Shujaat Khan - Shams

Posted By MiOd On Friday, May 31, 2013 0 comments
Shujaat Husain Khan,
Katayoun Goudarzi,
Imamyar Hasanov,
Abhiman Kaushal
With more than 50 musical releases and a Grammy nomination, Shujaat Husain Khan is perhaps the greatest North Indian classical musician of his generation. He belongs to the Imdad Khan gharana (tradition) of the sitar (lute) and is the seventh in the unbroken line from his family that has produced many musical masters. His style known as the gayaki ang, is imitative of the subtleties of the human voice.

Shujaat Khans' openness to collaborating with artists of all genres of music has produced some enormously successful works. The Grammy nominated album Rain by the indo-Persian Ghazal Ensemble featuring Kayhan Kalhor is only one such example.

Abhiman Kaushal is an outstanding tabla artist who is much sought after for his sensitive accompaniment and intense solo playing. Kaushal has numerous recordings including \"Ravi Shankar in Venice,\" \"Farewell My Friend\" (with Ravi Shankar), and \"Passages\" (with Ravi Shankar and Philip Glass). National Geographic has recorded his tabla for the soundtrack to their documentary "Man Eaters of North India." He has also recorded for various world music compilations, Zoolander the movie and has performed live for MTV\'s Aerosmith icon show.

Born in Tehran, Iran Katayoun Goudarzi, a resident of New Jersey, started reading and writing poetry at age seven. In 2006 she published her first book, \"Eshgh o Vahdat \" an annotated selection of Rumi\'s ghazals and made her debut as a performer of classical Persian poetry in Rooz O Shab, Poetry of Rumi, followed by Hayran in 2008.

Born in Baku, Azerbaijan Imamyar Hasanov a resident of Virginia started playing the kamancha at the age of seven and eventually became the youngest soloist in Azerbaijan\'s National Orchestra and National Dance Ensemble. He has a Master of Music Degree in Conducting from the Azerbaijan State Conservatory . During his conservatory studies, he worked with Professor Agha Jabrayil Abasaliyev and became interested in the art of mugham. Imamyar has performed in Canada, Iran, Kazakhstan, Kyrgyzstan, Russia, Turkey and the US and has collaborated with artists such as Chingiz Sadykhovm, Aziz Herawi, Pejman Hadadi and Hossein Omoumi. On stage, Imamyar is a dynamic virtuoso who performs Azerbaijani and Middle Eastern traditional improvisations as well as European classics.

1. Satiated
2. Shams
3. Go Not Without Me
4. O My Soul
5. Opium
6. Whirling

Flac(EAC Rip): 415 MB | MP3 - 320 kbs: 160 MB | Front Cover

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Afghanistan: Female Musicians in Herat

Posted By MiOd On Friday, May 31, 2013 0 comments
Afghanistan. Female Musicians of Herat Auvidis/UNESCO, 2002
Alt text

Once a major cultural centre of the Timurid Empire (15th century), the fascinating medieval city of Herat, in western Afghanistan, has for many centuries enjoyed a reputation for excellence in the arts. The albums "Traditional Music of Herat" and "Female Musicians of Herat" offer a variety of vocal and instrumental music from the Herat region with traditional instruments such as dutâr, chahârtâr, sornâr and dohol, dâira, nai chapâni and robâb. These recordings were made just before the start of the civil war, which disrupted the life of this ancient centre of Islamic culture. Recorded in 1973 - 1977 Text by John Baily

(01). Bibi Gol Afruz
(02). Galen dokhtar
(03). Girl’s music: Clapping and drumming * O bachen aughān * Ānār dāneh nadāre
(04). Chahārbeiti sābeqeh * Chahārbeiti Siāh Mu o Jalāli
(05). Lullaby
(06). Adam Khān
(07). Urban band dance music: Logari * Mustafā * Shishkebab
(08). Dāireh dance pieces
(09). Hawābeh jan Hawābeh * Ghu ghu balg-e chenār
(10). Alā zan-e biweh * Sar-e pul-e Mālān
(11). Asp-e khāseh zin konum
(12). Yār-e hamdam chere nemiyāyi?
(13). Tambaku * Arus gham nakhor
(14). Processional drumming
(15). Wedding ritual sequence: Olang olanng and Shelengi * Bādā bādā * Logari
(16). Bibi gol arus
(17). Shāh dokhtar shekar dokhtar
(18). Chahārbeiti
(19). Chahārbeiti barāye khodāhāfez
(20). Najibeh gom shode
(21). Leilā Leilā Leilā
(22). Sefid kheimeh siāh kheimeh khorāmān

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Sharma And Chaurasia - Ras Dhara

Posted By MiOd On Wednesday, May 29, 2013 0 comments
Hariprasad Chaurasia (b. 1st July 1938) is known internationally as the greatest living master of the bansuri, the North Indian bamboo flute. Chaurasia is among the small but growing number of classicists who have made a conscious effort to reach out and expand the audience for classical music. He is probably the most accessible Hindustani musician, and has done much to popularise the bansuri and classical music.

Hariprasad Chaurasia was born into a non musical family in Allahabad. His father was a wrestler. His mother died when he was very young. Hariprasad had to learn music almost in secret, scared of the father who wanted him to become a wrestler. First he started learning vocal music from Pt. Rajaram at the age of 15. Later, he switched to playing the flute under the tutelage of Pt. Bholanath of Varanasi. Much later, while working for All India Radio, he received guidance from the reclusive Smt. Annapurna Devi (daughter of Baba Allaudin Khan).

Chaurasia is a rare combination of innovator and traditionalist. He has significantly expanded the expressive possibilities of the bansuri through his masterful blowing technique. He is one of the busiest North Indian classical musicians, regularly travelling and performing throughout the world.

Apart from classical music, he has made a mark as a Hindi-language film-music director along with Shivkumar Sharma, forming a group called Shiv-Hari. He has also collaborated with various world musicians in experimental cross-cultural performances, including the famous fusion group Shakti.

Shivkumar Sharma (born 13th January 1938) is an Indian classical musician, working in the Hindustani classical music tradition. He is a master of the santoor, a folk instrument from the valley of Kashmir. It is a type of hammered dulcimer whose strings are struck with a pair of light carved wooden mallets. Before him the santoor was regarded as only an accompanying instrument.

He is credited with single-handedly making the santoor a popular classical instrument, to the extent that the santoor and Pandit Shivkumar Sharma are synonymous. Sharma modified the Kashmiri folk instrument to make it more suitable for his classical technique, increasing the range of the instrument to three full octaves and making it capable of a smoother meend (the glissando or gliding between notes required in Hindustani classical music to emulate the human voice). He also created a new technique of playing with which he could sustain notes and maintain sound continuity.

Sharma has performed many concerts with renowned musicians such as the tabla maestro Ustad Zakir Hussain. He has also partnered the well-known flautist Pandit Hariprasad Chaurasia to form a group called Shiv-Hari for composing Hindi film music.

Shivkumar Sharma is the recipient of many national and international awards including honorary citizenship of the city of Baltimore, USA (1985)

Disc: 1
1. Raga Jhinjhoti - Sharma & Chaurasia
Disc: 2
1. Raga Kirwani - Sharma & Chaurasia

Personnel includes:
Shivkumar Sharma,
Hariprasad Chaurasia;
Pandit Bhawani Shankar (pakhawaj);
Ustad Shafaat Ahmed Khan (tabla).

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Ismael Lo - Sénégal

Posted By MiOd On Tuesday, May 28, 2013 0 comments
Ismaėl Lo - Sénégal, 2006
Alt text
For every world music enthusiast who celebrates musical cross-pollination, there’s a naysayer bemoaning the risk that the mix will only produce a watered-down lowest common denominator. Of course the enthusiasts have lots of support for their position: Youssou N’Dour’s Egypt (Nonesuch, 2004) masterfully combined Senegalese mbalax and Arabic classical music, while Thione Seck’s Orientation (Stern’s Africa, 2005) added Indian music to N’Dour’s Senegalo-Egyptian mix with equally dazzling results. Sénégal, the first album of new material by Ismaël Lo in over five years, is at least in part one for the naysayers. Lo incorporates vaguely North African elements on “Incha Allah” and vaguely South African elements on “Tass Yakar”—appealing gestures, with high production values to boot, but more of a murky international pop stew than the aforementioned records by his compatriots N’Dour and Seck. Elsewhere—on “Le Jola,” which mourns the victims of the horrific 2002 Dakar-Casamance ferry accident that claimed more lives than the sinking of the Titanic, and on “Plus je fais ci, plus je fais ça”—Lo introduces a vague reggae shtick, but without conviction. Compare this to the genuine use of reggae elements by the London-based Afro-beat band Soothsayers on their excellent Tangled Roots (Red Earth, 2006) to get a sense of how powerful this mix might be. I allude to the examples of N’Dour, Seck and Soothsayers here precisely to illustrate that cross-pollination can yield excellent results. It’s nevertheless the case that the best numbers on this record are a handful of mid-tempo mbalax tunes (“Manko,” “Jiguen”)—that is, the songs that stick closest to the Senegalese elements that Lo presumably knows best. Lo was tagged as the “African Bob Dylan” early on, because he played the acoustic guitar and the harmonica, and because of the social content of his lyrics. Sénégal marks a further step away from that musical identity, although he does play a little guitar and harmonica on this record. “Ma fille,” a sentimental father’s lament upon his daughter’s marriage, borrows the acoustic guitar riff from Oasis’s 90s hit “Wonderwall,” and it's affecting. When Lo sings “mbindane du jaam”— your servant is not a slave—on “Mbindane,” the folky setting carries a sense of political conviction. Perhaps the surest sign of what this record means for Lo’s musical development is his remake of his long-ago smash hit, “Tajabone,” a reminiscence about a children’s game, apparently. The new version has the same guitar and harmonica arrangement as the original, but Lo’s voice is a little fuller. He’s also now accompanied by an autumnal string section that brings the whole affair rather close to the Rolling Stones’s “As Tears Go By.” Which is to say, a little maudlin. Lo’s insistence on singing in Wolof on all but two tracks—not even providing French or English translations in the liner notes—vigorously counters the sappy universalism of the musical treatments and is to be applauded.

Ismael Lo possess one of the finest voices in Senegal, but he uses it sparingly. His last album of new songs was released five years back, and the one before that appeared 12 years ago. So has this been worth the wait? Well, sort of. The man once dubbed the "Bob Dylan of Africa" because of his acoustic guitar, harmonica and trenchant lyrics now sounds like a cool soul singer, with his distinctive, relaxed vocals matched against lush backing, with brass, strings and keyboards. He never quite breaks into a sweat, but his songs are for the most part a gently upbeat blend of Senegalese mbalax, reggae and ballads. The subject matter apparently covers anything from arranged marriages to democracy, but despite his fame as a lyricist, no English translation is provided.Still, it's a classy set, even if the orchestration can be annoying. His classic song Tajabone sounded better when he first recorded it 15 years ago, without the sweeping strings.

TRACK LISTINGS
01. Baykat
02. Incha Allah
03. Tass Yakar
04. Jola
05. Taar Dusey
06. Manko
07. Yaye Boye
08. Plus Je Fais Ci, Plus Je Fais Ēa
09. Mbindane
10. Wakhal
11. Ouvriers
12. Jiguen
13. Ma Fille
14. Tajabone



320 kbps; including full booklet scans

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Shankar - Nobody Told Me

Posted By MiOd On Tuesday, May 28, 2013 0 comments
In this album, Shankar displays that he is adpet at the carnatic vocal as well as the (double) violin. The alapana in Chakravakam is one of the rare of its kind. It is a sheer joy to hear Shankar improvising in this song. This goes onto show Shankar has the range of voice that suits him for carnatic music. An album of three carnatic songs - with one Tilana in Hindolam

1. Chittham Irangaayo (Ragam: Hamsadhvani / Talam: Adi)
2. Chodhanai Thanthu (Ragam: Chakravakam / Talam: Adi)
3. Nadru Dri Dhom - Tillana (Ragam: Hindolam / Talam: Adi)

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Zain Bhikha - Allah Knows

Posted By MiOd On Tuesday, May 28, 2013 0 comments
Zain Bhikha (born August 9, 1974, Pretoria, South Africa) is a nasheed artist. He has written many religious albums concerning Islam. He was born to parents Rashid and Mariam Bhikha. The only son, with three sisters; Zubida, Aysha and Nasima, Zain showed a keen interest from a young age in entertaining his friends and family with his beautiful singing.

01. Allah Knows (feat. Dawud Wharnsby Ali)
02. Flowers Are Red (feat. Dawud Wharnsby Ali & Muhammad Bhikha)
03. My Mum is Amazing (feat. Naadira Alli)
04. Pizza in his Pocket (feat. Rashid Bhikha & Naadira Alli)
05. Lay Down Your Head
06. Can't You See (feat. Rashid Bhikha & Abdul Malik Ahmad)
07. Slowly Slow
08. Can't Take it with You (feat. Dawud Wharnsby Ali & Abdul Malik Ahmad)
09. Deen il Islam
10. A Child's Prayer (feat. Rashid Bhikha & Naadira Alli)
11. Flowers Are Red - Voice Only (Dawud Wharnsby & Muhammad Bhikha)
12. My Mum is Amazing - Voice Only (feat. Naadira Alli)
13. Pizza in his Pocket - Voice Only (feat. Rashid Bhikha & Naadira Alli)
14. Lay Down Your Head - Voice Only 3:23 $0.99 Buy MP3
15. Can't You See - Voice Only (feat. Rashid Bhikha & Abdul Malik Ahmad)
16. Slowly Slow - Voice Only
17. Can't Take it with You - Voice Only (feat. Dawud Wharnsby Ali & Abdul Malik Ahmad)
18. Deen il Islam - Voice Only
19. A Child's Prayer - Voice Only (feat. Rashid Bhikha & Naadira Alli)

192 kbps including Covers

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Arabic Cafe

Posted By MiOd On Tuesday, May 28, 2013 0 comments
Arabia conjures up images of sprawling deserts, oasises studded with groves and date palms and the commotion of local bazaars. After sundown people gather in the local cafés to drink coffee and enjoy the growing cool of the evening. From the haunting voice of Oum Kalthoum to the awe-inspiring sounds of Hamdi Ahmed and Amal Murkus, The Rough Guide To Arabic Café is a musical journey through this alluring part of the world.

Following hot on the trail of 'Rough Guide to North African Cafe,' this album continues Rough Guide's move towards themed or mood CDs (as opposed to their earlier releases which tended to cover specific geographic regions). This time around, we're treated to a broader sweeping coverage of the modern Arabic and Arabic-fusion music scene, transporting you to smoke-filled coffee houses in Cairo and Damascus, cutting edge night clubs in Dubai and Beirut, and the bustling streets of Jerusalem, Marrkech and Baghdad. So what sets this CD apart from the dozens of other 'Arabic lounge' type albums out there, some of which are indeed pretty good? Well the selections for one. Rough Guide compilations tend to feature outstanding selections, living up to their name, and this particular release is no exception. The old guard of Arabic music appears alongside cutting edge new artists, all of whom you'll be fascinated to search for more releases from. Not only that, but they tend to emphasize local artists, as in guys who actually come from Palestine, Saudi Arabia, Egypt, Algeria, Syria and other Arab states.

Long time fans of Arabic music will appreciate the inclusion of familiar names on this album, such as the grand lady of Egyptian song herself, Oum Kalthoum, the 'Oriental piano' of Maurice el Medioni, and yet another remix of Rachid Taha's 'Ya Rayah' (itself a cover). Theres also a cover of Fariuz's 'Kifak Inta' by Marwan Mesho and the Salatin el Tarab Orchestra (who appear on the 'Think Global: Bellydance' album). And Lebanon's Ghada Shbeir (who won a BBC 3 World Music Award in 2007) uses her astounding voice to showcase the beautiful art of muwashshah. But the real treat comes from the more recent artists, some of whom were new even to myself. Several talented Egyptian artists, such as Fatma Zidan and Mohammed Roshdi, the police orchestra sound of Habib Shehadeh Hanna and Reem Talhami, and an incredibly cool Gypsy tinged cover of the old Andalusian 'Lamma Bada' by Lebanese crooner Tony Hanna and the Yugoslavian Gipsy Brass Band (who give it a suitably Balkan feel). Even Nubian music gets represented by Mahmoud Fadl, and a collaboration between Salamat and Les Musiciens du Nil!

All in all, each track is quite atmospheric, from lush Egyptian orchestras to Balkan Gypsy bands, from the melodic sound of the 'oud to haunting female vocals, from Nubian drumming to techno-remixed rai. Unlike the previous 'Rough Guide to North African Cafe' (which it nonetheless complements quite nicely) this album tries to cover the entire Arabic world, but with a strong emphasis on Egypt and the Mashreq So if you are a fan of Middle Eastern music, this CD will be right up your alley. So pop this CD into your player, grab a cup of qahwa and light up your shisha... this album is the next best thing to being in Cairo, Aleppo, Algiers, Casablanca, Beirut or Jiddah. I really recommend you buy this CD alongside it's counterpart, 'Rough Guide to North African Cafe,' especially if you want even MORE Arabic sounds. And check out some of the other artists who appear on this CD. You will fall in love with them all!

01. Amal Murkus: Ya Oud
02. Amer Ammouri: Al Mashdal
03. Salamat Meets les Musiciens du Nil: Kabadin
04. Habib Shehadeh Hanna, feat. Reem Talhami: Kool Shee Helo
05. Ghada Shbeir: Ahwah Kamaran
06. Hamdi Ahmed: El Dawhaa
07. Fatma Zidan: Ger Aach
08. Mohammed Roshdi: Soukara
09. Louwi Tnnari: Baad Al Khisam
10. Oum Kalthoum: Ayoha Al Raïeh El Moged
11. Mahmoud Ahmed: Ana Wehabibi
12. Maurice el Madioni: Ahla Ouassala
13. Latif el Idrissi: Ya Rayah
14. Marwan Mesho/Salatin el Tarab Orchestra: Kifak Inta: Kanoun Taksim
15. Ghazi Abdel Baki, feat. Yasmina Joumblat: Ya Habibi
16. Tony Hanna & The Yugoslavian Gipsy Brass Band: Lamma Bada

320 kbps including Front Cover & PDF

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Oum Kalthoum - Robayat El Khayam, Chams El Assil

Posted By MiOd On Tuesday, May 28, 2013 0 comments
Om Kalsoum - Robayat El Khayam (1950), Chams El Assil (1955) / Sono 124

1. Robayat El Khayam / Khayyam's quatrains (36:50)

composer: Riad al-Sunbati
lyrics: Ahmad Rami
genre: Qasidah
maqaam: Rast
dialect: Fossha (Classical Arabic)
alt. transcriptions: Sam'atu sawtan, Ruba'iyat al-Khayyam
recorded live 1950, Egypt:

2. Chams Al Assil (37:26)

composer: Riad al-Sunbati
lyrics: Bayram al-Tunsi
genre: Ughniyah
maqaam: Hijaz kar
alt. transcriptions: Shams il-asil
recorded live 1955, Cairo Egypt

192 kbps including Covers

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Ravi Shankar - Chants Of India

Posted By MiOd On Monday, May 27, 2013 0 comments
On CHANTS OF INDIA, Ravi Shankar's music mixes both Western and Eastern styles to evoke the beauty of the collective human experience. We hear an Indian chorus of singers and a western chorus of singers working in synergy, and stringed instruments (violins, cellos, etc.) mixed in with Indian instruments such as the sitar, tanpura, and others.

George Harrison plays a little guitar and percussion as well as producing the album. One of Shankar's most experimental and daring projects, CHANTS OF INDIA is an impressive effort. The use of mantras adds power and passion to the already hypnotic compositions.

1997 release on Angel, produced by George Harrison andfeaturing 16 chants. The 16 booklet features black & whitephotos, plus the original manuscript of each chant, plusEnglish translations & summaries for each as well.

Mantram is Ravi Shankar's effort to set Sanskrit chants from ancient Hindu scriptures to music, and the result is a captivating mix of chant and music. Produced by George Harrison, this collection of mantras and prayers from the Vedas, Upanishads, and other scriptures powerfully transports the listener to a place of peace where it's possible to be one with the universe. It's as if a heavy, enveloping cloak of serenity falls from the dark, floating sounds of cello opening the CD. Shankar employs flute, tamboura, harp, and other instruments to accent the mighty "Om" thread that weaves itself through the cloth of this album, bringing together deep, ominous voices with delicate, earthly instruments. One looking for extensive Shankar sitar might be disappointed, but the beauty of this artist's creativity and spiritual vision sweeps one away into a larger, more meaningful listening experience.

01. Vandanaa Trayee
02. Omkaaraaya Namaha
03. Vedic Chanting (One)
04. Asato Maa
05. Sahanaa Vavatu
06. Poornamadah
07. Gaayatri
08. Mahaa Mrityunjaya (Om Triambakam)
09. Veenaa-Murali (Music Interlude)
10. Geetaa (Karmanye Vadhikaraste)
11. Mangalam (Tala Mantra)
12. Hari Om (Music Interlude)
13. Svara Mantra
14. Vedic Chanting (Two)
15. Prabhujee
16. Sarve Shaam

Personnel includes: Ravi Shankar (vocals, sitar); George Harrison (vocals, acoustic guitar, autoharp, glockenspiel, vibraphone); Chandrashekhar (vocals, violin); Kalyan (violin); Terry Emery (percussion).

Entertainment Weekly (08/01/97, p.74) - "...Unlike Shankar's classical raga recordings, CHANTS is a set of short, colorfully arranged pieces, enjoyable for neophytes and devotees alike. Another jewel from a humble world-music superstar." - Rating: A-
JazzTimes (10/97, p.81) - "...basing the music on ancient Indian chants...Shankar has produced a surprisingly colorful and accessible set of 16 pieces..."

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Clara Moreno - Meu Samba Torto

Posted By MiOd On Monday, May 27, 2013 0 comments
Clara Moreno is the daughter of the famous Brazilian singer/songwriter/guitarist Joyce and composer Nelson Angelo. Born in Brazil in 1971 Moreno recalls her early musical experiences with great fondness: "Every night my mother would rehearse and we use to go to all her concerts - I grew up listening to music from an early age." Moreno's career began soon after she learned to talk, performing backing vocals in children's choirs for artists such as Milton Nascimento, Egberto Gismonti, Joyce, Originais do Samba and Trem da Alegria amongst others. In 1989, aged 18, Moreno went to study music in France and it was in Paris where she both recorded her first single and first performed solo. Here she regularly played the Lionel Hampton Jazz Club beneath the Le Méridien Etoile hotel - one of the city's most distinguished jazz venues. In 1991 at Paris' Théâtre de La Ville she appeared onstage alongside her mother. Moreno remembers her time in Paris fondly and on her new album she pays tribute to Edith Piaf, "the French singer who thrilled me most", with a wonderful cover of "Mon Manege A Moi".
Aged 23 Moreno returned to Brazil in 1994 and launched straight into a career in music, guesting on the track "Minha Gata Rita Lee" on Joyce's CD Revendo Amigos. This followed guest appearances alongside other artists such as Nelson Ângelo and Robertinho Silva. Her first solo show in Brazil was in 1995 at the Au Bar in Rio in a tribute to the famous Brazilian singer Rita Lee. In 1996, Moreno opened for Paulinho Moska at the Garota de Ipanema park in Rio and recorded her eponymous debut CD.

In 1997 Moreno went to Japan where she appeared in the Gets Bossa Nova show in Tokyo, Japan. That same year she contributed a recording of "Só Danço Samba" for the tribute to Bossa Nova CD 40 Anos de Bossa Nova which solidified her standing as a Brazilian singer in her own right. Her third album Mutante was recorded in 1999, and picked up for worldwide distribution by UK based Timewarp Distribution, her name was brought to the attention of Brazilian music fans the world over.

2002 saw the release of Morena Bossa Nova - her fourth CD where she experimented with electronic music to create an album with a contemporary take on bossa nova. It was recorded whilst Moreno was pregnant with producer Rodolfo Stroeter (the producer of Joyce's most recent CDs Just a Little Bit Crazy and Rio Bahia). "Morena Bossa Nova" featured the Norwegian keyboard player Bugge Weseltoff as well Teco Cardoso, Robertinho Silva & Nailor Proveta - all regular contributors to Joyce's recent albums.

With Meu Samba Torto Moreno felt the urge to strip things down and pay tribute to the musical heritage of the city she is from: "Bossa nova has always played a very important role in my life, and I decided to go for it with this CD and really search for the feeling of what it's like to be a "carioca". Having listened to this music all my life I had no trouble of thinking of songs to cover and my mother Joyce, suggested some nice songs, as did Celso. I feel that the album has a 60's bossa nova feeling, which is great, but at the same time, the music that we have done is up to date and reflects a modern view through the roots of Brazilian music."

Meu Samba Torto features a stellar line-up of Brazilian musicians including Moreno's mother, the legendary Brazilian singer-songwriter Joyce, and the celebrated songwriter and guitarist Celso Fonseca. It's Moreno's most personal album yet and this is something she's proud of: "The album has a certain level of spontaneity that I don't think is very common these days. With the exception of the songs arranged by Joyce, the arrangements were all decided once we all arrived in the studio. Everything was recorded live and I was lucky to be blessed with the involvement of Celso Fonseca, Joyce, Tutty Moreno, Rodolfo Stroeter, Diego Figueiredo and Ricardo Mosca - all of them very creative and stylish musicians who helped create an end result of modern music yet steeped in tradition. The album was simply constructed around guitar/bass/drums and the idea was to bring a certain degree of intimacy between myself and the listener".

Meu Samba Torto features two new compositions written especially for Moreno by Joyce ("Sabe Quem"), & Celso Fonseca ("Litorânea"). In fact with it's "live" sound, Joyce's influence runs through Meu Samba Torto. This was a challenge for Moreno: "I had never recorded a "live" album before yet as we began recording, I started to gain more and more self confidence." According to Moreno though it's not Joyce who is the most influential artist on Meu Samba Torto: "João Gilberto is the greatest influence on this album - he is the main root of the cd. I have been listening to him all my life, but during the process of creating this album, I dived deeply into his mood and I recorded many of the songs using João Gilberto's light - his inspiration was a gift to me."

Vanguard of the new bossa nova movement Celso Fonseca plays guitar and sings on three songs on the new album, and the blend of his and Moreno's voice create some of the albums highlights. There are interpretations of classic bossa nova tracks such as "Moça Flor", originally recorded by the Tamba Trio, "Vem Morena Vem", from Jorge Ben's debut album, and "Morena Boca de Ouro", made famous by the one and only João Gilberto.

01. Litoranea
02. Sabe Quem?
03. Sei La
04. Moca Flor
05. Bahia Com H
06. Morena Boca De Ouro
07. Mon Manege A Moi
08. Rosa De Ouro
09. Copacabana
10. Se Acaso Voce Chegasse
11. Meu Samba Torto
12. Vem Morena Vem
13. Ela Vai Pro Mar
14. Tenderly

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Paquito D'Rivera - Havana Cafe

Posted By MiOd On Monday, May 27, 2013 0 comments
This excellent all-round session features Paquito D'Rivera on alto, clarinet, and soprano with his sextet, which is comprised of either Fareed Haque or Ed Cherry on guitar, the great pianist Danilo Perez, bassist David Finck, drummer Jorge Rossy, and percussionist Sammy Figueroa. The program has some strong group originals (such as "Havana Cafe," "Jean Pauline," "Who's Smoking?!," and "Bossa do Brooklyn"), and the result is an often-fiery set of modern Afro-Cuban jazz. ~ Scott Yanow, All Music Guide

(01). Havana Cafe
(02). Jean Pauline
(03). The Search
(04). Look at You
(05). Improvalsation
(06). Contradanza
(07). Who's Smoking-!
(08). The Return
(09). Bossa do Brooklyn
(10). What Are You Doing Tomorrow Night-

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Carlos Montoya - The Art of Flamenco

Posted By MiOd On Sunday, May 26, 2013 0 comments
An album of discount flamenco from Carlos Montoya and a trio of other guitarists. The first half is taken up by pieces performed by the ageless Montoya and the second half performed by El Pili, Enrique Montoya, and El Nino de Alicante, along with a dancer adding the jaleos and castanets. Montoya performs excellently, as one would expect given his status in the history of flamenco. Most of the major flamenco guitar forms are covered in his nine tracks, with the exception of some alegrias and bulerias perhaps (and the cante jondo, since he's performing in a purely instrumental capacity here). As a nice excursion into other territories, he also performs variations on a tango theme to quite astounding effect, mixing the two genres into a coherent work. The second half of the album is perhaps a little less masterful in the guitar work, but portrays a slightly more traditional rendition of flamenco in its full form, with the soulful vocals taking their place (though somewhat quiet in this recording), the jaleos and claps of the other performers, and the castanets and stepping percussion of the dancer all working together to produce a full sound with the guitarists. Overall, it's not a bad album of flamenco at all, though it focuses almost entirely on the guitarists. For a fuller picture of flamenco the way its meant to be, one should perhaps look up other albums, such as Cante Flamenco or the Rough Guide album devoted to flamenco (which includes some work from Camaron and Tomatillo, among others). For a basic look at a great flamenco guitarist though, this album does well. ~ Adam Greenberg, Rovi

One of the four guitarists (with Sabicas, Mario Escudero and Juan Serrano) who in the 1960s popularised Flamenco, first in the USA and then the rest of the World.

01. Sequriya
02. Saeta
03. Variacones Por Tango
04. Zambra
05. Petenera Para Guitarra
06. Granada
07. Tanguillo Rumbeao
08. Cante Minero
09. Fandanguillo
10. Sevillanas
11. Noche Granadina
12. Bulerias De La Samaritana
13. Fandangos
14. Torremolinos
15. Zapateado De Las Campanas
16. Los Ojos Mios
17. Levante
18. Danza Egipcia
19. Temas De Huelva

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Al Andaluz Project - Deus Et Diabolus

Posted By MiOd On Sunday, May 26, 2013 0 comments
Al Andaluz Project - Deus et Diabolus

The bewitching Deus et Diabolus (God and the Devil) threads together the voices of three women: Mara Aranda, from Valencia's L'Ham de Foc; Sigrid Hausen, from Munich's medieval music group Estampie; and Iman al Kandoussi. They are accompanied by a lively ensemble of flutes, qanun, ud, saz, rabab, fiddle, nyckelharpa, hurdy-gurdy, pandera tambourines and percussion. It's an inspiring encounter between the talented musicians of L'Ham de Foc and Estampie recorded in the old Cartuja Monastery, Cazalla de la Sierra, Seville. This is sprightly music, fusing Mediterranean, Oriental and medieval moods. The ethos underpinning their reinterpretations of Arab, Jewish and Christian cantigas to the Virgin Mary, their reimaginings of sensual dances and Arabic songs, is expressed by a line from poet Ibn al-Arabi, 'Wherever the caravan may bend its steps/Love is my religion'. While each exquisite piece speaks for itself, they flow together like a song cycle embedded in a utopian view of the past as one of dialogue and peaceful co-existence between religious cultures. The 13th-century 'Cantiga de Santa Marнa' is just one breathtaking moment, transporting in the way the timbres and textures of voices and instruments interweave. The arrangements for each of the 12 songs are stunningly varied, each 'voice' jewel like, distinctly within the fabric of pieces. SongLines

Al Andaluz Project - Nassam Alaina Lhawa


[01]. Morena
[02]. A Virgen Mui Groriosa
[03]. Nassam Alaina Lhawa
[04]. Pandero
[05]. De Santa Maria
[06]. Chamsse Lachia
[07]. La Galana y el Mar
[08]. Gran Dereit
[09]. Atiny Naya - Solo Iman
[10]. Lluna
[11]. Arrachia Lfatan
[12]. Las Suegras De Ahora

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Ojos De Brujo - Vengue

Posted By MiOd On Saturday, May 25, 2013 0 comments
"Vengue" is the first record by Ojos de Brujo. It is an experimental record that blends flamenco with Latin rock, hip hop, funk and folk music, which captivated the public and critics alike.

01. Na en la nevera
02. Vacileo
03. Pa la tierra
04. Con Hambre
05. Tesoro
06. Debajo de una piedra
07. Tahita
08. Rumba Dub Style
09. No hay Jachis
10. Palabras blancas
11. Guarachas
12. Pulioretano

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Imrat Khan - Bahar of Surbahar

Posted By MiOd On Saturday, May 25, 2013 0 comments
Imrat Khan (born November 17, 1935) is a leading sitar and surbahar player. He is considered India’s leading publicly active surbahar (bass sitar) player. He is the younger brother of sitar player Vilayat Khan.

Training and early career
Imrat was born in Calcutta into a family of musicians tracing its pedigree back for several generations, to the court musicians of the Mughal rulers. His father was Enayat Khan (1895–1938), recognised as a leading sitar and surbahar player of his time, as had been his grandfather, Imdad Khan (1848–1920), before him. His father died when Imrat was a child, so he was raised by his mother, Bashiran Begum and her father, singer Bande Hassan Khan. In 1944, the family moved with rising star Vilayat Khan, Imrat’s elder brother, to Bombay where both the brothers learned extensively from uncle Wahid Khan, Enayat Khan’s younger brother. Wahid Khan was one of the greatest surbahar players of his generation and a top-level sitar player, and taught Imrat on the instruments in the family style, known as the Imdadkhani gharana (school), or Etawah Gharana, after a village outside Agra where Imdad Khan lived.

In 1952 Vilayat and Imrat moved in together in Calcutta. They performed together for many years. From the 1960s onwards, Imrat has performed and recorded solo, playing both sitar and surbahar.

1. Raag Malkauns
2. Raag Madhuvanti
3. Raag Basant Mukhari
4. Raag Saraswati

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Shivkumar Sharma - Yaman

Posted By MiOd On Friday, May 24, 2013 0 comments
Shivkumar Sharma, accompanied by Zakir Hussain on tabla, is captured on this recording at one of Stuttgart's Indian Nights concerts in 1988. This particular raga is a popular beginner's piece. This is not to belittle it. It is commonly chosen for that purpose because it offers a range of options for interpreting its shape and color that can absorb the mind for a lifetime. Shivkumar Sharma's rendition -- subtitled ‘A Concerto in Raga Yaman' -- is proof of its nourishing qualities.

Shivkumar Sharma (born 13th January 1938) is an Indian classical musician, working in the Hindustani classical music tradition. He is a master of the santoor, a folk instrument from the valley of Kashmir. It is a type of hammered dulcimer whose strings are struck with a pair of light carved wooden mallets. Before him the santoor was regarded as only an accompanying instrument.

He is credited with single-handedly making the santoor a popular classical instrument, to the extent that the santoor and Pandit Shivkumar Sharma are synonymous. Sharma modified the Kashmiri folk instrument to make it more suitable for his classical technique, increasing the range of the instrument to three full octaves and making it capable of a smoother meend (the glissando or gliding between notes required in Hindustani classical music to emulate the human voice). He also created a new technique of playing with which he could sustain notes and maintain sound continuity.

Sharma has performed many concerts with renowned musicians such as the tabla maestro Ustad Zakir Hussain. He has also partnered the well-known flautist Pandit Hariprasad Chaurasia to form a group called Shiv-Hari for composing Hindi film music.

Shivkumar Sharma is the recipient of many national and international awards including honorary citizenship of the city of Baltimore, USA (1985)

Shivkumar Sharma - Santoor
Zakir Hussain - Tabla
Shefali Nag - Tamboura

Performer: Pandit Shivkumar Sharma, Ustad Zakir Hussain

1. Yaman - alap, jor, jhala
2. Yaman - gats in chaartaal ki savari & teentaal

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U. Shrinivas - Mandolin Maestro

Posted By MiOd On Thursday, May 23, 2013 0 comments
U. Shrinivas - Mandolin Maestro

Shrinivas was born in Palakol in West Godavari district in Andhra Pradesh on February 28, 1969. As a very young boy Shrinivas was a normal child in school except that he seemed to have an ear for music. Then one day, when he was only six years old, his parents came home to find him playing on his father’s mandolin. Inspired by the boy’s interest in music, Satyanarayana taught his son what little music he knew, and Shrinivas began playing Carnatic music on the mandolin.

Shrinivas got his first big break in Gudivada in the Krishna district of Andhra Pradesh, at the age of nine during the Sri Thyagaraja Aradhana festival.

Thereafter his career surged ahead. The Indian Fine Arts Society in Madras afforded him the first major metropolitan concert during the musical festival in Dec 1981. Shrinivas soon felled all before him like a hurricane, as sabha after sabha vied with each other to present this prodigy with the mandolin - an unheard of phenomenon in the halls of Carnatic music. A worldwide concert tour followed.

At the West Berlin Jazz Festival in 1983, he was privileged to give a repeat performance of his mandolin, which was telecast live by German TV. At the invitation of the Sydney Tamil Sangham, he went to Australia in 1984, and then to South East and South West Asia, the USA and Canada. At the Festival of India in Paris, he was allotted one hour to play on the instrument. But when the hour ended, the audience forced the organizers to extend his recital by another hour. Such is the irresistible pull of Shrinivas’ art. Leading organizations vied with each other to shower him with honors and titles. In 1983, the Music Academy, Madras, honored him with the “Special TTK Award”

1. Swami Dayachuda (Varnam) (Raga: Kedara Gowlai; Tala: Adi)
2. Sree Ganapathini (Raga: Sowrashtram; Tala: Adi)
3. Evarura Ninuvina (Raga: Mohana; Tala: Misra Chapu)
4. Renuka Devi (Raga: Malahari; Tala: Jampa)
5. Sarasa Samaja (Raga: Kapi Narayani; Tala: Adi)
6. Pattividuvaradu (Raga: Manjari; Tala: Adi)
7. Swara Raga Sudha (Raga: Shankarabharanam; Tala: Adi)
8. Thillana (U. Srinivas) (Raga: Yamuna Kalyani; Tala: Misra Chapu)

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Amelia Cuni - Sings Dhrupad

Posted By MiOd On Wednesday, May 22, 2013 0 comments
"Amelia Cuni is one of the very few Westerners to have mastered the complexities of Indian vocal music...It is all more remarkable that she sings dhrupad, a style which is usually the exclusive province of men...Cuni is an excellent performer who explores the subtle nuance of each raga in extended alap sections and metered compositions. Her acute rhythmic control and fine sense of intonation lead many inspired, beautiful, and surprising musical moments." - Songlines
"A clear, and typically multicultural, highlight was a captivating conceptual setting of Indian dhrupad vocalizing by Italian Amelia Cuni, in collusion with electronic manipulation by Werner Durand and elaborate projections by Uli Sigg...alternately sensual, bold, and contemplative." - Los Angeles Times

"This is 'crossover' at its most fruitful, in which irregular dance rhythms come tumbling out against the nasal yet dusky singing of the Italian-born Cuni, whose voice makes a good case for reincarnation." - The Times

1. Ālāp Rāga Shuddha Todī
2. Cautal Rāga Shuddha Todī
3. Dhamār Rāga Shuddha Todī
4. Ālāp Rāga Nat-Bhairav
5. Cautal Rāga Nat-Bhairav

Drums [Pakhawaj] – Ravishankar Upadhyay
Mixed By – Amelia Cuni, Stefano Musso
Tambura – Marianne Svasek
Vocals, Tambura – Amelia Cuni
Written-By – A. Cuni*, B. Mallik* (tracks: 2, 3, 5)

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Amelia Cuni & John Cage - 18 Microtonal Ragas

Posted By MiOd On Wednesday, May 22, 2013 0 comments
"Amelia Cuni is one of the very few Westerners to have mastered the complexities of Indian vocal music...It is all more remarkable that she sings dhrupad, a style which is usually the exclusive province of men...Cuni is an excellent performer who explores the subtle nuance of each raga in extended alap sections and metered compositions. Her acute rhythmic control and fine sense of intonation lead many inspired, beautiful, and surprising musical moments." - Songlines
"A clear, and typically multicultural, highlight was a captivating conceptual setting of Indian dhrupad vocalizing by Italian Amelia Cuni, in collusion with electronic manipulation by Werner Durand and elaborate projections by Uli Sigg...alternately sensual, bold, and contemplative." - Los Angeles Times

"This is 'crossover' at its most fruitful, in which irregular dance rhythms come tumbling out against the nasal yet dusky singing of the Italian-born Cuni, whose voice makes a good case for reincarnation." - The Times

"Amelia Cuni is one of only a handful of Western women to seriously study dhrupad, an austere style of classical North Indian music; whatever the technical specs of her vocal control, she sounds like a master to me, but with a vulnerability that undercuts the machismo that is mastery's trap...At times, these layers of voice and image began to flutter like rose petals in the winds of time, and without budging from his seat, this reviewer simply left the hall." - The Wire

The world premiere of Solo for Voice 58 by legendary American avant-garde composer John Cage. Italian-German dhrupad singer Amelia Cuni is the ideal interpreter, trained in classical Indian singing but also able to improvise on ragas in a new music context. Cuni has developed from Cage's score of eighteen raga scales a remarkable and unique interpretation that belongs to both the classical Indian and Western experimental traditions. Percussionists Ray Kaczynski and Federico Sanesi utilize both Eastern and Western instruments, and composer/performer Werner Durand performs both traditional Indian drones and specially-designed electronics.

Long regarded by the musical establishment as a fringe figure, John Cage (1912-1992) is widely regarded today as an anchor in the sea of modern music. Born in Los Angeles, Cage traveled to Europe in his late teens, then studied with Henry Cowell in New York and Arnold Schoenberg in L.A. In the late 1940's, Cage became interested in Eastern philosophies, especially Zen but also Hinduism, which influenced the composition of the work on this CD. In addition to composing, John Cage was a lecturer and performer in both Europe and the US, and wrote several books on his theories. Today much of his music, once considered bizarre, has entered the mainstream of contemporary culture.

1. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 1
2. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 4
3. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 14
4. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 8
5. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 3 (superimposed with Solo for Voice 72 with electronics)
6. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 5
7. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 6
8. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 9
9. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 2
10. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 10 (superimposed with Solo for Voice 58, overdubs)
11. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 12 (superimposed with Solo for Voice 3)
12. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 11 - Raga 13 - Raga 15 - Raga 7
13. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 16 6:06 $0.99 Buy MP3
14. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 18 (superimposed with Solo for Voice 21 with electronics)
15. Song Books, Volume 1: Solos for Voice 58 (realization by A. Cuni): Raga 17

Electronics – Werner Durand (tracks: all)
Percussion – Federico Sanesi (tracks: all), Raymond Kaczynski (tracks: all)

Dhrupad singer Amelia Cuni's interpretation of John Cage's experimental ragas

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Ali Akbar Khan, Nikhil Banerjee - Signature Series Vol.4

Posted By MiOd On Tuesday, May 21, 2013 0 comments
"To me this record was made by these artists to create a joyful experience for the audience.”

I first obtained this recording on vinyl almost 30 years ago after seeing Nikhil Banerjee perform live on three occasions. He is the only performer I have witnessed live to be able to evoke tears in the eyes of his audience. As much as I love the recordings that both Nikhil-ji and his teacher Ali Akbar Khan have recorded separately, I become speechless in trying to describe the beauty of this particular recording, the only jugalbandi, or duet, recording that I know of made by master and disciple. The warmth and affection that these musicians had for each other is evident upon listening to both pieces on this album/CD. This recording also presents the most sublime and rewarding example of duet call and response that I have ever had the pleasure to listen to. This recording gets a rating of 10 out of five, yes, 10 out of 5! It is the best of the best. Enjoy! Footnote: While we can no longer hear Ali Akbar Khan and Nikhil Banerjee perform together live, two superb musicians in the lineage of Khan-sahib and Nikhil-ji, sarodist Rajeev Taranath and sitarist Partha Chatterjee, occasionally perform together. Don't miss any opportunity to hear them either in solo or duet performance.

Personnel: Ali Akbar Khan (sarod, sitar);
Nikhil Banerjee (sitar);
Mahapurush Misra (tabla).
Additional personnel:
Pandit Mahapurush Misra (tabla).

1. Rag Manj Khammaj - Ustad Khan Ali Akbar/Nikhil Banerjee
2. Rag Misra Mand - Ustad Khan Ali Akbar/Nikhil Banerjee

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Shivkumar Sharma - Sunset Melody On The Santoor

Posted By MiOd On Tuesday, May 21, 2013 0 comments

Shivkumar Sharma (born 13th January 1938) is an Indian classical musician, working in the Hindustani classical music tradition. He is a master of the santoor, a folk instrument from the valley of Kashmir. It is a type of hammered dulcimer whose strings are struck with a pair of light carved wooden mallets. Before him the santoor was regarded as only an accompanying instrument.

He is credited with single-handedly making the santoor a popular classical instrument, to the extent that the santoor and Pandit Shivkumar Sharma are synonymous. Sharma modified the Kashmiri folk instrument to make it more suitable for his classical technique, increasing the range of the instrument to three full octaves and making it capable of a smoother meend (the glissando or gliding between notes required in Hindustani classical music to emulate the human voice). He also created a new technique of playing with which he could sustain notes and maintain sound continuity.

Sharma has performed many concerts with renowned musicians such as the tabla maestro Ustad Zakir Hussain. He has also partnered the well-known flautist Pandit Hariprasad Chaurasia to form a group called Shiv-Hari for composing Hindi film music.

Shivkumar Sharma is the recipient of many national and international awards including honorary citizenship of the city of Baltimore, USA (1985)

1. Shree - Alap And Jod
2. Shree - Zhala Gat

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The Most Relaxing: Feel Romance

Posted By MiOd On Thursday, May 16, 2013 0 comments
Track Listings
--------------
(01). Sorry, I Love You
(02). Indecisive
(03). From Now On (OST Winter Sonata)
(04). Destiny (OST Full House)
(05). So In Love
(06). By You Side
(07). Pray
(08). I Believe
(09). Praise of Love
(10). Ave Maria
(11). The Day We Met
(12). Remember
(13). You Can’t Say
(14). Sorry, I Love You (Singing)
(15). Indecisive (Singing)

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Music of the Himalayas

Posted By MiOd On Wednesday, May 15, 2013 0 comments
Rahul Kumar is the son of Shivkumar Sharma (of Call of the Valley fame) and is a world-renowned poet of the santoor in his own right. In fact, the two masters often play together. Until recently, the santoor, a trapezoid-shaped hammered zither, with its hundred-plus strings and curved wooden mallets, was considered appropriate only for Kashmiri folk tunes. But over the past half-century (a blink of an eye along India's ancient timeline), its rippling, metallic glissandos and arpeggios have become accepted even in rarified Indian music circles. Like his father, the younger virtuoso has solved the problem of how to create rounded, soothing tones from an essentially staccato medium. Heard live before a nearly silent audience, Rahul's deceptively delicate touch strikes fire while his fervent improvisations breathe deep and blossom. The listener becomes blissfully passive, like a traveler so enchanted by the journey that she no longer cares about reaching her destination

Rahul Sharma is a master of the santoor which is a similar instrument to the hammered dulcimer. Sharma is the son of Shivkumar Sharma and both father and son are renowned for their skill on this instrument. They have transformed it from a Kashmiri folk item to a respected instrument in Indian classical circles. Rahul Sharma recorded "Music of the Himilayas" in 2002. The album is a beautiful live recording of intricate and soul-stirring instrumental music that evokes the atmosphere of the breathtaking Himilayas. The album brings together expertly both traditional folk and classical influences.

1. Maqam-E-Navaa (Sufyana Musiqi)
2. Melody Of Kashmir
3. Melody Of Jammu Kashmir
4. Melody Of Kashmir In Contemporary Music

Percussion [Pakhawaj, Hudka, Ghungroo] – Pandit Bhawani Shankar
Santoor – Rahul Sharma
Tabla – Ustad Shafat Ahmed Khan

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GUNDECHA BROTHERS - TEARS ON A LOTUS (GAOTI/SHIVRANJANI)

Posted By MiOd On Wednesday, May 15, 2013 0 comments
GUNDECHA BROTHERS
TEARS ON A LOTUS (GAOTI/SHIVRANJANI
Umakant and Ramakant Gundecha are one of India’s leading exponents of the Dhrupad style of music. They are among the most active young performers of Dhrupad in Indian and international circuits. Born in Ujjain in Central India, both were initiated into music by their parents.

Gundecha Brothers received conventional university education and learned the Dhrupad vocal art under the renowned Dhrupad vocalist Ustad Zia Fariduddin Dagar and also with Ustad Zia Mohiuddin Dagar (the distinguished performer of Rudra Veena) in Dhrupad Kendra Bhopal.

The Gundecha Brothers have sung great Hindi poetry by Tulsidas, Kabir, Padmakar, Nirala in Dhrupad style . They have recorded about 25 cassettes and CDs by H.M.V, Music Today, Rhythm House, Senseworld Music, Sundaram Records, IPPNW Concerts Berlin, Navras

and Audio Rec London. They have also sung for many television channels in India and have been broadcasted on British, U.S., German and French, Japan and Australian Radio as well. As well as being an integral part of all of India’s prestigious music festivals, the Brothers have also performed at many important international music festivals and institutions in about 25 countries in Europe, U.S.A, Australia, Japan, Egypt, Singapore, Bangladesh, U.A.E and Hongkong.

They have received M.P. Govt. Scholarship from 1981 to 1985, National Fellowship from 1987 to 89, Ustad Allauddin Khan Fellowship in 1993, Sanskriti Award in 1994 and Kumar Gandharva Award in 1998 by Govt. of Madhaya Pradesh and Dagar Gharana Award by Mewar Foundation in 2001. Rajat Kamal - National Film Award for the Best Music Direction ( 2006)

1. Raag Gaoti (Alap)
2. Raag Gaoti (Alap)
3. Raag Gaoti (Alap)
4. Raag Gaoti (Alap)
5. Raga Gaoti (Dhrupad)
6. Raag Shivranjani (Alap)
7. Raag Shivranjani (Dhrupad)

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Flamenco: Sara Baras: Sabores "DVD"

Posted By MiOd On Wednesday, May 15, 2013 0 comments
Contemporary flamenco great Sara Baras showcases her dancing abilities in this fantastic concert performance that was filmed over the course of several shows at the Nuevo Apollo Theatre in Madrid, Spain. Highlighted by guest appearances by Jose Serrano and Luis Ortega, this release is certain to captivate you. 108 min. Standard; Soundtrack: Spanish; Subtitles: none; interviews; "making of" documentary. In Spanish; no subtitles.

If you want to know what Flamenco is all about, buy the DVD titled Sara Baras, Sabores. She is absolutely wonderful. Everyone in her company is simply amazing and the passion they portray sends the audience on an imaginary trip to mystical Spain. She is marvelous, and Luis Ortega and Juan Serrano are very worthy partners in this production. Both of them are beautiful dancers with superior abilities. They are magnificent. I love to watch someone this good. Everything about the show is great. The coreography is so beautiful and fits with all the dancers she has in her company. She surrounds herself with the highest quality performers. Every dancer is a soloist, but each one works well together in a group, which is sometimes a difficult thing to do. In this show each dancer is showcased while dancing in beautiful lines. I just can't say enough about this spectacular show and everyone should buy it that wants to see really beautiful Flamenco done in a perfect way. Every time I watch it I want to practice for the rest of my life and am reminded of all the different reasons that I love Flamenco so much. I love the music, the dancing, the singing, the castanets, and the spirituality. It all works so well together in this show, it's a show full of artistic genius and passion. This DVD overflows with Duende, and is a passionate rendition of true, pure, and beautiful Flamenco.

Part 1 | Part 2 | Part 3 | Part 4

Most Relaxing: Feel Best

Posted By MiOd On Tuesday, May 14, 2013 0 comments
Most Relaxing: Feel Best, Asian collection of rock/new age artists from the US and Japan, featuring Himegami, Togi Hideki, Kitaro, Adiemus, Enigma, Michael Nyman, Ryuichi Sakamoto and more.

(01). Time to say goodbye - Solo Version
(02). Kamigami no uta (Bulgarian Version)
(03). New Aaia
(04). Bolero
(05). Beyond the century
(06). Syukumei (Piano Solo Version)
(07). Return to innocence
(08). Lady's Tango
(09). The heart saks for pleasure frist the promise (Piano Version)
(10). Sugisarishi eien no hibi
(11). The shek tering sky theme (Piano Version)
(12). Tsubame ni naritai
(13). Oukina kawa to chisana koi
(14). CROATIAN RHAPSODY
(15). Shima-uta
(16). La valse D’amelie
(17). Kimi wo shinjite (Violin version)

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Stephan Micus - Desert Poems

Posted By MiOd On Tuesday, May 14, 2013 0 comments
Austere and ecstatic, multi-instrumentalist Stephan Micus's 15th album is a meditation on both the topography and idea of the desert. Unobstructed, ancient, and open, the compositions evoke a harshly beautiful state of being that exists outside of human perceptions of time. Micus attempts to touch this deeper reality by combining an arsenal of instruments and musical styles ranging from the Asian steppes to the Sahara and the mountains of the Republic of Georgia. A quiet restlessness unites the performances. "Adela" overdubs 22 dilruba Indian string instruments in a piece that strangely suggests modern chamber music. "Shar Khar Venakhi" transposes a 13th-century polyphonic choral piece from the Caucasus to massed Indian and Turkman strings with windblown, forlorn effect. Every instrument on this impressive disc is played by Majorcan resident Micus, who also sings with monastic sobriety on "Contessa Entellina" and in Japanese Noh theater style on "For Yuko" accompanied by clay flowerpots and shakuhachi. Many artists attempt to fuse vernacular instruments of the world with a sense of the distant past, but few strike the chilling note of solitude that pervades this clear-headed work.

I consider Micus to be one of the preeminent composers of our time, Genius in its truest and brightest meaning. I live at the western edge of the High Desert of the Basins and Ranges and have come to love the desert more than I had ever imagined possible. Capturing the stark beauty of stark places is one of the most difficult things which can be done - one must turn inward to see outward, the further inward you are able to see, the greater the panorama of your outer vision. While others have commented that this is 'more of the same' and that this is 'not a bad thing' - I have to disagree - in the stark places of the world, just as in the stark places of the Soul - the beauty, the Mystery, lies in the subtle differences. I own all albums and while I may find some more favorite than others, each has it's own subtle beauty. I would rank this album within the top five, and possibly the top three of my favorite Micus albums. The Subtle Beauty, just as the subtle difference, is there if you have the ear to hear. A very good album from an exceptional creator.

1. The Horses Of Nizami
2. Adela
3. Night
4. Mikhail's Dream
5. First Snow
6. Thirteen Eagles
7. Contessa Entellina
8. Shen Khar Venakhi
9. For Yuko

FLAC (EAC Rip): 220 MB | MP3 - 320 kbs: 120 MB | Booklet Scans

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STEPHAN MICUS - SNOW

Posted By MiOd On Tuesday, May 14, 2013 0 comments
"To me, snow is one of the most beautiful of all natural phenomena", says Stephan Micus, who has been living in Spain for many years. "It's closely associated with lasting impressions of my original home in Bavaria, especially the long moonlit walks I used to take when I lived in the Alpine foothills. I've always regarded snow as the essence of magic, even more so today now that there's so little of it and the glaciers are disappearing." Micus's music has always drawn on impressions of nature and the countryside. The inspiration for his new album came largely from a long study tour through extremely isolated regions of Armenia, Nagorno-Karabakh and the mountains of the Caucasus.
As always, Micus had one object in mind: to learn new instrumental or vocal techniques from traditional masters. In 2006 he paid a long visit to Yerevan to study the duduk, an Armenian double-reed instrument of apricot wood. Snow presents it as the main musical protagonist, featuring it in unprecedented combinations with African, Asian, South and North American and European instruments, including an especially expressive duet, 'Midnight Sea', with the Bavarian zither. The human voice plays a leading role, sometimes magnified into a mighty choir. Over the last 12 years Micus has travelled four times to Georgia to study its traditional art of choral singing. It's also his first album to feature a South American instrument, with two solos on the charango, a plucked instrument from Peru resembling a ukulele.

Egypt, Armenia, Burma, China, Germany, Gambia, Mali, Peru, Tibet and USA: the list of countries where the instruments on Snow originated makes it clear that the unique, imaginary 'world music' that Micus has been playing for the last 35 years (he was born in 1953) is possible in this form only at the present moment: "Fifty years ago I couldn't travel as much as I do today and in another 50 years many of the instruments may no longer exist as many musical traditions are threatened with extinction."

Personnel:
Stephan Micus - (douss'n gouni, duduk, maung, gongs, tibetan cymbals, Bavarian zither, sinding, steel string guitar, hammered dulcimers, charango solo, nay, bass duduk)

1. part 1 - Snow: 2 doussn' gouni, duduk, maung, gongs, tibetan cymbals
2. part 2 - Midnight Sea: bavarian zither, duduk
3. part 3 - Sara: sinding, steel-string guitar, 3 hammered dulcimers, 22 voices
4. part 4 - Nordic Light: charango solo
5. part 5 - Almond Eyes: 11 voices, steel-string guitar, maung
6. part 6 - Madre: duduk, doussn' gouni, maung, gongs
7. part 7 - For Ceren and Halil: charango solo - 8 charangos, duduk, nay, sinding, 5 hammered dulcimers
8. part 8 - Brother Eagle: bass duduk, 2 sinding, 15 voices

WV (EAC Rip): 210 MB | MP3 - 320 kbs: 130 MB | Booklet Scans

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Farid Farjad - Anroozha Vol.[1-5]

Posted By MiOd On Tuesday, May 14, 2013 0 comments
Farid Farjad is an Iranian descended American violin virtuoso. He was born in Tehran (Iran) in 1938. Farjad, who has profound knowledge on Persian Folk Music, also worked on Classical Western Music with violin. His works on Western Classical Music have had a large influence on the development of Persian music. He left Iran in 1978 and became citizen in the USA.

Farjad, who is known as one of the greatest violin virtuosos in the world, has released an album of five series: An Roozha I, An Roozha II, An Roozha III, An Roozha IV and An Roozha V. (An Roozha means: Those Days in Persian)
A collective album named “Golha Orchester” has also been released among his pieces.

Farid Farjad, 1938 yılında Tahran’da doğdu. 1966 yılında Tahran Müzik Konservatuar’ında klasik müzik üzerine mastır yaptı. Bundan sonraki dönemde Tahran Senfoni Orkestra’sında önemli görevler aldı.Fars Halk Müziği’nde çok derin bir birikime sahip olan Farjad, keman ile batı klasik müziği üzerinde de çalışmalarda bulundu.Batı klasik müziği üzerindeki çalışmaları Fars müziğinin gelişiminde büyük öneme sahiptir.

Şu anda dünya üzerindeki en iyi keman virtüözlerinden biri olan Farjad’ın An Roozha 1,An Roozha 2, An Roozha 3,An Roozha 4 olmak üzere dört albümlük albüm serisi yayımlandı.Ayrıca sanatçının Golha orkestrası adlı kolektif bir albümde de eserleri yayımlandı.

Farid Farjad - Anroozha Vol.1
Track Listings
--------------
01. Dokhtare Booyr Ahmady
02. Shekare Ahoo Va Jane Maryam
03. Simin Bary
04. Ahange Azari
05. Goleh Sang
06. Mara Beboos
07. Daryache Noor
08. Tak Derakhti
09. Sari Galin
10. Shaneh

Farid Farjad - Anroozha Vol.2
Track Listings
--------------
01. Sahel Va Darya
02. Shabhaye Tehran
03. Amad Nobahar
04. Soghati
05. Ahange Mahali
06. Ghoghaye Setaregan
07. Bazgashteh
08. Leyli Menal
09. Mahali
10. Nefrin
11. Aylirigh
12. Mahali Dar Na Jan

Farid Farjad - Anroozha Vol.3
Track Listings
--------------
01. Hasood
02. Magnoone
03. Arshin Malalan
04. Bordi Az Yadam
05. Shab Bood Biaban Bood
06. Dele Divaneh
07. Masti
08. Bekhatereh Tou
09. Agrabe Zolfe Kaje
10. Ahange Armani

Farid Farjad - Anroozha Vol.4
Track Listings
--------------
1. Taghatam Deh
2. Goleh Pamchai
3. Beyade Gity
4. Pari Kojaee
5. Robabeh Jan
6. Sangeh Khara
7. Safar
8. Amad Amma
9. Sooratgare Naghashchin

Farid Farjad - Anroozha Vol.5
Track Listings
--------------
01. Golha
02. Soltane Ghalbha
03. Esfehan
04. Daveegh
05. New Sin
06. Ashegh Shodam Man
07. Goftegoo
08. Ashegham Man
09. Kordi
10. Bahare Delneshin

320 kbps including Covers

Part 1 | Part 2 | Part 3 | Part 4

Balkan Gypsies

Posted By MiOd On Tuesday, May 14, 2013 0 comments
The Balkan gypsy groups provide some of the most intoxicating styles of music available on the world music market. This compilation, one of only a few that can stand in the same light as some of the more recent albums put out by the bands themselves, shows off both the breadth and the depth of the genres. The album opens with a pair of Romanian pieces, one featuring the masterful Taraf de Haïdouks. Two of Serbia's greatest stars, Boban Markovic and Saban Bajramovic, each provide a piece for the collection. Bulgaria is represented by the team of two of its greatest exponents in Ivo Papasov and Yuri Yunakov, known for their mixes of jazz, rock, and wedding music with the traditional styles. The up-and-coming Fanfare Ciocarlia has a rousing piece in combination with Angelite (aka Mystere des Voix Bulgares), and contemporary ursari-come-hip-hoppers Shukar Collective provide a beat-heavy piece. Armenia is represented by Richard Hagopian, there are North African, Macedonian, and Greek ideas, and even klezmer motives make themselves known. The album is an extremely mixed bag, but by hitting on many of the important recent groups it makes a decent starter album for someone curious about Rom music styles in the current day.

01. Mahalageasca - Mahala Rai Banda
02. Cintec De Dragoste Si Joc - Taraf De Haidouks
03. Mundo Cocek - Boban Markovic Orkestar
04. Lenorije Chaje - Ivo Papasov
05. Di, Murgule, Di - Nikolae Simion
06. Opa Cupa - Saban Bajramovic
07. Lume, Lume - Fanfare Ciocarlia
08. Pranvera - Vangelis Vasiliou
09. Romano Oro - Esma Redzepova
10. To Tsantiraki - Eleni Vitali
11. Espresso - Taraf De Metropulitana
12. Felix Kolo - Boban Markovic Orkestar
13. Kadife - Omar Faruk Tekbilek
14. Taraf - Shukar Collective
15. Sofyisky Kjuchek - Ibro Lolov
16. Rom - Nikos Kypourgos
17. Tsiganka Sam Mala - Vera Petrovic

Flac (EAC Rip): 390 MB | MP3 - 320 kbs: 160 MB | Front Cover

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Fairuz - Chillout Classics

Posted By MiOd On Monday, May 13, 2013 0 comments

How lucky Fairuz is -at least career wise- to have had Ziad (after Assi) composing for her. I would never relate to Fairuz if it wasn't to his music. Ziad is heavily influenced by Jazz, something very clear in his work (including Fairuz'). Starting from "Wahdon" and "Maarifti Feek" albums, Fairuz entered a new era, and thank God she did.
This album is a collection from those works... starting from the latest "Wala Keef" and ending up with "wahdon"
I was glad to see the two instrumentals (Habbaytak variations): The First (Oula) and The Second (Thania).
Overall very fine work

01. Sabah Wu Masaa
02. Ana Fazaani
03. Sallimleh Alayh
04. Dak Khilkeh
05. Mish Kayen Hayek T'koun
06. Oghniat Al Wadaa
07. Kifak Inta
08. Fi Shi Am Biseer
09. Indi Thika Feek
10. Khaleek Bil Bait
11. Al Oula
12. Marfti Feek
13. Madirit Nseit
14. Al Thanieh
15. Al Bosta
16. Wahdon

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Ustad Amjad Ali Khan - Moksha

Posted By MiOd On Monday, May 13, 2013 0 comments
"There is no essential difference between classical and popular music. Music is music. I want to communicate with the listener who finds Indian classical music remote." Amjad Ali Khan
Alt text

Moksha is something of an odd affair as far as Ustad Amjad Ali Khan's work is concerned. Though Khan -- the reigning master of the sarod -- is usually more of a traditionalist, this album has eight short tracks rather than one or two long ones. Here, he's pumping out short, fresh compositions based on a set of lesser-known ragas and/or folk music from Bengal. Despite the lack of the long contemplative alaps that are so great, the compositions are still worth hearing. What listeners do get to hear on the album is a set of sparser mood pieces that can still be expressive in their brevity, and a nice showcase of Khan's athleticism on the sarod. The sound moves from light, positive aesthetics through more reflective moods and back. Overall, it's a nice album for newcomers, but a little overly light for those already attuned to Indian classical music. ~ Adam Greenberg, All Music Guide

Moksha is a gem of an album. We have one of the most revered masters of the sarod -- a stringed instrument somewhat smaller than a sitar and derived from the Afghan rubab -- making his music greatly more accessible to audiences outside India not by fusing the music with rock or entertaining other combinations but by the simple expedience of playing shorter ragas (mostly around six or seven minutes long).

The result is pacy, immediate and compelling music driven by a wonderful tabla accompaniment supplied by Rashid Mustafa and defined by Amjad Ali Khan's staccato attack on the Sarod's neck -- for which he is famous. Amjad Ali Khan recalls that his father never played ragas for longer than 20 minutes to avoid repetition and he defends his use of shorter pieces as being complete in themselves.

Songlines memorably called Amjad Ali Khan, "One of the 20th century's greatest master of the sarod..." and the story of the instrument is impossible to retell without relating the history of this musician's family, who are largely responsible for the importation, development and popularity of the instrument in India today.

"This album gives the listener a variety of ragas, including some folk music from two beautiful states of India -- West Bengal and Himachal Pradesh," says Amjad Ali Khan of these eight original compositions. Interestingly, despite composing all the ragas, on two of the tracks, the sarod is played by one of his two sons, Amaan and Ayaan Ali Bangash.

The album ends with the title track, 'Moksha', named after the moment described in Hindu theology when the individual becomes free of the cycle of reincarnation and joins the Supreme Being. This relatively extended raga features the great sarod master singing for the first time on record and marks a fitting end to a series of pieces of music that effectively capture a wide and compelling range of emotions expressed through wonderful compositions.

(01). Sandhya
(02). Vignaraja
(03). Calcutta City
(04). Ebaadat
(05). Maa Durga
(06). Atma
(07). Himaalaya
(08). Mokasha

Alt text

Apee (EAC Rip): 430 MB | MP3 - 320 kbs: 190 MB | Booklet Scans

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Shivkumar Sharma - Selection

Posted By MiOd On Monday, May 13, 2013 0 comments
Shivkumar Sharma (born 13th January 1938) is an Indian classical musician, working in the Hindustani classical music tradition. He is a master of the santoor, a folk instrument from the valley of Kashmir. It is a type of hammered dulcimer whose strings are struck with a pair of light carved wooden mallets. Before him the santoor was regarded as only an accompanying instrument.

He is credited with single-handedly making the santoor a popular classical instrument, to the extent that the santoor and Pandit Shivkumar Sharma are synonymous. Sharma modified the Kashmiri folk instrument to make it more suitable for his classical technique, increasing the range of the instrument to three full octaves and making it capable of a smoother meend (the glissando or gliding between notes required in Hindustani classical music to emulate the human voice). He also created a new technique of playing with which he could sustain notes and maintain sound continuity.

Sharma has performed many concerts with renowned musicians such as the tabla maestro Ustad Zakir Hussain. He has also partnered the well-known flautist Pandit Hariprasad Chaurasia to form a group called Shiv-Hari for composing Hindi film music.

Shivkumar Sharma is the recipient of many national and international awards including honorary citizenship of the city of Baltimore, USA (1985)

1. Raga - Des - Madhyalay - Teen Tal - Drut - Ek Tal
2. Thumri - Mishra Pilu
3. Thumri - Mishra Bhairavi
4. Bhairavi Gat

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