Kere Rang Lawe” stand out for their rhythmic verses and riffs. The easy-on-the-ear quality of these tracks is carried through the rest of the album, making all worthy of attention.

Nusrat’s vocal dexterity is demonstrated in the emotionally-charged “Abhi Apna Abhi Paraya Hai” and “Ena Akhiyan Noo”, and can be likened to a subtle form of eastern rap. They also highlight Gaudi’s ability to handpick interesting, not obvious, songs which combine haunting strings with dub reggae without sounding at odds.

And whether it’s the sadness-tinged “Manoo Ole Bai Ke Pee Lain De” or the happy high of “Othe Mera Yaar Wasda” which closes the album, the sounds of Dub Qawwali would feel equally at home being played at a global music festival, in a car stereo or from a Caribbean beach bar.

Gaudi’s Dub Qawwali is further evidence that the mighty talent of Nusrat Fateh Ali Khan remains a source of inspiration and pleasure for musicians and listeners, even a decade after his passing.
Nusrat Fat eh Ali Khan was and is still very much considered to be the greatest Qawwal (singer of Qaw
wali music) in the world; not only recognized as a legend in his native Pakistan he also took his musical messages of peace, love and spirituality to the international stage, earning him the title of Pakistan's premier ambassador of Qawwali music. The origins of Qawwali music trace back over seven hundred years to the spiritual Samah songs of Persia and the mystical faith of Sufism.

So, what happens when you unite one of world's most revered voices with a long-time veteran of global music production? Dub Qawwali, by London-based producer/artist Gaudi reveals the answer. The album blends organic and digital dub stylings with original vocals from Pakistan's beloved Ustad Nusrat Fateh Ali Khan. The result is a moving body of work that respectfully brings Khan's Qawwali songs together with Jamaican dub via superb 21st century studio techniques. Dub Qawwali is a celebration of Nusrat Fateh Ali Khan's life and is being released on Six Degrees Records in August 2007, marking the 10-year anniversary of his death.

Gaudi was one of six producers who were initially offered a single Nusrat track to remix by the Lemon Group – owners of the song publishing of Nusrat Fateh Ali Khan's works from 1968-1974, in association with Khan's original Pakistani label Rehmat Gramophone. The company loved what Gaudi had done with the material and offered him complete access to the recording sessions from 35 years ago, including rare and unreleased vocal parts. The original studio reels where sent to Gaudi's studio in London in 2005 and work began.

Although other producers, including India's Bally Sagoo and the UK's Massive Attack, have remixed Khan's work, in Dub Qawwali Gaudi has taken an entirely new approach to re-interpreting the work of this great artist. He has created a collection of new compositions in which the original vocals are seamlessly fused with a full spectrum of dub & reggae styles and musical themes & flavors from other cultures, genres and environments. A universal theme of peace and love, very much evident in both Khan's work and at the heart of reggae music, is the unifying element.

It was Gaudi's strong sense of the direct connection between roots reggae music's humanitarian messages of compassion and love and Khan's devotional songs, that was a major inspiration in the creative direction of Dub Qawwali. Gaudi is as much a scholar of Khan's work as he is of dub, and lists among his favorite dub artists King Tubby, Scientist, Mad Professor, and Lee "Scratch" Perry. After doing studio work with the "eccentric studio genius" Perry in 2005, Gaudi had confirmation of one of his own strongest beliefs in music production which is to respect your own personal integrity by "being yourself and always following your own sound."

Gaudi has been pursuing his own singular path since the early 80's with his first major album release coming in 1990 with "Basta Poco" (Polygram). Since then he's released 11 solo albums, 80 remixes (for artists including Bob Marley, Simple Minds and Ojos de Brujo) and been featured on over 100 compilations to date (for full discography go to www.gaudimusic.com).

His 2004 Interchill album Bass, Sweat & Tears, is still the label's best selling release. He co-wrote and produced the album Re:sonate (FAX Records) with ambient-chill legend Pete Namlook and worked with reggae legends Horace Andy and Dennis Bovell. Dub Qawwali is a further expansion of Gaudi's eclectic and smooth deep-dub electronic sound.

The album opens with the soft tones of "Bethe Bethe Kese Kese"; a nostalgic and warm track where melodious Flute and Strings echo contemplative vocals. A firm stepper rhythm anchors and drives the track while Sarangi adds dimension to this wistful introduction. This is also the first track that Gaudi produced in the series and very much provided the drive and direction that is evident throughout the rest of the album. "Tera Jana Kere Rang Lawe" is a dub influenced roots reggae track combining passionate and melancholic Strings with a roots dub bassline. Its uncluttered feel and rolling Bass spiced with off-beat Tabla gives space and groove. The vocals in "Dil Da Rog Muka Ja Mahi" inspired the inclusion of a theme from the Kraftwerk track "The Model" used by permission from the legendary German electro-pioneers in this remarkable excursion of a track; analogue Synthesizers give authenticity to its 1977 origins, while Hammond organ, a deep bassline and fills of dubbed up percussive echo keep the reggae flavors rolling. "Ena Akhiyan Noo" is positive and evocative; an upbeat reggae theme supporting emotive and expansive vocal passages is spiced up with rub-a-dub flavors and breaks of hypnotic chant. You don't have to understand Urdu, Punjabi or Persian to feel the sentiment evoked on Dub Qawwali, it is a work of truly international appeal.

The use of vintage analogue studio equipment and dub production techniques such as tape echoes, valve amps, Fender Rhodes, spring reverbs, Hammond organ and Moog, characterizes Gaudi's production style, however it is not without its share of 21st century intervention and wizardry… Individual tracks from the original 70's multi-track recordings often contained multiple parts together on them. These had to then be carefully cleaned up in order to make them usable in a way that would enable the composition of these new works. (This included much of the vocal parts which where mixed in the same track as the Harmonium and other instruments!)

Gaudi's attention to detail paid off. Dub Qawwali revives Nusrat Fateh Ali Khan's vocals in a truly distinctive fashion – a vital accomplishment given Khan's stature. The legendary Pakistani artist has inspired the likes of Peter Gabriel, Michael Brook and Eddie Vedder and is in the Guinness Book of Records for having the world's largest recorded output by a Qawwali artist — a total of 125 albums. Gaudi, aware of the gravity of re-working such a prolific and globally respected artist was moved to comment: "After 26 years of music activity I have to say that this is one of the most important productions I have ever done."

[01]. Bethe Bethe Kese Kese
[02]. Tera Jana Kere Rang Lawe
[03]. Jab Teri Dhun Main Raha Karte They
[04]. Dil Da Rog Muka Ja Mahi
[05]. Ghamgar Bare Ne
[06]. Abhi Apna Abhi Paraya Hai
[07]. Ena Akhiyan Noo
[08]. Kahin Mot Se Bhi Na Jao
[09]. Mainoo Ole Bai Ke Pee Lain De
[10]. Othe Mera Yar Wasda

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Various - Heroes De Borinquen

Posted By MiOd On Tuesday, February 28, 2012 1 comments
It is with great pleasure that we present to you Héroes de Borinquen, a compilation comprised of two discs containing true gems of Puerto Rican music.

We are very proud of the quality and diversity found in these world-renowned songs from La Isla Del Encanto (The Island of Enchantment), and have put great care into the selection of the materials for this compilation. This has not been an easy task, for Puerto Rico has given the world a bounty of wonderful masterpieces. There is little doubt that Borinquen will continue “creating heroes” for many generations to come.

Disc: 1

01. “Pobre Gaviota” (“Poor Seagull”) - Trio Quisqueya

The compilation begins with the soulful guitar playing of one of the most influential composers in the history of Puerto Rico: Rafael Hernandez. In the 1920’s, Don Rafael was a member of
the group, Trio Borinquen, along with two singers, Rafael Ithier and Antonio Mesa. In order to
market themselves in the Dominican Republic, they recorded under the name Trio Quisqueya.
Just as Borinquen is the indigenous name for Puerto Rico, Quisqueya is the original name for
the eastern half of the beautiful island of Hispanola. “Pobre Gaviota” also features Heriberto
Torres on the ten-stringed Puerto Rican cuatro.

02. “Adios Borinquen” (“Goodbye, Borinquen”) - Trio Ponceno

This song is a perfect expression of the longing that working-class Puerto Rican immigrants
in 1920’s New York had for the Island of Enchantment they left behind.

03. “No Juegues Con Candela” (“Don’t Play With Fire”) - Sexteto Flores

Now here is a gem that has gone unexposed. This plena (an afro-rican rhythm that stimulates
independent body movement) is composed by that other pillar of Puerto Rican composers: Pedro Flores. The track is performed by his group featuring Candido Antmatteir on cuatro
and an accordion that reminds us of the symbiotic relationship that Colombian music has
with the Antilles.

04. “Heroes De Borinquen” (“Borinquen Heroes”) - Canario Y Su Grupo

One of the great pioneers of early Puerto Rican music is the vocalist and bandleader, Manuel
Jimenez, who is better known simply as Canario. In his “no-holds barred” style, Canario sings
of a violent confrontation between Puerto Rican Nationalists and the police. The rhythmic
arrangement and vocal style is an example of the island’s country music and is simply called,
seis. This is a great example of socio-political lyrics of a bygone era.

05. “Perdon” (“I’m Sorry”) - Daniel Santos

This is one of the most famous works by Pedro Flores. It is performed here by none
other than the masterful vocalist, Daniel Santos. Although it is obvious that he has not
fully developed his famously peculiar way of phrasing, one hears how the charismatic
artist makes this truly great song his own.

06. “Obsesion” (“Obsession”) - Beny More/Pedro Vargas

Sometimes a great song has the privilege of being selected in order to showcase a historic
collaboration between two artists. This is the case with this version of Pedro Flores’ song,
as one of the greatest singers in the history of Cuba, Beny More, teams up with the enigmatic
Mexican vocalist, Pedro Vargas. It is important to note that the incredible band on this track
is none other than The Beny More Orchestra.

07. “Ran Kan Kan” - Tito Puente

What else can be said about the indisputable Rey Del Timbal? Well… that he was also a great
vibraphone player. On this version of his beloved standard, the King shows off the jazz
improvisational skills that made him a Latin Jazz pioneer. Some players might have more
“chops” and others might be more innovative, but nobody sounds like the greatest of them
all: Mr. Tito Puente.

08. “Perfume De Rosa” (“Rose Perfume”) - Cortijo Y Su Combo

Speaking of "innovative," this is arguably one of the most innovative and influential groups in the history of Caribbean music. By combining strictly folk afro-rican rhythms with 1950’s
“hipness” and social consciousness, percussionist Rafael Cortijo and vocalist Ismael Rivera
joined forces to create the unabashed sounds of Cortijo y su Combo. They were the prophets
of the future of tropical music; the standards of attitude to which the artists of the dominant
late 20th century-style of salsa were measured.

09. “Luna De Miel En Puerto Rico” (“Honeymoon in Puerto Rico”) - Bobby Capo

One of the most versatile songwriters of Puerto Rico was the singer, actor and world-
renowned composer, Bobby Capo. A writer who felt comfortable writing boleros, cha-chas,
plenas and even salsa, Bobby is known for writing some of the biggest hits of his time.
Notice the sublime changes in tempo throughout the recording.

10. “Siete Notas De Amor” (“Seven Notes of Love”) - Los Panchos

This song by Chago Alvarado is performed here by the internationally acclaimed Trio Los
Panchos. Once an institution and now a legend, this “supergroup” performed all over the
world going as far as China, Russia, and Japan. The act was originally formed in New York City in 1944 and performed until 1993. Chago Alvarado himself had first recorded the song
in 1956 with his own trio which included Johnny Albino on vocals. Johnny later became the
lead singer of Los Panchos when they added this gem to their repertoire.

11. “En La Casa De Pepe” (“At Pepe’s Home”) - Mon Rivera

One of the most influential vocalists and songwriters in the 60's Latin music scene was
scat-singing Efrain “Mon” Rivera. Most importantly, Mon is credited with introducing the
four-trombone line-up (sans trumpets) that helped lead the salsa revolution of the 60’s.
This innovation led to the creation of Eddie Palmieri’s Conjunto La Perfecta and Willie Colon’s
group. Playing on the landmark album, “Que Gente Averigua” (which this song is taken from),
is Eddie Palmieri himself with La Perfecta members, Barry Rogers (trombone) and Ismael
Quintana (coro).

12. “Bello Amanecer” (“Beautiful Dawn”) - Tito Rodriguez

This is one of the most beautiful odes ever written about Borinquen. Composed in 1955 by
singer-songwriter Tito Henriquez, this version features the pristine vocals of the charismatic
Mambo King, Tito Rodriguez. Notice the incredible recording quality for its time and the
impeccable phrasing of one of Puerto Rico’s most famous artists.

13. “Cortaron A Elena” (“They Cut Elena”) - Canario Y Su Grupo

Canario is back and this time with a 1960’s rendition of one of the most famous examples
of how plenas were the equivalent of “newspapers in song.” “Cortaron A Elena” depicts a
neighborhood scene in which a woman is assaulted with a knife.

14. “Ojos Chinos” (“Chinese Eyes”) - El Gran Combo

When Rafael Cortijo and Ismael Rivera had to quit the music business for a few years due
to legal problems, their band decided to go on without them. This is how one of the longest
lasting (44 years as of this writing) and hardest working bands in all of the Americas got
started. El Gran Combo, led by pianist Rafael Ithier, is a Puerto Rican institution and “world
ambassador” of the island’s tropical rhythms. This is one of the earliest and dearest
recordings written by trumpet player, Kito Velez, and sung by a young Andy Montanez.

15. “Lamento Borincano” (“Puerto Rican Lament”) - Marco Antonio Muniz/Rafael Hernandez

One of the best and most internationally famous songs in the Puerto Rican canon is the
touching and universally themed “Lamento Borincano.” This masterpiece, a song about a
1920’s Puerto Rican campesino who goes to the city to sell his harvest, touches on the
economic hardships of the common man while the sublime melody carries you through
the highs and lows of the protagonist. This most famous version is exquisitely performed
by the Mexican vocalist, Marco Antonio Muniz, and was recorded under the musical
supervision of Rafael Hernandez himself.

Disc: 2

01. “El Cumbanchero” - Ismael Rivera

This song contains one of the best known motifs in 20th century music and has helped
solidify Rafael Hernandez as one of the greatest composers in any language. There have been so many important versions of this song that it was difficult to choose one for this compilation. That being the case, we are definitely satisfied with this version sung by none other than El Sonero Mayor, Ismael “Maelo” Rivera.
After the end of the original Cortijo y Su Combo and the creation of El Gran Combo, Ismael
worked in various projects before his celebrated career as a solo artist. One of these
projects is an incredible album that he did with Kako y su Orquesta. It is here that Maelo
made his mark on “El Cumbanchero.”

02. “Dejame Hablarte” (“Let Me Speak to You”) - Danny Rivera

During the 50’s and 60’s, another important wave of music that was being heard on the
island was la cancion romantica. Artists that championed this music include Chucho Avellanet,
Lucesita Benitez, Marco Antonio Muniz, Lissette Alvarez, Gilberto Monroig and the featured
artist on this recording, the great, Danny Rivera. “Dejame Hablarte” became one of the most
important titles in this genre by reaching domestic and international acclaim. This song was
composed by singer-songwriter Edmundo Disdier who began performing as a member of the
late 40’s group, Trio Universitario, and went on to an incredibly versatile career that includes
extensive work in the opera world.

03. “Nuestro Juramento” (“Our Oath”) - Olimpo Cardenas

One cannot compile a repertoire of Puerto Rican music without including the
internationally acclaimed composer, Benito De Jesus. Don Benito, whose Trio Vegabajeno
took him throughout the Americas, helped the group reach wide audiences with his
songs, including “Brisas De Navidad,” “Tarde” and one of the most popular songs in
Latin America, “Nuestro Juramento.” “Nuestro Juramento” has been recorded by some
of the world’s most important artists such as Jose Feliciano, Julio Jaramillo, Charlie Zaa
and Felipe Rodriguez. For this compilation we have included the first international artist
to record this song, the stylish Peruvian singer, Olimpo Cardenas.

04. "Amigos" ("Friends") - Gilberto Monroig

Many of the great Puerto Rican composers have been women. One particular songwriter whose works have been recorded by some of the greatest interpreters of romantic music is Ketty Caban. Here she is being recorded by the iconic Gilberto Monroig. Monroig started off his career as a soloist before becoming lead singer of The Tito Puente Orchestra in the 1950s. He later began a prolific career as a recording artist which includes over 30 albums, and a repertoire that consists of material from just about every composer featured on this compilation.

05. “Alma Adentro” (“Soul Within”) - Linda Ronstadt

One of the greatest composers in Latin America is multi-instrumentalist, Sylvia Rexach.
Sylvia was catapulted to fame as the founder of the first domestically acclaimed all-
women musical combo in Puerto Rico, Las Damiselas. Known for her personal
compositional style, Ms. Rexach’s music came from her personal experiences and torrid
love affairs which struck
a chord with audiences the world over. After her untimely death in 1961, her music
reached even greater heights as some of the greatest interpreters of romantic Latin
music recorded her work. “Alma Adentro” is performed here by none other than the
Mexican-American chanteuse, Linda Ronstadt.

06. “Esperame En El Cielo” (“Wait For Me in Heaven”) - Nana Mouskouri/Dyango

This beautiful piece of music by Francisco Lopez Vidal is showcased here in a unique duet
between world-renowned singer, Nana Moskouri, and the famous Spanish pop singer, Dyango.

07. “Celos” / “Amor” (“Jealousy” / “Love”) - Shakira

This medley of two songs by Pedro Flores is presented here with an unusual performance
by the Colombian pop singer, Shakira. Bringing to the table her own unique style of
interpretation, Shakira helps bring two of Don Pedro’s most famous songs to a new audience.

08. “Si Dios Fuera Negro” (“If God Were Black”) - Roberto Anglero

Sometimes there are songs that are so catchy and hooky that you are dancing and humming
them without even knowing it. This song by the great salsa songwriter, Roberto Anglero, does
just that. A list of the artists who have performed Anglero’s material is a virtual “who’s who”
in the salsa genre. From El Gran Combo to Bobby Valentin, from Marvin Santiago to his own group, Roberto has solidified his position as one of the premier songwriters in the genre.

09. “Preciosa” (“Precious”) - Marc Anthony

This is one of the most beautiful songs by Rafael Hernandez. This ode to Puerto Rico could
easily substitute the island’s national anthem. Here it becomes a “tour de force” for one of
the biggest artists today: Marc Anthony.

10. “Mar Y Cielo” (“Ocean and Sky”) - Jose Luis Rodriguez

In 1952, Los Panchos were looking for a new lead singer. Upon Rafael Hernandez’
recommendation, they found one in multi-talented singer-songwriter, Julito Rodriguez. Not only did Julito’s smooth vocals become an important part of the group’s appeal, but
so did his songwriting skills. “Mar Y Cielo,” one of his most popular compositions, is
featured here as performed by the Venezuelan icon, Jose Luis Rodriguez (“El Puma”),
along with a new line up of Los Panchos.

11. “Que Sabes Tu” (“What Do You Know”) - Luis Miguel

Singer, songwriter, producer, radio and television commentator; it seems that La Reina De La
Guaracha, Myrta Silva, did it all. Her career took off after being chosen by Rafael Hernandez
to form part of the already famous Cuarteto Victoria. It was after this that she developed her
talents as a songwriter with hits like “En Mi Soledad” and “Asi Es La Vida.” In the late 40’s and
early 50’s, she became one of the biggest names in the entire Latin American region. After
becoming a television personality in the late 50’s and early 60’s, she proceeded to embark on her most prolific era as a songwriter. It was then that she composed "Que Sabes Tu," which is performed here by one of the biggest superstars in the music world today: Luis Miguel.

12. “Olas Y Arenas” (“Waves and Sands”) - Roselyn Sanchez

This is a very different “take” on Sylvia Rexach’s beautiful standard. An adventurous Roselyn Sanchez interprets this song with her usual sensual flair.

13. “Perdida” (“Lost”) - Elizabeth Meza

Aside from Puerto Rico’s monumental achievements in Latin popular music, one cannot
negate its equally important developments in the Latin Jazz arena. We showcase this here
by presenting a composer who is one of the young lions of the genre: Jose Negroni. Negroni,
along with his son Nomar, is part of the new movement that is revolutionizing Latin Jazz in
the 21st century. This bossa nova that Negroni composed with the Mexican vocalist Elizabeth
Meza is also featured in her album, “Fascinacion.”

14. “5 Minutos” (“5 Minutes”) - Naldo

Reggaeton is an example of how Puerto Rican music is alive and has continued to evolve
throughout the years. Harking back to the “street consciousness” that the salseros had in
New York during the 1960’s, reggaeton fuses contemporary “reggae-rap” with electronic
rhythms that are based on the folkloric Puerto Rican Bomba. One of the writer-producer-
artists who has been at the forefront of this movement is Naldo Santos. Having worked
with the biggest artists in the genre on various releases, Naldo is now going “solo” with
his debut release entitled, “Sangre Nueva.” Here, Naldo shows off his romantic side with
this “love song for the 21st century.”

15. “Paga Lo Que Debes” (“Pay Your Debt”) - Michael Stuart

Over the past decade, salsa superstar, Victor Manuelle, has become one of the most talented
singer-songwriters in the tropical music scene. Here he composes a rousing track for vocalist
Michael Stuart. The hard-hitting production of the song harks back to the days of 60’s and
70’s salsa. The syncopation of the chorus makes one want to dance!

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Java: Court Gamelan

Posted By MiOd On Monday, February 27, 2012 0 comments
The greatest collection of instruments--mainly metallophones and bronze gongs of different shapes and sizes--and the epitome of the gamelan playing style are to be found in four princely courts, two each in the neighboring cities of Jogyakarta and Surakarta. This recording, typifying the musical style of one of these courts, the Paku Alaman in Jogyakarta, is an eminently worthy representative of one of the major classical traditions of Eastern art music. Western enthusiasts have often compared the static yet constantly moving state of gamelan music to a river running in its course, or to "moonlight poured over the field".
Recorded in Bali by Robert E. Brown. Originally released in 1971.

The greatest collection of instruments - mainly metallophones and bronze gongs of different shapes and sizes and the epitome of the playing style are to be found in four princely courts, two each in the neighboring cities of Jogyakarta and Surakarta. This recording is one of the major classical traditions of Eastern art music. Recorded in Bali by Robert E Brown. Originally released in 1971. Slipcase.

1. Ketawang: Puspåwårnå (Kinds of Flowers)
2. Gending: Tedjånåtå (Ruler of the Stars)/Ladrang Sembåwå/Ladrang Playon
3. Gending: Mandulpati (Strong Leader)/Ladrang Agun-Agun (Quickly)
4. Bubaran: Hudan Mas (Golden Rain)

Flac (EAC Rip): 280 MB | MP3 - 320 kbs: 110 MB | Front Cover

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Posted By MiOd On Monday, February 27, 2012 0 comments
A compelete view of the latest trends to the greatest classics. Soulful Flamenco is definitely the best flamenco collection sung by artists.

[01]. O Que Trago E O Que Trazes
[02]. Digue I' Amat A I'Aimador
[03]. Mientras Tanto
[04]. Rosa Sem Espinhos
[05]. Hablas De Mi
[06]. Amor Mais Perfeito
[07]. Balada Da Neve
[08]. Zapateado
[09]. Con Los Anos Lue Me Luedan
[10]. Testamento
[11]. Nacimiento
[12]. Alegrias
[13]. Dichose Hora

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Wu Na - Seven Stringed Music

Posted By MiOd On Monday, February 27, 2012 0 comments
Born in 1979 in Chongqing, Wu Na started her guqin lessons at the age of 9 as a student of the famous Zhao Jiazhen. She later had instruction from such guqin masters as Wu Wenguang, Gong Yi and others. In 2001, Wu Na became the first postgraduate majoring in the guqin at the Central Conservatory of Music, under the instruction of celebrated Guqin player Li Xiangting. She graduated from Central Conservatory in 2004, and joined the China National Song & Dance Ensemble the same year.

(01). In Deep Meditation
(02). Music in the Space Mountain
(03). See The Moon in Clear Water
(04). Come Back with the Will
(05). Fly with the Wind
(06). Mist in the Morning
(07). Seven Stringed Music
(08). Bless
(09). Mind At Ease Breathing
(10). The Light of Buddha

Flac (EAC Rip): 290 MB | MP3 - 320 kbs: 120 MB | Front Cover

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Cuban All-Stars - Pasaporte

Posted By MiOd On Monday, February 27, 2012 0 comments
Two master percussionists from different generations coming together for a magnificent jam session! The legendary Tata Guines, regarded by many as the most influential tumbador of all times, and the brilliant Miguel "Anga" Diaz, regarded by many as Cuba's finest younger generation tumbador and the heir to Tata's throne, come together and create percussive fireworks! Great arrangements by another brilliant young lion of Cuban jazz, Orlando "Maraca" Valle, and a phenomenol supporting cast of musicians and vocalists from both the older and younger generations of Cuban music. Just listen to the power and technique of the opening conga solo intros by both Tata and then Anga, or Anga's beautiful bata work on the jazzy composition "Anga." Great music for listening or dancing!

1. Presentacion
2. Rumberos De Ayer (feat. Raul Planas) (feat. Raul Planas)
3. Descarga Pa' Gozar
4. Donde Va Mulata?
5. Angá
6. Blem Blem Blem (feat. Merceditas Valdes) (feat. Merceditas Valdes)
7. Tata Se Ha Vuelto Loco (feat. Laito) (feat. Laito)
8. La Clave De Los Primeros (feat. Yumuri) (feat. Yumuri)

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Corée Musique Instrumentale De La Tradition Classique

Posted By MiOd On Sunday, February 26, 2012 0 comments
Corée Musique Instrumentale De La Tradition Classique
Ensemble Jong Nong Ak Ohô
This is very refined music, possibly too refined for the non-specialist. It consists of three pieces. The first, "Gomungo San-Jo," is a 13-minute improvisation for six-string zither and hourglass drum. It has a huge dynamic range and goes from very slow at the outset to fairly fast by the conclusion. It sounds like a very thoughtful blues guitar solo. The second piece, "Ryong San Ho-Sang," is a long (53 minutes) work for the whole eight-piece ensemble (zither, flute, drum, and something that sounds suspiciously like a kazoo). The piece consists of a theme and eight variations, and while it is somewhat static in its melody, the pounding of the drum and the sharp plucking of the zither add real drama. The final piece, "Congsonggok," is a four-minute work for solo flute. The Korean flute sounds somewhat like the typical breathy Japanese flute, except that it can produce high, sharp sounds like a clarinet at the top of its range. This album is interesting, but probably for people with background or training in Korean classical music. ~ Kurt Keefner, All Music Guide

1. Gomungo San-Jo (Improvisation À La Cithare Gomungo)
Geomungo [Kömun'go] - Kim Sön-han
Janggu [Changgo] - Yang Yön-söp

2. Ryong San Hö-Sang
Daegeum [Taegüm] - Kim Song-jin
Dulcimer [Yanggum] - Yang Yön-söp*
Erfu [Heagum] - Kang Sa-jun
Gayageum [Kayagüm] - Kim Chöng-ja
Geomungo [Kömun'go] - Kim Sön-han
Janggu [Changgo] - Kim Tae-sop
Recorder [Tanso] - Hong Chong-jin*
Reeds [Se-p'iri] - Pak In-gi*

3. Congsönggok (Solo De Flûte Taëgun)
Daegeum [Taegüm] - Kim Song-jin

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Chano Dominguez - Hecho a Mano

Posted By MiOd On Sunday, February 26, 2012 0 comments
Flamenco and jazz come together, courtesy of Chano Domínguez, who surrounds himself with great artists in this record. His piano, Javier Colina's double bass and Guillermo McGill's drum kit are the leading protagonists, although there are guest appearances by other musicians like Tomatito, Antonio Toledo, Nono García and Tito Alcedo on guitar; Tino di Geraldo on percussion; Chonchi Heredia, singing; Joaquín Grilo, dancing; and Joaquín Grilo, Juan Diego, Lorenzo Virseda, Tino di Geraldo and Chonchi Heredia are in charge of the rhythmic hand-clapping.

It is a gem of a record, put together with care, hand-made.

Chano Dominguez, based in Cadiz, Spain, is a powerful pianist and gifted composer who brings jazz and flamenco together in this exciting, innovative CD. Dominguez weaves jazz lines and harmony with the varied rhythms of flamenco, from its lighter styles of tango and buleria to the darker, bluesy seguirilla and solea, and beautifully integrates the fiery percussion of clapping and dancing with bebop (it's a bit hard to imagine, but an absolute delight to hear). He does amazing things with two jazz classics: Bill Evans' "Turn out the Stars" becomes a stunning flamenco waltz with a great bass solo by Javier Colina, and Thelonious Monk's "Bemsha Swing" is a startling tour de force where the piano is accompanied only by dancing and clapping; Monk would've loved it. The other ten tracks are Dominguez compositions, different in mood and structure, but all polyrhythmic and melodic. Standouts are hard to isolate, but include "Cilantro y Comino," a masterful, adventurous journey; "Alma de Mujer" (aka "Soul of Woman"), a thoughtful meditation which ranges from tenderness to passion; the dynamic, gypsy-inflected "Retaila"; the sexy "Pinar Hondo"; and "Bubango," which showcases the fine work of guitarist Tito Alcedo. Dominguez's music is like a fresh wind blowing over a familiar landscape; full of soul and heart, this CD is a must-have for Latin jazz fans. ~

[01]. Alma de mujer - Colombiana
[02]. Retahíla - Bulerías
[03]. Pinar Hondo - Fandango
[04]. Tú enciendes las estrellas
[05]. Cardamomo - Bulerías
[06]. Bajamar - Seguirilla
[07]. Cilantro y comino - Tanguillos
[08]. Soleá blues
[09]. Jacaranda - Seguirilla
[10]. Bubango - Soleá
[11]. Bremsha Swing
[12]. Solo con verte

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

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Buena Vista Social Club Presents - Manuel El Guajiro

Posted By MiOd On Sunday, February 26, 2012 0 comments
Cuban trumpeter Manuel "Guajiro" Mirabel was among the first musicians recruited by British producer Nick Gold for the now legendary sessions at Havana's Egrem Studio that yielded the multi-platinum Buena Vista Social Club album and Wim Wenders' groundbreaking concert documentary. But the veteran player already had enjoyed a rich musical history, having performed for more than 40 years in some of the most celebrated Cuban nightclub orchestras. With this lively set of '40s-era conjunto classics, he pays tribute to pioneering Cuban composer-bandleader Arsenio Rodriguez, whose trumpet arrangements inspired Mirabel as a boy.

For his first solo album, 71-year-old trumpeter Mirabal has created a tribute to the seminal bandleader Arsenio Rodriguez. The latter was a tres-wielding maverick who reveled in Cuba's African heritage and gave new opportunities to the piano and brass. With three trumpeters on board, it is not surprising that the tracks often explode into blaring, festive, sloppy--precise fanfares, but Papi Oviedo on tres and pianist Roberto Fonseca more than hold their own. The singers also get a workout, notably on Me Bote De Guano, with its humming opening chorus and robust tenor lead vocal. The late Rubén González, who was Rodriguez's original keyboard man, is heard on Dombe Dombe, a tune he suggested for the set list. The sessions were recorded in Havana at legendary Egrem Studios with a minimum of technical bells-and-whistles and if the sonic texture is somewhat rough and remote, it only adds to the studio-live atmosphere.

(01). El Rincón Caliente
(02). Para bailar el montuno
(03). Deuda
(04). El reloj de Pastora
(05). Me bote de guano
(06). Mi corazon no tiene quien lo llore
(07). Tengo que olvidarte
(08). Canta montero
(09). Chicharronero
(10). No vuelvo a moron/Las Tres Marias/Apurrunenme mujeres Medley
(11). Dombe dombe

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Hawaii Romantic Saxophone Vol.[1-3]

Posted By MiOd On Saturday, February 25, 2012 0 comments
[01]. Hawaii Romantic Saxophone Vol.1
Track Listings
[02].Unchained Melody
[04].Sealed With A Kiss
[05].Tears In Heaven
[06].Hello Darling
[07].Because I Love You
[08].Put Your Head On My Shoulder
[09].Forever In Love
[10].Only You
[11].Always On My Mind
[12].Nothings Gonna Change My Love For You
[13].Rose Rose I Love You
[14].Another Day In Paradise
[15].The One You Love
[16].Love Theme Dying Young
[17].The End Of The World
[18].How Can I Tell Her
[19].We May Never Love Like This Again
[20].Thats What Friend Are For


[09]. Hawaii Romantic Saxophone Vol.2

Track Listings
[01]. Endless Love
[02]. Smoke Gets In Your Eyes
[03]. Love Story
[04]. When I Need You
[05]. Feeling
[06]. I Cant Stop Loving You
[07]. Hello
[08]. My Way
[09]. I Dont Want To Talk About It
[10]. The Way We Were
[11]. Without You
[12]. Sailing
[13]. Just The Way You Are
[14]. To All The Girls Ive Love Before
[15]. Night On The Grassland
[16]. Help Me Make It Through The Night
[17]. Sleepy Shores
[18]. Yesterday
[19]. Killing Me Softly With His Song
[20]. Do You Know I Am Waiting For You


[10]. Hawaii Romantic Saxophone Vol.3
Track Listings
[01]. I Will Always Love You
[02]. Crandle In The Wind
[03]. How Deep Is Your Love
[04]. Let It Be Me
[05]. Just When I Needed You Most
[06]. Crying In The Chapel
[07]. Love Me Tender
[08]. I Just Called To Say I Love You
[09]. Tennessee Waltz
[10]. If Your Leave Me Now
[11]. Everything I Do I Do It For You
[12]. Up Where We Belong
[13]. Sad Movies
[14]. Tears In Heaven
[15]. Are You Lonesome Tonight
[16]. Did We Almost Have It All
[17]. Moon River
[18]. I Love You To Want Me
[19]. Eternal Flame
[20]. Dont Cry For Me Argentina

MP3 VBR kbps including Front Covers[2007]


Kermit Ruffins

Posted By MiOd On Saturday, February 25, 2012 0 comments
The majority of releases by the world music label Putumayo have been various-artist compilations dedicated to highlighting a particular culture through their indigenous music. On this compilation, Putumayo adjusts that format, spotlighting a singular artist: New Orleans' vocalist and trumpeter Kermit Ruffins. Pulling from his seven previous albums on the Justice and Basin Street labels, Putumayo is hoping to bring Ruffins' classic Crescent City jazz style to a wider audience, with his mix of the joyous nature associated with Louis Armstrong and second line celebrating . The 11 tracks combine traditional fare such as "On the Sunny Side of the Street," "Ain't Misbehavin'," "Bye and Bye" and "Wrap Your Troubles in Dreams" with contemporary Ruffins' originals: "Kermit's Second Line," "Goodnight," "Do the Fat Tuesday," and "Leshianne." When listening to Kermit Ruffins, it becomes apparent that it doesn't have to be Mardi Gras to enjoy the spirited music of the Big Easy. ~ Al Campbell, All Music Guide

A favorite on the New Orleans music scene, trumpeter Kermit Ruffins combines the spirit of classic New Orleans music with the energy and creativity of the modern Crescent City sound. On this retrospective, featuring selections from Ruffins’ seven solo albums on Basin Street and Justice Records, Putumayo hopes to bring the music of this remarkable musician to a wider audience.

Ruffins helped spark a brass band revival in the 1980s when he co-founded the Rebirth Brass Band, a dynamic group of teenage musicians who started playing in the streets of the French Quarter. The group released numerous critically-acclaimed records and brought their energetic performances to concert halls around the world.

In 1992, after seven CDs and extensive touring with Rebirth, Ruffins set off on a solo career. Seeking to focus on his passion for classic New Orleans jazz, he established the Barbecue Swingers, a quintet whose name comes from Kermit’s habit of cooking up savory barbecue from the back of his pickup truck before many of his gigs.

Ruffins has since recorded seven albums on his own. Audiences applaud his original compositions and revel in his innovative versions of jazz and swing classics. His energy, virtuoso trumpet playing and expressive voice have earned him regular comparisons to Louis Armstrong.

Ruffins’ laid-back demeanor, zest for life and appreciation of good food, music and company embody the unique character of the city where he was born and raised. His fans will find some of his most memorable solo tracks on this collection, many of which are now out of print. For those who have yet to discover the work of this irrepressible showman and talented musician, Kermit Ruffins is the perfect introduction.

[01]. Ain't Misbehavin'
[02]. Monday Night in New Orleans
[03]. On the Sunny Side of the Street
[04]. After You've Gone
[05]. Wrap Your Troubles in Dreams
[06]. Goodnight
[07]. Leshianne
[08]. When My Dream Boat Comes Home
[09]. Kermit's Second Line
[10]. Bye and Bye
[11]. Do the Fat Tuesday

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Haytham Safia

Posted By MiOd On Friday, February 24, 2012 0 comments
1. Haytham Safia - U'd
Born in 1980 in the Galilean town of Kafr Kasif, Israel, the Palestinian 'oud player Haytham Safia has proven a versatile and adventurous musician. Safia graduated from the Academy of Music and Dance in Jerusalem in 2002. He turned to Europe and particularly The Netherlands, for crossover challenges which included successful collaborations with the multinational band No Blues. Safia has released three CDs, including the October 2007 album Promises.

Four multidisciplinary artists come together on an album that flows smoothly along, a river of emotions that range from contemplative to exuberant, from abrasive to playful. Haytham Safia has joined up with two classically-trained musicians from Amsterdam (cellist Eva van de Poll and oboe player Hanneke Ramselan) and an Iranian percussionist (the gifted Afra Mussawisada) in a more restrained experiment than his previous release Blossom (which allied nine artists from nine nations in a distant exchange). The result is at times riveting and challenging, and always pleasing to the ear.

Safia's 'oud-playing is known for its rigour and tautness. Here, it works particularly well with Ramselan's oboe in songs like "Moments of Relief", or the percussion duet "Way to the Roots". The combination of classical Western and Eastern instruments is never jarring and a playful element in this stylistic conversation (in songs like "Answering the Nature's Call" which, writes Safia, was influenced by Tunisian Anouar Brahim, although I found nothing to indicate how) lightens the exchange.

Haytham Safia has long established himself as a talented composer with a well-full of ideas. Promises will enhance that reputation with songs like "Voice of the Desert" standing out for its power and harmony. His latest quartet is a fine example of new crossover initiatives dominated by Oriental rhythms but always respectful of classical Western inputs ("Having Fun" being a racy jazz-inflected jaunt that proves the exception)..Daniel Brown

Some three years after Haytham Safia makes his depot as performer in the Netherlands, he brought his work up to a point where admiration is due. At first listen, this well-crafted solo album, ‘UD, submits politely to the extended musical traditions of the Arab ‘ud and follows up on the rapid development and progress of Palestinian music. Certainly, the way traditional Maqams (modes) were introduced and pursued by Haytham added a distinctive and generous look to the CD, but furthermore he sensationalized Maqams by the sprinkling of his unique trademarks. In ways, Haytham re-wrote much of the traditional melodies and formulas. His ‘ud grooves jumped out as atmospheric while the use of the ambient sounds that he exquisitely produced on the instrument really spiced things up, and embellished its meditative qualities. The Nahawand track is astonishingly lovely; dense, immersive and Intermittently brilliant. In my opinion, this is a true contemporary and progressive approach to music making. You don't have to be a fan of ‘ud music to enjoy this. It's a fantastic album to drive to, with recurring themes beautifully underlined by traditional openings and endings. This time round, ‘UD seems to sit coherently alongside this rich musical tradition of Taqasim (improvisations).

1. A'gam
2. Rast
3. Nahawand
4. Biat
5. Huzam
6. Saba
7. H'igaz

All tracktitles refer to seperate Arab musical scales
on which the respective tracks/improvisations are based.
Each scale has it's own particular mood.

320 kbps including full scans


2. Haytham Safia - Promises

Haytham Safia (1980) is from the province of Galilee in the Holy Land. His passion for the U'd starts at an early age and he is a graduate of the Academy of Music and dance in Jerusalem. The versatility of his talent is also reflected in his 'regular' gigs: multicultural band No Blues (with whom Safia recorded two very successful albums that where released across Europe) and his own ensembles of which the Qu4artet is the most recent one to emerge as a vehicle for his ever flowing musical ideas. This particular combination of classical and eastern instruments has never been heard before. The musicians join in an open minded adventure while staying true to their own different backgrounds. As Haytham says: 'The Qu4rtet sounds happy....sad....slow....fast....emotional and tough. As you may tell from the names of the pieces you will hear many secrets in the desert, answered by many promises of having fun!'

[01]. Nada
[02]. Promises
[03]. Way to the Roots
[04]. Secrets in the Heart
[05]. Sikit Safar
[06]. Moments of Relief
[07]. Answering the Nature's Call
[08]. Voice of the Desert
[09]. Having Fun
[10]. Beauty

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Rabih Abou-Khalil - Al-Jadida

Posted By MiOd On Friday, February 24, 2012 0 comments
Rabih Abou-Khalil, among the rare Arabic musicians who have recorded and played extensively with jazz musicians, successfully navigates the middle ground between traditional North African sounds and hard bop. Besides the leader's oud and flute, alto saxophonist Sonny Fortune provides the blues bite; bassist Glen Moore, the rhythmic connection, and percussionists Ramesh Shotham and Nabil Khaiat, provide the African seasoning.

[01]. Catania
[02]. Nashwa
[03]. An Evening with Jerry
[04]. When the Lights Go Out
[05]. Storyteller
[06]. Ornette Never Sleeps
[07]. Nadim
[08]. Wishing Well

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World Playground 2

Posted By MiOd On Friday, February 24, 2012 0 comments

Intentionally or unintentionally, some of the children's music that comes from the U.S. can be very condescending -- some adult artists make the mistake of underestimating kids' intelligence and end up talking down to them. But World Playground 2, Putumayo's follow-up to its first World Playground compilation, proves that children's music doesn't have to be sophomoric or unintelligent. Taking a look at children's music from different parts of the world, this CD is fun and lighthearted without being condescending or dumbed down. Musically and rhythmically, World Playground 2 is fairly sophisticated -- the material is children-friendly but not childish. And that material ranges from Columbian Cumbia (La Sonora Dinamita's infectious "A Mover la Colita") to Indian pop (Lucky Ali's "Teri Yaadein") to South African pop (Miriam Makeba's "Pata Pata 2000"). Putumayo compilations are usually full of surprises -- head honcho Dan Storper has very eclectic tastes -- and World Playground 2 is no exception. In addition to focusing on major superstars like Makeba and ska/reggae veterans Toot & the Maytals, the compilation makes some unlikely choices. Take Mexican singer Claudia Martínez's "Nichim Uvil," for example. Putumayo could have easily found a well-known Spanish-language hit from Mexico; instead, "Nichim Uvil" is performed in the Tzotzil language. (The Tzotzils are an Indian tribe that are related to the Mayans.) Rhythmically, "Nichim Uvil" is unlike much of the mariachi, ranchero, and Tejano that Mexicans are known for -- its soft, gentle rhythms bring to mind some of the more understated Brazilian pop that comes from Rio de Janeiro. One rather puzzling choice is Toot & the Maytals' "Freedom Train"; while this is an excellent political song, it's unclear exactly what it has to do with children's music. Regardless, World Playground 2 is a fine compilation that people of all ages can enjoy. ~ Alex Henderson, All Music Guide

[01]. Adukbe - Baka Beyond
[02]. Music Farm - Xtatik
[03]. Marmotteuse - Barachois
[04]. Mover la Colita - La Sonora Dinamita
[05]. Freedom Train - Toots & the Maytals
[06]. Zuhaitzarena - Maixa Eta Ixiar
[07]. Nezha - Djamel Allam
[08]. Nichim Vuil
[09]. Teri Yaadein - Lucky Ali,
[10]. Pata Pata 2000 - Miriam Makeba

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World Playground

Posted By MiOd On Friday, February 24, 2012 0 comments
This anthology of children-related tracks originates from the globally conscious Putamayo Records catalog. Artists from Africa (Senegal's Touré Kunda, Congo's Ricardo Lemvo), Europe (France's Manu Chao), the Caribbean (Jamaica's Cedella Marley Booker), North America (Buckwheat Zydeco and Eric Bibb from the U.S.; Canada's Teresa Doyle), South America (Brazil's Nazaré Pereira), and Australia (Trevor Adamson) offer tracks, and while the styles and moods vary, the album gels excellently. Even if the multicontinent angle strikes you as too catholic, it bears reiterating that this is a "playground" session, a collection that begins with a Senegalese in-line dance and continues through "Mardi Gras Mambo," a bongo-playing French monkey, and much more. And while the songs are playful, there's nothing in the way of tossed-off music. It's all first-rate, with the artists at the top of their games. --Andrew Bartlett

After receiving hundreds of cards and letters from parents and teachers telling us how much children love dancing, singing, and listening to Putumayo CDs, we are pleased to release our first kid's CD. World Playground: A Musical Adventure for Kids is a collection of great songs from around the world that the family can enjoy together. This CD takes children and parents on a musical journey to faraway places where they can be introduced to other people and places around the world. A trip to the World Playground makes exploring other cultures a fun adventure for music fans of all ages. Awards: 1999 Parents' Choice Silver Award 1999 National Parenting Publications Gold Award (NAPPA) 1999 Parent's Guide to Children's Media Award 1999 Finalist in The National Teacher s Choice Award "Best of" from Scholastic Magazine "Best of" from Sesame Street Magazine NASCO A+ Award

(01) [Touré Kunda] Fatou Yo (I Am Fatou) - Senegal
(02) [Colibri] La Mariposa (The Butterfly) - Bolivia
(03) [Cedella Marley Booker & Taj Mahal] Three Little Birds - Jamaica
(04) [Trevo Adamson] Nyanpi Matilda (Waltzing Matilda) - Australia
(05) [Teresa Doyle] By Barna - Canada
(06) [Buckwheat Zydeco] Mardi Gras Mambo - USA
(07) [Glykeria] Tik Tik Tak - Greece
(08) [Manu Chao] Bongo Bong - France
(09) [Ricardo Lemvo & Makina Loca] Boom Boom Tarara - Congo
(10) [Nazaré Pereira] Bonjour Pra Você (Good Morning To You) - Brazil
(11) [Shlomo Gronich & The Sheba Choir] Zichronot M'Africa (Memories of Africa) - Isreal-Ethiopia
(12) [Eric Bibb & Needed Time] Just Keep Goin On - USA
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African Groove

Posted By MiOd On Friday, February 24, 2012 0 comments
This is a collection of African techno-informed tracks bearing the fruits of both ends of the tradition spectrum. Traditional percussion and string elements thrive among a thick layer of multi-formed electronica. The album opens with breakout artist Issa Bagayogo and his blend of Malian ngoni playing with electronic beats. The Coulibaly family mixes some fine balofon playing with a deep bass kick and some house beats, and Madeka provides a piece of pseudo-Kidjo with the help of a collection of other artists. Julien Jacob mixes some straightforward acoustic guitar with electronic bits while singing in a completely invented and non-translatable language without assigned meaning. The Zimbabwean group Peace of Ebony shows off a bit of slick rapping and Afro-pop influenced heavily by the Paris scene, and Hardstone reuses a Keith Sweat track as a base for some capable rapping. Positive Black Soul continues the African rap aesthetic, now with an influence of the Dakar studio scene, and Dady Mimbo pumps out something between Euro-dance and dub. The decidedly non-African Thievery Corporation shows off a track of organic electronica with a definite African sound, and Italian Pleb provides a remix of an old Touré Kunda track. The funky African Rhythm Travellers provide a piece of busy fusion containing a good deal of funk along with their usual reggae and dub, as well as the proper dose of electronica. Finally, the album finishes on Lucky Dube's find Ndumiso, who invokes Hugh Masekela on his trumpet and brings the sound back a few years to the time of the normal jazz and funk revolution (pre-electronica). The album on the whole is an outstanding mix of the old with the new and should give those tired of the usual African cultural troupes something worthwhile to listen to. Newcomers to the sounds of Africa should also be pleasantly surprised by how far the continent has come in its fusion with the modern sounds of the West, mirroring the West's fascination with the sounds of Africa. Give it a few listens to make sure you don't miss anything.

[01]. Save Mogo Bana – Issa Bagayogo
[02]. Boroto – Badenya – les freres Coulibaly
[03]. Mokote – Madeka
[04]. Kalicom – Julien Jacob
[05]. Vadzimu – A Peace of Ebony
[06]. Uhiki (Pinye’s Remix) – Hardstone
[07]. Wouyouma – Positive Black Soul
[08]. Bouba (Cool) – Dady Mimbo
[09]. The Lagos Communique – Thievery Corporation
[10]. One for Senegal – The Pleb
[11]. Khululuma – African Rhythm Travellers
[12]. Mofolo Hall – Ndumiso

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Brazil - Cafe Do Brasil

Posted By MiOd On Thursday, February 23, 2012 0 comments
Welcome to the golden sands of Ipanema and Copacabana and the fresh jazzy sounds of Cafe Do Brasil. Sit back with your caipirinha in hand and let the sun warm your back as some of Brazil's most acclaimed performers relax you with cool bossa novas and swinging sambas.

As I write, Brazil is about to celebrate her 500th birthday: although music hasn’t been at the top of the agenda throughout that period, that last century has seen a development of the arts generally – and music in particular – that would dwarf most countries twice her age, both qualitatively and quantitatively. Brazil is the fifth largest country in the world covering 8,500,000 square kilometres with a population approaching 160,000,000. From the equatorial humidity of the North-East to the almost England-like climate of the extreme South at the border with Argentina, every conceivable variety of terrain, flora, fauna and mankind encounter; from the international big-city suaveness of Sao Paolo (in the top five of the world’s most densely populated conurbations) to the still-unexplored Amazon heartlands of Roraima; from the Texas-like pampas and blond Germanic cowboys of the southern beef belt to the harsh North Eastern desertlands – the Sertao; and from the somewhat dull and Brussells-like concrete confines of the administrative capital Brasilia to the deeply African city of Salvador Da Bahia, or the contrast of extremes set against a mountainous backdrop that is Rio De Janiero, nothing prepares one of the sheer, bewildering variety that is Brazil. Not surprising therefore, the music of Brazil is not immune to this same sense of miscegenous abundance. If you’re in the South, you’ll hear music that sounds suspiciously like American country and western; in the North east around the country’s second – largest city – Recife – you’ll hear accordion-driven ‘Forro’, which has nothing to do with samba or bossa nova and plenty to do with German polka and old English country music. In fact the more you get to hear and know of Brazil’s musical culture, the more impossible it is to answer the ingenious question from the novice: ‘So what’s Brazilian music like then? The unhelpful answer is that it’s like everything you’ve ever heard, and more. Imagine having to explain to someone what North American music is like: Elvis, the Blues, Jazz, Country, Soul, Classical, Rap, Cajun, Mexican, Salsa, Native American music…. Well, that’s also the answer – with a few additions, actually – to the question about Brazilian music. One of the most fascinating – some would say unique – aspects of Brazilian culture is the comparatively blurred distinction between ‘high’ and ‘low’ culture. Although this is something shared by many young countries – the USA being one of the prime examples – its presence is rarely so obvious as in Brazil. A classic example is ‘choro’ or ‘chorinho’ music. Choro (literally ‘tear’ on account, some say, of its generally sad and nostalgic quality) takes classical/chamber harmonies, adds the syncopations of early ragtime – Scott Joplin and the like – and plays them on acoustic instruments whose line-up reflects the hybrid pedigree: cello, guitar, violin, saxophone, flute, trombone, percussion. Choro was ‘invented’ in Rio de Janeiro I the early part of the 20th century and brought to artistic fruition in the twenties by artists such as Pixinguinha and, later, Waldir Acevedo. Today it is still played – both new material and revivals of older songs – by musicians such as Joel Nascimento and Paulo Moura. Although the arrangements may have changed, the essential ‘flavour’ of choro has remained reasonably unsullied. Just try to imagine the rock group Oasis performing revivals of Victorian Music Hall favourites, and you have some inkling of the gulf that separates the very perception of the musical process as it is seen in Brazil compared with Anglo-American culture, where all that matters often seems to be novelty for the sake of it. So it was little wonder when, on 21st November 1962 at New York’s Carnegie Hall, North America was taken musical hostage by an array of Brazil’s finest talent – in excess of 30 artists – with a groundbreaking display of samba and the new beat that had swept Brazil for the previous three years – bossa nova. It was bossa nova that Europe and the USA could really relate to, combining as it did the sultry, erotic promise of Brazilian sunshine, beaches and beauties with the cool jazz that was already a serious force in the American music industry as demonstrated by the success of Dave Brubeck, Chet Baker, and others. If you’ve never heard ‘A Garota De Ipanema’ (Girl From Ipanema), then you’ve been living in a parallel universe for the last forty years. The songwriter credited with having written these first bossa novas was Antonio Carlos Jobim – or just ‘Tom’, to Brazilians. And the first singer he wrote them for was Sylvia Telles (b.Rio, 1935) who is probably the most-recorded bossa nova singer of them all. Although the fashion for the bossa nova started to die in 1962/3 in Brazil, the music had exerted such a terrier-like grip on the imagination of Euro-American music-lovers and musicians alike that it remains the most ‘typical’ Brazilian music in the minds of non-Brazilian fans. Having no wish to disappoint the world by abandoning the style, therefore, younger songwriters such as Edu Lobo started to experiment by using familiar, bossa nova-ish frameworks to introduce lyrical messages of social and political commentary, much as Bob Dylan and Wood Guthrie had used traditional North American music to the same ends. The music presented in this compilation carries on this tradition into the 21st century. Names such as Celia Vaz may not be familiar – yet – but they embody that same sense of promise – that feeling of optimism, that life really IS worth living despite the day-to-day struggles involving work, money and relationships – that voices such as those of Sylvia Telles and Joo Gilberto brought to a surprised American public in those innocent, pre-Vietnam, pre-LSD days. Again, here is the unbiased accommodation of high and ‘low’ culture, presented with an almost amused indifference to the possibility of raised eyebrows amongst the more hidebound sections of the audience. There are echoes of drum and bass, rap, hip hop, free jazz, rock, soul, r&b. But they are all played through a filter of that original, innocent, naïve bossa beat. In Rio, if someone does something well – anything, really, from playing soccer to carving a piece of driftwood from the beach – he or she is said to do it ‘com bossa’. There’s no direct translation, but the sense is – on the beat, in time to the music, in a special way, with unique style. Pretty much like the music, musicians and singers presented, here, actually. John Armstrong.

(01) [Friends From Rio] Para Lennon E McCartney
(02) [Orlandivo] Onde Ander Meu Amour
(03) [Cama De Gato] Aprador
(04) [Projecto 3] Xuertnom
(05) [Moonshine] Lumen
(06) [Azymuth] Calma (Lumen Remix)
(07) [Azar] Freaknix
(08) [Celia Vaz] Conaque De Mel
(09) [Marcos Valle] A Vontage De Rever Voce
(10) [Nair De Candia] Viver De Amour
(11) [Projecto 3] December
(12) [Celia Vaz & Friends From Rio] Francisco Cat
(13) [Projecto 3] Around
(14) [GB] Percussao Livre

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Susana Rinaldi - El Tango Resplandeciente

Posted By MiOd On Thursday, February 23, 2012 0 comments
Susana Natividad Rinaldi (born 25 December 1935) is an Argentine tango singer.

Dubbed "La Tana", she was born Susana Natividad Rinaldi in Buenos Aires on December 25, 1935. The daughter of a wealthy father and a poor mother, she spent her childhood moving throughout different provinces of Argentina. At 14 she began studying chamber singing at the National Conservatory of Music, and in 1955 she entered the School of Dramatic Art. Two years later, she made her TV debut and in 1959 she went on the stage with famous stars. When she was asked to record a poetry concert in 1966 she offered them a tango album. By the end of that year, she had her first album with music arranged by bandoneon player Roberto Pansera. Her success prompted her to slowly give up acting and launch her career as a singer. After touring around tango bars and milongas, Susana Rinaldi gained fame as a singer at the end of that year. She called the attention of her audience by singing tangos which up to then had only been sung by males, tangos by José María Contursi, Enrique Santos Discépolo, Homero Manzi and Cátulo Castillo. This gave her a deserved reputation among a new audience made up mostly of young university students. She achieved fame when she incorporated into her repertoire songs by new authors, such as Eladia Blázquez, Osvaldo Avena, Héctor Negro and Chico Novarro. During the military dictatorship, Rinaldi was forced to leave the country. After a long stay in Paris, she has returned with an innovative idea of a tango-show. Due to this, she was again rejected by traditional tango listeners, although she did become one of the main figures of the renewal of style. Her tireless defence of human rights and her passionate promotion of a more just and peaceful world have earned her the title of "Ciudadano Ilustre de la Ciudad de Buenos Aires" An artist with a political conscience, she supports her ideals about music in international concert tours as UNESCO Goodwill Ambassador since 1992.

1. Soy Un Circo
2. La Chanson Des Vieux Amants
3. Naranjo En Flor
4. Gabbiani
5. Brindis Por Pierrot
6. El Monton
7. Solo Se Trata De Vivir
8. Frag´Nicht Warum Ich Gehe
9. La Flor De La Canela
10. Selection Gardel(Soledad-Guitarra Mia-Mis Buenos Aires Queridos)

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New Tango Orquesta - Bestiario

Posted By MiOd On Wednesday, February 22, 2012 0 comments
New Tango Orquesta, who have become well known in underground circles, for their unique music and their focused performances, have been critically acclaimed all over the world as the "hope" of new tango. Five young musicians playing bandoneon, violin, piano, cello, double bass and electric guitar constitute a unique sound using freshly made compositions. Their three albums have amazed critics worldwide.

1. No Stop City
2. Mute
3. Push
4. Elegy
5. Berlin
6. Cinnamon
7. Bestiario
8. Nemo

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Music From Around The World - The Music Of Mexico

Posted By MiOd On Wednesday, February 22, 2012 0 comments
Track Listings
(01) [Various] La Bamba
(02) [Various] Mendoza
(03) [Various] La Raspa
(04) [Various] Guadalajara
(05) [Various] La Cucaracha
(06) [Various] La Adelita
(07) [Various] Cielito Lindo
(08) [Various] La Campa De Piedra
(09) [Various] El Relampago
(10) [Various] Las Mananitas
(11) [Various] Sabor A Mi
(12) [Various] El Rancho Grande
(13) [Various] El Corrido Del Caballo Blanco
(14) [Various] La Madrugada
(15) [Various] Jarobe Tapatio
(16) [Various] La Negra
(17) [Various] Los Machettes
(18) [Various] El Caballito

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