Damon Albarn - Mali Music

Posted By MiOd On Thursday, October 31, 2013 0 comments
With Mali Music it's possible at last to see how Damon Albarn's foray into Africa has worked out: most members of what Albarn's friend Michael Nyman has dubbed the "world-music police" would probably be happy to give it a qualified thumbs-up. If some of the "Western" tracks are little more than an undifferentiated blur (no pun intended), the Malian ones are a delight. But it's what lies between that's interesting: what Albarn and his colleagues Afel Bocoum , Toumani Diabate, and Ko Kan Ko Sata Doumbia have achieved is best described as "the music of place." In "Kela Village" you can almost see the celebrations going on amid the chirruping of birds and the croaking of frogs; "Bamako City" comes with bags of local atmosphere. This CD was constructed in layers--after Albarn had edited down his 40 hours of raw material, he created collages with new melodies and beats and then sent his tapes back to Mali, where extra vocals and instrumental work were added. We thus get music that actually feels layered: a typical track will start with a simple groove on kora or ngoni, then it will acquire a voice, then some electronic effects, and will finally be enveloped in a seductive miasma of local atmosphere. Apart from some nifty Malian balafon and string work, there's nothing here of instrumental note (Albarn's instrument is a battered melodica), but that doesn't matter, because in this game the final effect is the thing. Disregard Albarn's pretentious guff about this representing the "Africanization of Western music" (where does the boy imagine jazz came from?) but do regard this CD as a healthy omen.

Collaboration Between Damon Albarn (Gorillaz, Blur) and Some of the African Nation of Mali's Finest Musicians Including Afel Boucoum, Toumani Diabate, Lobi Traore, Kasse Mady Diabate and Mali's Only Female Ngoni Player, Ko Kan Ko Sata Doumbia.

damon albarn's latest exploration of world music has taken the forn of 'mali music', an enjoyably subtle mix of native traditions and modern formats, blended with a strong ear for style. infused with a warm,languorous funk and rich, varied instrumentation, the majority of the tracks evoke startlingly vivd emotions. on 'sunset coming on' in particular, the sense of hope and struggle grows out of a goldenly melancholic intro, creating a voyage of sorts. perfectly fitting with the african influence as well as albarn's traditional rock background, it simply shines. the entire album is very mature, touching many points of intensity and inspiration. definitely not something for people who only know albarn from blur's 'song two' (woo-hoo), but for those willing to take a chance and explore his beautiful interpretation of malian sources....and for those in search of the perfect dinner party music.

1. Spoons
2. Bamako City
3. Le Relax
4. Nabintoue Diakite (Live)
5. Makelekele
6. Djembe
7. Tennesse Hotel
8. Niger
9. 4am At Toumani's
10. Institut National Des Arts
11. Kela Village
12. Griot Village
13. Le Hogon
14. Sunset Coming On
15. Ko Kan Ko Sata Doumbia On River
16. Les Ecros

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Cesaria Evora - Nha sentimento

Posted By MiOd On Thursday, October 31, 2013 0 comments
With who knows how many albums made in her 45-year career, famously melancholy Cesaria Evora sounds almost perky on this new offering. Concentrating on the uptempo coladera rhythm, the music gains an unusual, but interesting feel from the use of an Egyptian string section, and despite a stroke last year, the velvet-voiced Evora sounds in fine form.

The soothing, enchanting, mellow sounds of Cesaria Evora, never ceases to amaze me and no matter what this lady sings, she sounds great! The music of Cabo Verde is quite diverse and this album is a great example of this. Many of the songs on this CD have Latin or Middle Eastern rhythms, and tend to be more uptempo in comparison to many of her previous albums, although there are slow and midtempo tunes on the CD as well.

Many of these uptempo tunes make you want to get up and dance and are some of my favorite including: "Serpentina," "Verde" Cabo di Nhas Odjos," Ligereza," "Zinha," "Techom Frio," "Holandesa Co Certeza," I also ejoyed some of her mid tempo tunes, such as "Fatalidade"," Repopsta Menininhas de Monte Sossego," and "Parceria E Irmandade." And of course her melancholy type songs with beautiful words, great instrumentation and orchestration such as: "Sentimiento," "Novia de Ceu," "Mam' Bia E So Mi" is what attracted me to her sound from the very beginning; an easy laid back sound that takes you on a journey to another place.

Cesaria Evora's music can take you anywhere and can be played at any time for anyone. Even if you don't understand the words, she sings with such passion and emotion, you can't help but get in to it because good music speaks to our emotional core and crosses all barriers.

I highly recommend adding this latest CD to your listening collection. For those who are familiar with Cesaria's music, it is a slight step away from her traditional Cape Verdean "morna" sound, but it is not so far away that you can't relate to it. Her music is simply, captivating. I should also add that there is nothing like seeing this barefoot chanteuse perform live!!!

1. Serpentina
2. Verde Cabo Di Nhas Odjos
3. Vento De Sueste
4. Ligereza
5. Zinha
6. Fatalidade
7. Esperana Di Mar Azul
8. Sentimento
9. Tchom Frio
10. Noiva De Ceu
11. Holandesa Co Certeza
12. Resposta Menininhas De Monte Sossego
13. Mam'bia E So Mi
14. Parceria E Irmandade

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Amjad Ali Khan - Raga Abhogi

Posted By MiOd On Thursday, October 31, 2013 0 comments
Classic Raaga Collection - Raga Abhogi
Ustad Amjad Ali Khan (b. 1945) is an Indian classical musician, playing the sarod.

He was born on 9th October 1945 in Gwalior as Masoom Ali Khan, the youngest of six children, to Gwalior court musician Hafiz Ali Khan and Rahat Jahan. His is the sixth generation of musiciansin his family (which claims to have invented the sarod). His personal name was changed by a sadhu to Amjad.

Khan was educated at home, and studied music under his father; he performed on the sarod from a young age, and performed publicly from 1963 until the early 2000s

He was awarded India’s second highest civilian honor, the Padma Vibhushan, in 2001.

1. Raga Abhogi - Aalap Jod Jala - Gat
2. Raga Abhogi - Gat

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Ronu Majumdar - Morning Mood

Posted By MiOd On Wednesday, October 30, 2013 0 comments
Morning Mood
Ronu Majumdar & Abhijit Banerjee
Ronu Majumdar is a noted flautist in the Hindustani Classical Music tradition.Born in Varanasi on June 20, 1963, Ranendranath Majumdar, popularly known as Ronu was trained under his father and later learned vocal music with the late Pt.Laxman Prasad Jaipurwale at whose behest he reverted to the flute. In 1981, Ronu Majumdar won the first prize at the All India Radio competition.

The bansuri flute was brought into the fold of Hindustani Classical music barely half a century ago by Pt.Pannalal Ghosh; earlier it was a folk
instrument.

Today, Ronu Majumdar is among the more popular musicians on this instrument, and is especially popular with the younger generation for his creative improvisations. An energetic and indefatigable performer, Pt.Majumdar’s music is rooted in the Maihar gharana which has thrown up musicians of eminence like Pt.Ravi Shankar and Ustad Ali Akbar Khan. Apart from his concerts all over India in different music festivals, he also participated in the Festival of India in Moscow and Asiad ‘82 in New Delhi. He has toured extensively in Europe, the USA , Canada, Japan, Singapore, Thailand, Australia, and the Middle East.

His speciality is the “Shank Bansuri”, a 3-ft long flute of his own design, which adds an extra dimension at the lower scales.Pt. Majumdar is also known for a number of collaborations and jugalbandis with
other leading instrumentalists. An innovative composer, he has also composed several pieces in a fusion of
Hindustani classical with other forms of music, particularly Western Classical Music,including the projects Carrying Hope (Music Today), A Traveller’s Tale, Song of Nature (Magnasound), Kal Akela Kahan (Plus Music)

1. Raga Nat Bhairav (Alap) [feat. Abhijit Banerjee]
2. Raga Nat Bhairav (Gat In Rupak & Teental) [feat. Abhijit Banerjee]
3. Raga Shobhavari (Alap & Gat In Teental) [feat. Abhijit Banerjee]
4. Raga Shobhavari - Alap, Gat In Teental

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Ustad Ahmed Jaan Thirakhwa - Master Musicians of India

Posted By MiOd On Wednesday, October 30, 2013 0 comments
Ustad Ahmed Jaan Thirakhwa (Tabla):
Master Musicians of India,
From the Archives of Sangeet Natak Akademi
About the CD
Sangeet Natak Akademi and Saregama India, two venerated institutions that have recorded the

music of India for posterity, bring for the world a series of priceless recordings of Indian

music from the archives of the Akademi. This series will be as educative as entertaining. A

truly valuable collection.

The presentation has been re-arranged and divided into five tracks, namely.


1. SILSILA:
Ustad Ahmed Jaan Thirakhwa talks about (with demonstration) the

traditional system of presenting Tabla solo.

2. GHARANA:
Elaboration on the specialities of 4 Gharanas. [Delhi,

Ajrada, Lucknow and Farrukhabad]

3. SWAROOP:
Demonstrating the Thekas of 19 Taals and the appropriate

Laya of presentation.

4. NIKAAS:
Addressing the technique of playing different syllables

[Bols] of Tabla and compositions [Bandishes]

5. TALEEM:
Ustad Ahmed Jaan Thirakhwa talks about his training during

formative age and demonstration of some special compositions.

Table : Ustad Ahmed Jaan Thirakhwa
Sarangi : Ahmed Raza
Edited By : Shri Govind

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Shastriya Syndicate - Syndicated

Posted By MiOd On Tuesday, October 29, 2013 0 comments
If you want to experience a great collaboration of Indian creativity steeped in a rich heritage which is emotionally expressive, vibrant and delightfully exciting look no further than the Shastriya Syndicate.

Sense World Music has always been at the forefront when it comes to the development of new musical projects and the crossing of boundaries, so when Purbayan brought his Shastriya Syndicate to us we felt it was a project that could excite

1. Warrior at Dusk - Raag Puriya Dhanashri
2. Lehar - Raag Desh
3. A Meditatvie Midnight - Raag Malkauns
4. A Journey Within - Raag Pahadi
5. Flowering Of Love - Vasanta (Carnatic)
6. Avartan - Percussion Solo
7. Lehar Remix - Raag Desh

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Veena Sahasrabuddhe - Vani

Posted By MiOd On Tuesday, October 29, 2013 0 comments
Veena Sahasrabuddhe is a Hindustani Classical Khayal singer of the Gwalior Gharana school.

She comes from a family of musicians; her father, the late Pundit Shankar Shripad Bodas, was a disciple of Pundit Vishnu Digambar Paluskar. Veena started her musical education with Kathak dance. She was initiated into Khayal singing by her father and her brother, the late Pundit Kashinath Shankar Bodas. Padmashri Balwantrai Bhatt, the late Pundit Vasant Thakar, and the late Pundit Gajananbua Joshi have also contributed to her education.

The style she has created for herself retains the fundamental values of Gwalior Gharana while borrowing somewhat from Kirana and Jaipur gharanas. Apart from Khayal, she is sought after for her rich repertoire of bhajans.

She has sung at all the prestigious venues and occasions including Tansen Samaroh in Gwalior and Sawai Gandharva in Pune. At the Vokalfestival in Stockholm and at the Voices of the World festival in Copenhagen she represented Indian Classical Voice. She has released recordings on many leading labels. She has been awarded the Uttar Pradesh Sangeet Natak Akademi Award for the year 1993.

Besides being a popular performer, she is also a composer and a teacher; many of her recordings include her own compositions. She has taught voice at institutions as well as privately. For two years between 2002 and 2004 she was Adjunct Professor at the Indian Institute of Technology, Bombay.

Raga Bhimpalasi
1. Alap
2. Khyal In Vilambit Teentall
3. Khyal In Madhya Laya Teentaal
4. Tarana In Drut Teentaal

Credits
Harmonium – Sudhanshu Kulkarni*
Tabla – Sanjay Deshpande
Tambura – Sadhana Paigankar, Swati Natekar
Vocals – Veena Sahasrabuddhe

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Pt . Ashesh Bandopadhyay - Rare Sound Of Esraj

Posted By MiOd On Monday, October 28, 2013 0 comments
Rare Sound Of Esraj Pandit Ashesh Bandopadhyay Information,Rare Sound Of Esraj Pandit Ashesh Bandopadhyay is a Hindustani album by singers Hindustani and others.Rare Sound Of Esraj Pandit Ashesh Bandopadhyay contains 1 songs Jaunpuri Gat Pt Ashesh Bandopadhyaya which are available for download or playing on blugaa.com for free in HD quality. The songs of Rare Sound Of Esraj Pandit Ashesh Bandopadhyay are Jaunpuri Gat Pt Ashesh Bandopadhyaya,Hindustani Songs,Download Rare Sound Of Esraj Pandit Ashesh Bandopadhyay,Rare Sound Of Esraj Pandit Ashesh Bandopadhyay Hindustani Songs,You can download all 1 songs of Rare Sound Of Esraj Pandit Ashesh Bandopadhyay album by Hindustani on blugaa.com or listen to all 1 songs of Rare Sound Of Esraj Pandit Ashesh Bandopadhyay album by Hindustani in HD quality online.

1. Jaunpuri (Gat) - 22m 02s - Pt . Ashesh Bandopadhyaya
2. Bihag (Alap & Gat) - Dhun Kaharwa - 14m 59s - Pandit Ashesh Bandopadhyay
3. Alap And Gat In Tritaal & Dhun In Kaharwa - 7m 19s - Pt . Ashesh Bandopadhyaya

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The Rough Guide To - Afrobeat Revival

Posted By MiOd On Monday, October 28, 2013 0 comments
Afrobeat is the funky African dance groove crafted by Nigeria's Fela Kuti. New generations worldwide celebrate his enduring legacy to proclaim: Music is the weapon of the future.

What can be said about the legendary Tony Allen, the bebop-informed rhythm machine, that has not already been said? Fela Kuti once stated that, ‘without Tony Allen, there would be no Afrobeat’. Black Voices now stands as a milestone in the Afrobeat revival and Tony’s second album Home Cooking was made with the help of the Unsung Heroes production squad and featuring the likes of Ty, Damon Albarn and Eska.

The Kuti family has been making news in the world of music for some time now, but it may be Fela’s youngest son, Seun Kuti, who carries the torch for pure, unadulterated Afrobeat. Having been a member of Fela’s later band since the age of 9, the gravel-voiced Seun’s overall sound is closest to his father’s. The current unit is, in fact, Fela’s own group, Egypt 80, with alto saxophonist Lekan Animashaun as musical director. ‘Think Africa’ was recorded in Lagos in 2006 with Pidgin English lyrics concerning government corruption. Keyboardist, arranger, vocalist and educator Dele Sosimi’s ‘Afro-groove’ is quite a jazzy number, and in the musical spirit of Fela. In fact, Dele and his childhood friend Femi Kuti were leading players in Egypt 80, joining in 1979. In 1986 Sosimi and Femi left to form their own band, Femi Anikulapo-Kuti and the Positive Force, of which Dele was the musical director and bandleader.

Credited with introducing a new generation to Afrobeat is the Brooklyn-based collective, Antibalas, who has been making waves recently, delivering the soundtrack to the new musical, Fela!, showing Off Broadway. Also emerging from the contemporary Afrobeat revival scene in NYC is Kokolo. Their irresistible groove, conscious lyrics and powerful horns made such an impression that More Consideration became the stand-out bonus disc to accompany the Rough Guide compilation – allowing the listener to dig deeper into Africa’s greatest dance groove.

Brooklyn-based multi-instrumentalist and vocalist Toli Almasi founded Femm Nameless, an all-female group that is a welcome tonic to the most frustrating thing about the Afrobeat movement: a male-centric view of the world. ‘Ibajebe’ asks “What If” – what if the order were turned upside down, what if we had the courage to unite and ask the tough questions, see each other’s reflection in one another’s eye? We could challenge the status quo, question authority, fight injustice, eradicate inequality. Fela’s lyrics certainly commented on power dynamics, but Toli’s fearless questioning makes new statements about that subject in a feminine voice that carries a universal message.

Afrobeat is the funky African dance groove crafted by Nigeria's Fela Kuti. New generations worldwide celebrate his enduring legacy to proclaim: Music is the weapon of the future.
Artists include: Tony Allen, Antibalas, Seun Kuti & Egypt 80, Chicago Afrobeat Project, Femm Nameless, Kokolo, Dele Sosimi, Mr. Something Something and Ikwunga The Afrobeat Poet, Akoya Afrobeat Ensemble & The Superpowers

Disc: 1
1. TONY ALLEN: Crazy Afrobeat
2. ANTIBALAS: Government Magic
3. SEUN KUTI & FELA'S EGYPT 80: Think Africa
4. CHICAGO AFROBEAT PROJECT: Jekajo
5. FEMM NAMELESS: Ibajekbe (What If)
6. KOKOLO: Trouble Come, Trouble Go
7. DELE SOSIMI: Ojoro
8. MR SOMETHING SOMETHING AND IKWUNGA THE AFROBEAT POET: Di Bombs
9. AKOYA AFROBEAT ENSEMBLE: Fela Dey
10. THE SUPERPOWERS: Abbey Rockers #1
Disc: 2
1. KOKOLO: Mister Sinister
2. KOKOLO: Mama Don't Want No Gun
3. KOKOLO: Everybody (tryin to get by)
4. KOKOLO: Root To The Fruit
5. KOKOLO: Late Night, Closed Eyes
6. KOKOLO: More Consideration
7. KOKOLO: Democrazy
8. KOKOLO: Trouble Come, Trouble Go
9. KOKOLO: Candela
10. KOKOLO: Gimme YaYa

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Lang Lang - The Best And Rarities

Posted By MiOd On Sunday, October 27, 2013 0 comments
Lang Lang - The Best And Rarities
Track Listing
-------------
Disc 1
[01].Liszt Liebestraum No.3
[02].Sun Yiqiang Spring Dance
[03].Yellow River Concerto. II. Ode To The Yellow River
[04].Rachmaninov Rhapsody On A Theme Of Paganini,Variation 18
[05].Chopin Nocturne In D Flat Major, Op. 27, No.2
[06].Haydn Piano Sonata In C Major, III. Allegro Molto
[07].Schubert Wanderer Fantasia, IV. Allegro
[08].Rachmaninov Piano Concerto No.2, II. Adaio Sostenuto
[09].Lu Wencheng Autumn Moon On A Calm Lake
[10].Tan Dun Staccato Beans From Eight Memories In Watercolor
[11].Tchaikovsky Piano Concerto No.1, III. Allegro Con Fuoco

Disc 2
[01].Ren Guang Colourful Clouds Chasing The Moon
[02].Beethoven Sonata In D Major For Piano Four Hands Op.6 (I)
(Duet With Christoph Eschenbach)
[03].Beethoven Sonata In D Major For Piano Four Hands Op.6 (II)
(Duet With Christoph Eschenbach)
[04].Rachmaninov Prelude In G Minor, Op.23, No.5
[05].Liszt Sonetto 104 Del Petrarca
[06].Satie Gnossienne No.1
[07].Alexandre Desplat River Waltz
[08].Mike Oldfield Harbinger

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Nu Jazz 2

Posted By MiOd On Sunday, October 27, 2013 0 comments
Track Listings
--------------
Disc 1:
01. Re - Jazz Feat. Lissa Bassenge - All I Need
02. Stacey Kent & Jan Lundgren Trio - Street Of Dreams
03. Quantic Feat. Alice Russell - The Sound Of Everything
04. Jefferson - Nobody But Him
05. Povo - Uam Uam
06. Llorca - Indigo Blues
07. Nutropic Feat. Stephane Belmondo - We've Got It!
08. Diesler - Sandcastles
09. Earl Zinger - Who Killed Saturday Night
10. Marco Di Marco & Nathan Haines - Walking In St. James' Park
11. Benjamin Devigne - Ocre
12. Slow Train - Inna City Woman(Varano Remix)
13. Micatone - That's The Way It Goes
14. Metropolitan Jazz Affair - Drifting Swing(Rnb Mix)
15. St Germain - Deep In It

Disc 2:
01. Fertile Ground - Yellow Daisies
02. Kinny & Horne - Sacred Life
03. Tosca - Pyjama
04. Matthew Herbert Feat. Dani Siciliano - Suddenly
05. Deyampert - Held Him First
06. Jazzanova Feat. Clara Hill - No Use
07. Platnum - Greatest
08. Verna Francis - Rimes
09. Jumbonics - (You Little) Jezebel (Diesler Mix)
10. Beatfanatic - Ripped Of Like Jazz
11. Bing Bang Feat. Jessica Lauren - Clouds
12. Benny Sings - Get There
13. Beat Assaillant - Hard Twelve (The Payout)
14. Tm Juke - High Rise
15. Nathan Haines - Impossible Beauty

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Nu Jazz 1

Posted By MiOd On Sunday, October 27, 2013 0 comments
Track Listings
--------------
Disc 1:
01. Paolo Fedreghini - Please Don't Leave (The Essential Mix)
02. Bobby Hugues Combination Ft Karin Krough - Karins Kerma
03. Slow Train - Naturally
04. Metropolitan Jazz Affair - Yunowhathislifeez (Motor City Mix)
05. Koop Ft Yukimi Nagano - Summer Sun (Original Version)
06. Duran Y Garcia - Round Midnight
07. Jazzanova - Coffee Talk (Yukihiro Fukutomi Remix)
08. Nicola Conte - Fuoco Fatuo (Performed By Koop)
09. Infracom Presents [re-Jazz] - Quiet Night(Nicola Conte 'out Of The Cool' Version)
10. Zimpala - Doo You Bop
11. Mo'horizons - Hit The Road Jack (Pe Na Estrada)
12. Zuco 103 - Q Baiano

Disc 2:
01. Kruder & Dorfmeister - Black Baby
02. Nuspirit Helsinki - Trying (Butti 49 Nu-Niveau Mix)
03. Vert - Original Oddstep (Revised By Grand Unified)
04. Jet Set Productions Feat. Jo Laundy - Style
05. Briskey - Conchita's Cabine
06. Bugge Wesseltoft - Change
07. Shaun Escoffery - Breaking Away (Koop Remix)
08. The Underwolves - Bird Song (Earthbound Remix)
09. Dominique Dalcan - The Look Of Love
10. Dysh & Oscar Presents Duologic - To Fall By The Way Side
11. Ashley Slater - Private Sunshine
12. Gotan

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Kirstine Sand - Det Dansende Par

Posted By MiOd On Saturday, October 26, 2013 0 comments
Det dansende par (Go! Danish Folk)
Debut CD by a fine young Danish fiddler, playing traditional Danish music witha lot of verve, joy and energy. The measure of respect she has already gathere din Demnark is evident in the list of guests who agreed to join her on this recording: Rasmus Zeeberg (guitar), Nikolaj Wamberg (double bass), Andreas Tophøj (violin), Charlotte Støjberg Scmidt (piano), Louise Støjberg (vocal), Kirstine Elise Pedersen (cello), Ditte Fromseier Mortensen (viola, violin).

* 1. Svejtrit / Fra Crianlarich til Lille / Session på Egypt Cottage Efter Rasmus Nielsen / Kirstine Sand
* 2. Storm / Enkeliska Efter Rasmus Storm / Finsk efter Petri Prauda
* 3. Rewentlow / Hun er sød, hun er blød Efter Rewentlow/ Otto Mortensen
* 4. Frørup Vals Efter Rasmus Nielsen
* 5. Fredericia / Pirvals Efter Rasmus Nielsen
* 6. En Yndig og Frydefuld Sommertid Trad.
* 7. Æ Lam / Murkey Trad. Fanø / Efter Rasmus Storm
* 8. Det Dansende Par Kirstine Sand
* 9. Fyen Rundt / Verden rundt Efter Rasmus Nielsen/ Kirstine Sand
* 10. Victoria Kirstine Sand
* 11. Kræn Tong / Russisk Kontra Trad.
* 12. Hil dig frelser og forsoner C. C. Hoffmann

Kirstine Sand grew up in a home filled with folk music; her grandfather played the accordion and her brother played the violin. She started on the violin herself when she was 6 years old after curiously watching many of her brother’s violin lessons. After a few years she started playing for folk dancers and has since then stayed interested in traditional folk music.

In 2001 she started her professional education at the Carl Nielsen Academy of Music, Funen, Denmark. At first she studied music pedagogy, but after a few years she changed her major to folk and music specifically. She has received lessons from the folk musician Peter Uhrbrand, who is originally from the Danish Island of Fanø.

Through various projects with musicians from the UK, Kirstine became interested in Scottish folk music and in 2005/06 she studied a year at the University of Newcastle. There she mainly received lessons from Catriona MacDonald from the Shetland Islands. In May 2007, Kirstine finished her education from the Carl Nielsen Academy of Music.

The band is built around the violin player Kirstine Sand. She is accompanied by Andreas Tophøj, violin, Rasmus Zeeberg, guitar, and Nikolaj Wamberg, double-bass. The repertoire is traditional Danish folk music as well as Kirstine’s own compositions.

Andreas studies at the Carl Nielsen Academy of Music of Funen, and will study at The Berklee College of Music, Boston, in 2007/08. He also plays in the bands Zar and Basko, and in Tophøj/Hockings/Graubæk.

Rasmus Zeeberg was educated from The Royal Danish Academy of Music majoring in classical guitar. He also plays in both folk music and pop bands like Zar, Henrik Jansberg Band and Hush.

Nikolaj Wamberg studies at the Carl Nielsen Academy of Music, Funen majoring in the double-bass. Besides playing with Kirstine Sand, he also plays with the folk music band Pørtner’s Komplot.

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Kocani Orkestar meets Paolo Fresu and Antonello Salis

Posted By MiOd On Saturday, October 26, 2013 0 comments
Kocani Orkestar meets Paolo Fresu and Antonello Salis
Italian jazz musicians Paolo Fresu and Antonello Salis join Kocani Orkestar on stage for a no holds barred workout.

Recorded live in Ravenna, Foligno, and Roma, Italy.

In Macedonia, Koçani plays for a variety of ritual and celebratory events for every stage of life. Rich patrons hire Koçani to play outside the hospital upon the birth of the baby; later most communities hire live music for the baby's naming ceremony. Muslim communities also use duvaçki orkestar for circumcision celebrations. They also play for all aspects of wedding events, from agreement ceremonies, engagements, to all segments of the wedding ceremonies. Some segments of the Macedonian population hire duvaçki orkestar to play for funeral processions and burials. Outside of ritual events, duvaçki orkestars such as Koçani also perform at special banquet evenings and small coffeehouses (kafic).

Kocani Orkestar comes from the city of Kocani, in the new Republic Of Macedonia (ex-Yugoslavia). Performed by two trumpets, three tubas, saxophone, clarinet, zurla (traditional oboe) and percussion, their style of music is aptly described in their region as Romska Orientalna Musika - 'Rom' meaning 'Gypsy'.

Biography Kocani Orkestar - Gipsy Brass Band

It is a potent mixture of powerful brass band sounds, Turkish/Bulgarian rhythms (including characteristic asymetrical time signatures such as 7/8, 9/8 etc., which are sometimes called 'Aksak' in traditional Turkish music), and Eastern-style solos which are at the same time very skillful, inspired and wild.

Biography Paolo Fresu

Paolo starts studying the trumpet at the age of eleven with his hometown Local Band.

After different musical experiences, in 1980 he discovers Jazz and starts playing professionally in 1982 recording for RAI under the guide of M° Bruno Tommaso and attending Seminaries at Siena Jazz.

In 1984 he graduates in trumpet at Cagliari Conservatory and in the same year he wins "RadioUno jazz", "Musica jazz" e "RadioCorriere TV" as Best Italian Jazz Talent.

In 1990 he wins "Top jazz" price with the review ‘Musica Jazz’ as best Italian musician, best group (paolo Fresu Quinet) and best record (Arrigo Polillo price for "Live in Montpellier").

In 1996 he wins the best European musician with one of his compositions for 'Académie du jazz' of Paris and the prestigious "Django d’Or" as best European Jazz Musician and in 2000 he is nominated Best Internationa Musician.

These are only the first of a series of awards that continue up to present.

Professor and responsible of various national and international institutions, Paolo has performed in each continent with the most important names of afro-american music of the last 30 years: Franco D'Andrea, Giovanni Tommaso, Bruno Tommaso, Tiziana Ghiglioni, Enrico Rava, Antonello Salis, Enrico Pieranunzi, Giorgio Gaslini, Gianluigi Trovesi, Aldo Romano, Glen Ferris, John Taylor, Kenny Wheeler, Palle Danielsson, Jon Christensen, Gerry Mulligan, David Liebman, Dave Holland, Richard Beirach, John Zorn, John Abercrombie, Helen Merril, Ralph Towner, Richard Galliano, Michel Portal, Trilok Gurtu, Jeanne Lee, Gunther Schüller, Paul McCandless, Jim Hall,Lew Soloff, Uri Caine, Gil Evans Orchestra, Toots Thielemans, Omar Sosa, Carla Bley, Steve Swallow, Andy Sheppard, Nguyen Le ecc.

He has recorded nearly three hundred records some in his name, others with Michael Nyman, Evan Parker, Farafina, Ornella Vanoni, Alice, Gunther Schüller, Negramaro, Stadio, ecc., and others cooperating in "mixed" projects…Ethnic Jazz Music, World Music, Contemporary Music, Ancient Music, ecc.

He is artistic director of Berchidda Festival "Time in jazz", and Jazz Seminaries in Nuoro.

He has often been guest in orchestras such as 'Grande Orchestra Italiana', French National Jazz Orchestra, NDR of Hamburg German Radio and the Italian Instabile Orchestra.

He has also coordinated many multimedia projects, cooperating with actors, dancers, painters, sculptures, poets, ecc., and has written musics for films, documentaries, viedeos, ballets and theatre pieces.

At present the is in involved in numerous projects, which take him all over the world for more than 200 concerts a year.
Lots of his productions have been awarded in Italy and abroad.
He lives between Paris, Bologna and Sardegna and directs the Cultural Association Time in Jazz in Berchidda, with which he has organized the prestigious festival since 1998.

Biografia Antonello Salis

Antonello Salis born in Villamar, a small village in the south of Sardinia, on February 28th 1950. Self taught, he started playing accordion at the age of seven and later approached to the piano.In the '70s joined several rock bands playing Hammond organ.
In 1973 he formed the "Cadmo" trio, then turned into a quintet with alto-saxophonist Sandro Satta and trombone-player Danilo Terenzi.
Since 1978 he performs piano and accordion solos.

He took part in many studio sessions and played with a number of musicians in Italy and abroad including Massimo Urbani, Enrico Rava, Paolo Fresu, Roberto Gatto, Riccardo Fassi, Pino Minafra, Paolino Dalla Porta, Gérard Pansanel, Lester Bowie and the Art Ensemble Of Chicago, Don Cherry, Don Pullen, Billy Hart, Ed Blackwell, Billy Cobham, Han Bennink, Nana Vasconcelos, Cecil Taylor, Pat Metheny, Michel Portal and many others.

He recorded so far 4 solo albums: "ORANGE JUICE, NICE FOOD", "SALIS!", "QUELLI CHE RESTANO" and "PIANOSOLO", produced by CAM Jazz.
In 1993 he joined the "Quartetto Nuovo", a quartet of accordion-players which also starred Richard Galliano, Marcel Azzola and Gianni Coscia.

During his career Salis worked on theatrical projects (Remondi and Caporossi, Sant'Arcangelo Festival), played music for modern dance acts (Roberta Escamilla Garrison, Teri Weikel) as well as he partecipated in film festivals (Venice and Taormina, amongst all) and played in various Italian films' soundtracks. He appears and plays accordion along with french guitarist Gérard Pansanel in Eric Rohmer's "Autumn Tale".

Besides he recorded with several italian pop singers and rock bands.
He played in many important festivals in Europe and America: Umbria Jazz, Roccella Jonica, Sant'Anna Arresi, Berchidda, Clusone, Noci, Ravenna, London, Bath, New York, Chicago, Moscow, Paris, Montreux, Nice, Le Mans, Madrid, Sao Paulo, Rio De Janeiro, Stockholm, Turku, Oslo, North Sea, Saint Louis of Senegal, Mexico City and many others.

Musicians:
Paolo Fresu - trumpet, bugle, effects
Antonello Salis - piano, accordion
and:
Kocani Orkestar
Durak Demirov - saxophone
Turan Gaberov - trumpet
Sukri Kadriev - trumpet
Nijazi Alimov - bariton tuba
Saban Jasarov - tapan
Suad Asanov - bass tuba
Dedzai Durmisev - bariton tuba
Sukri Zejnelov - baroton tuba
Dzeladin Demirov - clarinet, vocals
Ajnur Azizov - vocals

1. Notti a Mogadiscio
2. Gajda
3. ...Del Viaggio
4. Papigo
5. Variazioni Sul Ballo
6. Jacquelina
7. Siki Siki Bbaba
8. Good Bay Macedonia
9. Red Bull

Ape (EAC Rip): 400 MB | MP3 - 320 kbs: 180 MB | Scans

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Ivo Papasov & His Orchestra - Balkanology

Posted By MiOd On Friday, October 25, 2013 0 comments
Ivo Papasov & His Orchestra - Balkanology
This must be the most virtuosic clarinet record ever. In addition this kind of music is never heard of in America; it's real exotic stuff. These Bulgarian/Turkish tunes, though apparently wedding music (!), are played at extremely fast tempos; two are in 7/8, one is in 11/16 (!). They're all vehicles for non stop wailing by Papasov who is probably the greatest clarinet player on the planet.

[01]. Mladeshki Dance (Turkish)
[02]. Hristianova Kopanitsa
[03]. Istoria Na Edna Lyubov (Love Story)
[04]. Ivo's Ruchenitsa (Love Story)
[05]. Song For Baba Nedelya
[06]. Ergenski Dance (Macedonian)
[07]. Mominsko Horo
[08]. Tziganska Ballada (Romanian Gypsy)
[09]. Veseli Zborni (Marriage Song)
[10]. Proleten Dance (Greek)
[11]. Kasapsko Horo

MP3 320 kbps, no scans.

HERE

Fatima Serro e Paulo Gomes - Quinto Elemento

Posted By MiOd On Friday, October 25, 2013 0 comments
Fatima Serro e Paulo Gomes - Quinto Elemento
About Fátima Serro
My first instrument was the piano, which I begun studying at the age of 6. I begun singing in 1989, in a friends' band, who played covers of standard pop tunes. We were all beggining our jazz studies in Escola de Jazz do Porto. Some of the members of this band are now great names of portuguese jazz and classical - Paulo Gomes (piano), José Luís Rego (-guitar! - and sax) and Antº Augusto Aguiar (bass). Slowly our repertory turned to jazz tunes and I begun regarding singing as a possible option.

I completed my studies at the Oporto Conservatory and then I took classical singing lessons for several years, first with Sílvia Mateus and then with her father, Mário Mateus. I had the chance to study with jazz singers Norma Winstone and Dominique Eade.

My other teachers were videos and cd's of my favorite singers and instrumentalists and, of course, all the good musicians I have had the chance to work with: Paulo Gomes, Pedro Barreiros, Bruno Pedroso, José Luís Rego, Bernardo Moreira, Rolf Delfos, Carlos Bica, Paulo Pinto, Mário Santos, Pere Loewe, Henry Lowther, Maria João, Paula Oliveira, Julian Arguelles, Jorge Reis , just to mention a few.

But the most important names are those who, along all these years I've been singing, have joined my projects in a regular basis: Besides Paulo Gomes and Pedro Barreiros, I'd like to mention Zé Lima, Mário Teixeira, Kiko, Susana Baldaque, Paulo Coelho, Hugo Carvalhais and my dear late friend Eduardo Santos- these, have taught me more than musical stuff - they are my friends.

About Paulo Gomes
In the 80..s, I studied piano and harmony at the Oporto Jazz School. At the same time, I did the composition course at the Oporto Music Conservatory. I studied with musicians like: Roland Hanna, Hal Galper, Mulgrew Miller, Tete Montoliu and James Williams.

Of so many colaborations in concerts and recordings, I remember in a special way: Sávio Araújo Quartet, Conferência dos Sons (with Fátima Serro, Rolf Delfos, Bernardo Moreira, Carlos Bica, Pedro Barreiros, Bruno Pedroso), Fátima Serro Quintet (with José Lima, Mário Teixeira), Peter King Quartet (with Zé Eduardo and Aldo Caviglia), António Mesa Quartet, Maria Viana (with Josè Lima, Art Themen, Herb Geller, Sheila Jordan), Barcelona/Porto Quartet (with Eduardo Santos), Orquestra Metropolitana de Lisboa (Piano Trio + Sinfonic Orch.), Trupe Vocal, Matt Wates Sextet (with Martin Shaw), Paulo Gomes eNsEmble (my tentet with Henry Lowther, Rolf Delfos...), Kiko Quintet, Quinto Elemento (with Hugo Carvalhais, Paulo Coelho, Jorge Reis and Paulo Pinto), Paulo Gomes/Fátima Serro (with Julian Arguelles), Classificados.

In several of this bands, I wrote and arranged original music. I would specially point out the compositions I did to some of the greatest portuguese poetry, and the work with my ensemble (a tentet that I begun in 2001).
I also wrote music to the Portuguese tour of the EMJO - European Movement Jazz Orchestra.

As a teacher (piano, harmony, improvisation and combo), I worked with many among the new generation of professional jazz musicians in Portugal. I did workshops and courses in many official and private schools, all over the country (continental and islands).

Since the early 90..s, I played in countless Jazz Festivals, in Portugal, Spain, Germany, Belgium and Netherlands.

Paulo Gomes with Fatima Serro & Julian Arguelles

VBR kbps, Incl. Covers.

HERE

Feng Shui

Posted By MiOd On Friday, October 25, 2013 0 comments
Music for Harmony & Balance
Track Listing
-------------
Disc 1
01.Enter the Kingdom
02.Perfect Harmony
03.Mother Earth
04.Perfect Love
05.Energy of Love
06.Flow of Energy
07.Silent Morning
08.Angels Touch
09.Moving into Stillness
10.Harmony & Balance
11.vite

Disc 2
01.Cherry Blossom
02.Bamboo Bush
03.Birds Song
04.Pebbles
05.Sonnenberg
06.Ancient Pond
07.Shells & Sand
08.Ruboldwad

MP3 VBR kbps Including Cover Scans

HERE

Cafe Relax

Posted By MiOd On Friday, October 25, 2013 0 comments
Cafe Relax
Track Listing
-------------
[01]. Sarah Jane Moriis - Dont Leave Me This Way
[02]. Riovolt - Rakki.Deshita
[03]. Nova 40 - Apaixionada
[04]. United Peace Voices - Take Refuge
[05]. Nu Braz - Roda (Belladonna Balearic Rmx)
[06]. Pepe Link - Nicos Dream
[07]. Musetta - Nicotine
[08]. Cafe Safado - Ze Aio (San Antonio Mix)
[09]. Space Cowboy - These Dreams
[10]. Max Sedgley - Slowly (Misterlong Rmx)
[11]. Halibut - Cool Down
[12]. Belladonna - Melodies
[13]. 12 Fingers - Primavera

MP3 VBR H.Q kbps Incl. Covers 90 MB

HERE

Aleksandr Serov - Relax Instrumental Music

Posted By MiOd On Thursday, October 24, 2013 0 comments
Aleksandr Serov - Relax Instrumental Music
Track Listing
-------------
[01]. Begin
[02]. Remain
[03]. Govori so Mnoy
[04]. Love Me Tender
[05]. Pust Znaet Esche Kto-Nibud
[06]. Faust
[07]. Ulybka (Smile)
[08]. Dlya Tebya (All The Things You Are)
[09]. Doroga (Long Ago and Far Away)
[10]. Helen
[11]. Kopakabana (Disko)
[12]. Mayami (Miami)
[13]. Vchera (Yesterday)
[14]. Diana
[15]. Poyu Tebe (The Songs is You)
[16]. Kto (Who)
[17]. Ramina
[18]. Michelle
[19]. Dym (Smoke Gets in Your Eyes)
[20]. Nikakoy (Cant Help Lovin Dat Man)

MP3 VBR H.Q kbps Incl. Covers 120 MB

HERE

Al Jawala - BalkanBigBeatz - Live

Posted By MiOd On Thursday, October 24, 2013 0 comments
Äl Jawala, Arabic for “the traveler”, “The Wanderer”, “Mobile People” is a quintet from Freiburg, whose music style moves between Balkan-soul and Dance-beat.

Äl Jawala formed in summer 2000 as a quartet. They started their career on the streets and soon they released their first, hand copied 4-track EP Worldbeat. After streetmusic tours all over Europe, Äl Jawala released their debut album Urbannâtya in 2002. What still was stylistically hard to determine in the early stages, solidified itself during this period and created a new sound. This was followed by their first live album Balkan Big Beatz (2003).

In 2004 bassist Daniel Verdier joined the band. In 2005 Äl Jawala got awarded with the Kulturpreis of their hometown Emmendingen and their track A heymischer Bulgar appeared on the Gypsy Garden compilation. Shortly after Äl Jawala recorded Live At Jazzhaus - the first album presenting the new instrumentation. Also in 2005 Äl Jawala traveled to Romania for the first time where their musical roots can be found. After their concert at Stufstock Festival at the Black Sea, Äl Jawala became better known in Romania as innovators and re-importers of traditional Balkan music and an alternative to the beloved and hated Manele-Pop. Today they share festival stages with bands like Fanfare Ciocarlia, Emir Kusturica, Mahala Rai Banda, Paco de Lucia or Mariza.

In 2007 Äl Jawala got the Creole-Award for Worldmusic from Germany. The third live album Lost in Manele was released in summer 2007. In May 2009 they released their first studio album Asphalt Pirate Radio.

The Drums & Percussion magazine writes: “Challenging, fiery, fascinating, cosmopolitan, technically exciting but still accessible without digression. An absolutely emotive band that certainly can bring every crowd to a boil.”

In May 2007 Äl Jawala won the Creole Award for World Music from Germany. Besides the award of the internationally staffed jury, they also won the audience award of the festival.

Äl Jawala transmit the groove and sparkling vitality of Balkan music to the rhythms of modern urban club culture. Oriental Roma music meets deep funkiness and traditional Balkan tunes melt into ragga and breakbeats. Äl Jawala’s audience is diverse like their music – not knowing any cultural or age limits.

The first Äl Jawala live album. Still as a Quartett - no bass and no drumset. But heaps of percussion! The roots-version of Äl Jawala! Earthy grooves and a fat horn section.
The ´Folker!´ wrote: ´Two saxophones, twice percussion. What an impulsive groove is conjured up out of that.´

And the ´Concerto´ from Vienna: ´Two saxophonists and two percussionists amaze with dirty, head-on Gypsy- and Klezmer-Grooves and 100% biological beats, which still feature Drum´n´Bass - and Ragga effects. No wonder, they are a popular party-live-act. Dominating styles are Oros, Coceks and Zeybeks from Southserbia to Turkey. The bundeled force of the saxophones blows away any cultural border.

[01]. Booster (Midnight Boost)
[02]. Bali
[03]. Nikol
[04]. Diva Nova
[05]. Didgedelic
[06]. Shopa Nebritaya
[07]. Electric Cocek
[08]. Waves
[09]. Aloha Steffa
[10]. Blonder Zeybek
[11]. Go East (Jawala Version)
[12]. Hang On!
[13]. A Heymischer Bulgar
[14]. Ciganski Oro
[15]. Supaslomo (Mosaique Remix)

320 kbps including Front Cover

HERE

Al Jawala - Live At Jazzhaus Freiburg

Posted By MiOd On Thursday, October 24, 2013 0 comments
Live At Jazzhaus Freiburg
First album recorded with the current Äl Jawala formula! Fresh and funky!

Challenging, fiery, fascinating, cosmopolitan, technically exiting but still accessible without digression

The ´Folker!´ writes: ´a real live band that is focused to get to the point. In edgeways the Balkan steps back in favour of an oriental-, blues-,jazz- or soul-feeling, and the urban beat-quality succeeds even without computer. A delightful album!

[01]. Diva nova
[02]. Rabou abou kabou
[03]. Ciganski oro
[04]. Bate vintul frunzele
[05]. Bali
[06]. Borina oro
[07]. Blonder zeybek
[08]. Go east
[09]. Peno
[10]. Step into jungle
[11]. Electric cocek
[12]. A heymischer Bulgar
[13]. Shopa nebritaya

HERE

ADEL SALAMEH & NAZIHA AZZOUZ - KANZA

Posted By MiOd On Thursday, October 24, 2013 0 comments
ADEL SALAMEH & NAZIHA AZZOUZ - KANZA
Adel Salameh and Naziha Azzouz may offstage be man and wife, but onstage their relationship is no less close: Kanza reflects a lovely congruence of artistic intentions. Naziha comes from a family of musicians in Oran, but since the age of 12 has lived in France; Adel was born in Palestine, studied music in Jordan, and has spent the last 12 years working in Europe. All the tracks on this compelling album are his own compositions or arrangements, but the magic they exude derives from an instrumental symbiosis: Adel's oud, with Barbaros Erkose's clarinet, Abdel Ghani Krija's percussion--and Naziha's voice. This latter has a dark timbre and exceptionally pure intonation, and it's deployed with a very conscious artistry in songs that meld Palestine with medieval Andalusia. When Naziha takes the lead, Adel faithfully follows, echoing her melismatic turns of phrase. When Adel holds the floor, you hold your breath; when Barbaros's clarinet soars up into the silent air, you can feel the silence all around. Everything here is acoustic, with no whiff of the studio; head, heart, hands and lips do the biz unaided. --Michael Church

Né en Palestine, à Nablus exactement, Adel Salameh à prêté ses talents de soliste aux plus grandes formations arabes. A Londres, où il s’est installé , il s’est taillé une excellente réputation. Virtuose du ‘ud, il tire son inspiration musicale des musiques orientales. Naziha Azzouz est algérienne. Elle travaille avec Adel depuis longtemps. Ces deux musiciens ont appris à se connaître et à mêler leurs sons respectifs. « Kanza », leur dernier album, est plein d’émotion et de profondeur. Lumineuse, pure, profonde leur musique respire comme le souffle du vent sur les dunes du désert . Il se dégage de ce disque beaucoup de poésie et de sensualité, de couleurs et de saveurs. Le piment harmonique est doux, les rythmes sont onctueux, et la voix de Naziha donne de la sensualité à ces mélodies. Barbaros Erkose à la clarinette et Abdel Gani Krija au darbouka, au Riq et au Bendir, impose eux aussi leur style. Les teintes de leurs instruments soulignent la clarté et la beauté de ces paysages musicaux si secrets, si mystérieux, si attirants. A découvrir.

De l’oud, Adel Salameh n’a gardé que les tensions acoustiques et les silences pour que puissent se glisser la voix de Naziha Azzouz et, surtout, la clarinette chantante de Barbaros Erkose, les percussions se faisant plutôt discrètes pour un assemblage très doux et d’un bel équilibre.

Unis par les liens du mariage mais aussi par ceux de la scène, le joueur de ‘ud palestinien Adel Salameh et la chanteuse algérienne Naziha Azzouz nous invitent à passer en leur compagnie une lune de miel imaginaire entre Andalousie et Anatolie. Empruntant à une gamme d’expressions variées, allant d’une possible complainte kabyle à une farandole moyen-orientale, cet album traite avec pudeur et ferveur de thèmes ancrés dans la mythologie arabe ( au premier rang desquels la passion amoureuse ). Sur un toile instrumentale intimiste, la voix de Naziha se distingue par ces subtils chevrotements mélancoliques. Oscillant entre sanglots contenus et grâce céleste, l’Algérienne suspend magistralement le temps et noue au passage la gorge de l’auditeur ébahi. D’une solennité parfois troublante, son organe est illuminé par une orfèvrerie acoustique aux lignes fluides et aux timbres purs évoquant certaines productions ECM. Tandis que le oud se déploie en arabesque dentelées, la clarinette imprime sa douceur nasillarde. Mais au milieu de ce ruissellement de mélodies orientales climatiques, une rupture , un silence peuvent à tout moment intensifier la charge émotionnelle. D’exaltation primesautière en meurtrissure sentimentale, Kanza constitue un recueil d’états émotionnels, un carnet de poèmes musicaux dont la richesse n’a en définitive d’égale que la virtuosité bienveillante de ses créateurs.

Born in Palestine in Nablus exactly, Adel Salameh has lent his talents as a soloist with the largest Arab formations. In London, where he installed, it has earned an excellent reputation. Virtuoso 'ud, it draws its musical inspiration Eastern music. Naziha Azzouz is Algerian. She works with Adel long. Both musicians have learned to know and mingle their respective sons. "Kanza", their latest album, is full of emotion and depth. Light, pure, deep as their music breathes the breath of wind on the dunes of the desert. It emerges from this disc a lot of poetry and sensuality, colors and flavors. The harmonic pepper is soft, smooth rhythms are, and the voice of Naziha gives sensuality to these melodies. Barbaros Erkose the clarinet and Abdel Gani Krija to darbouka at riq and Bendit, also imposes their style. The hues of their instruments emphasize clarity and beauty of these musical landscapes if secret, so mysterious, so attractive. To discover.

The oud, Adel Salameh has kept tensions that acoustic and silences that can drag the voice of Naziha Azzouz and especially the clarinet for Barbaros Erkose singing, percussion being rather quiet for a very mild assembly and a nice balance.

United by marriage but also by those of the scene, the player 'ud Palestinian Adel Salameh and Algerian singer Naziha Azzouz invite us to spend with them a honeymoon imaginary between Andalusia and Anatolia. Using a range of expressions varied, ranging from a possible complaint Kabyle a Middle Eastern dance, this album deals with modesty and fervor of themes rooted in mythology Arabic (foremost among them the love). On a canvas instrumental intimate, the voice of Naziha is distinguished by subtle jitter melancholy. Oscillating between sobs and through celestial content, the Algerian masterfully suspends time and ties in passing the throat of the listener astounded. In a solemn sometimes disturbing, his body is illuminated by a lines goldsmith acoustic fluids and stamps evoking pure ECM market. While the oud arabesque unfolds in jagged, clarinet nasillarde prints its sweetness. But in the middle of this runoff Eastern melodies climate break silence at any time can intensify the emotional charge. On primesautière exaltation in emotional wounds, Kanza is a collection of emotional states, a book of poems whose music has the wealth ultimately matched only benevolent virtuosity of its creators.

1. Le Secret
2. Kanza
3. Le Rendez Vous Imaginaire
4. Bronwen
5. Layloun Ajeeb
6. Les Ailes Du Desert
7. Ya Ghazalan
8. Forgivness
9. Je Pleure Ton Amour

Ape (EAC Rip): 230 MB | MP3 - 320 kbs: 140 MB | Covers

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HERE

Morocco

Posted By MiOd On Wednesday, October 23, 2013 0 comments
Enjoy the true sounds of modern Morocco on this compelling Rough Guide. From gnawa to hip hop, funk, rap, and a whole lot more in between, this album includes some of the hottest names on the Moroccan scene right now. Rough Guide: Morocco (Second Edition) features the new generation of hip hop and rock bands, as well as paying tribute to other legendary Moroccan musicians, and serves as an insight into how the new Moroccan generation has lost its fear and found its voice.

The rough guide is an interesting overview of modern Moroccan music. There was a previous CD on Morocco by Rough Guide, which stuck close to the traditional music, but this CD has both traditional songs and some songs of the new generation, especially rappers. In fact, there's a song on this compilation, "Jil Jdeed," which is called "new generation". In general, I liked a lot of the songs on this rough guide, but there were a few that I wasn't too fond of.

Disc 1:
01. Sah Raoui (Feat. Salah Edin)
02. Compagnie El Hamri/Ya Rijal L'bled - Compagnies Musicales Du Tafilalet
03. El Aloua - Amira Saqati
04. Iberdane - Les Imazighen
05. Boolandrix - U-Cef
06. Moulana (Notre Chant) - Lemchaheb
07. Bania Bambara - Maalem Said Damir & Gnawa Allstars
08. Jil Jdid - H-Kayne
09. Mal Hbibi Malou - Samy Elmaghribi
10. Ya Labess - Mazagan
11. Mali Mal Hal M'halmaz - Master Musicians Of Joujouka

Disc 2:
12. Abdelillah - Groupe Mazagan
13. Ayli Ayli (Feat. Outlandish) - Groupe Mazagan
14. La Vignette - Groupe Mazagan
15. Atay - Groupe Mazagan
16. Ya Sidi Chafi (Duo) - Groupe Mazagan
17. Allah Allah - Groupe Mazagan
18. Sogui Belati - Groupe Mazagan
19. Salamo Salam - Groupe Mazagan
20. Asmae Allah Groupe Mazagan
21. Instrumental - Groupe Mazagan
22. Ayli Ayli (Solo)

FLAC (EAC Rip): 730 MB | MP3 - 320 kbs: 350 MB | Booklet Scans

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A Morning Raga / An Evening Raga

Posted By MiOd On Wednesday, October 23, 2013 0 comments
Originally released in 1968 on World Pacific, A Morning Raga/An Evening Raga is exactly what the title says, impeccably played by Ravi Shankar and his longtime tabla partner Alla Rakha. Angel's reissues of Shankar's World Pacific titles have all sounded great, and this is no exception. ~ Sean Westergaard Digitally remastered by Wayne Hileman (Squire Productions). This is part of Angel's Ravi Shankar Collection series. 1968 Studio Recordings Reissue producer: Robert LaPorta. Personnel: Ravi Shankar (sitar); Alla Rakha (tabla). Liner Note Author: Ravi Shankar. Photographers: Ken Kim; Woody Woodward.

This is my favorite Ravi album (I have the albums In San Francisco, In London, and In New York). The Evening Raga is the greatest raga I've ever heard. 24 minutes of blinding intensity. I saw Ravi a few years back in Chicago and he was fantastic. He played with more energy and precision than rock stars 1/4 of his age (he was 80 at the time!). Sitar music requires a degree of seriousness on the part of the listener, and too often it's dismissed as something left over from the hippie 1960's. Everytime you see a 1960's flashback on a sitcom (The Simpsons is especially guilty of this), the background music is almost exclusively sitar music. Sitar music existed long before the 1960's, and it can be loved and appreciated without any drug influence. Long live Ravi! Let him live another 80 years...

1. Raga Nata Bhatrav
2. Raga Mishra Piloo

Personnel:
Ravi Shankar (sitar);
Kamala Chakvravarty (tamboura);
Alla Rakha (tabla).

FLAC (EAC Rip): 270 MB | MP3 - 320 kbs: 130 MB | No Scans

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Habib Koite & Bamada - Muso Ko

Posted By MiOd On Tuesday, October 22, 2013 0 comments
Muso Ko (Talking of Women) is a wonderful album, a little less produced than the recent Ma Ya, but just as polished. Koite takes traditional rhythms and combines them with western pop structure to create upbeat (but never cheesy), joyful songs. Exploring the middle ground between tradition and Afro-pop agrees with Koite: he was trained as a classical guitarist but grew up listening to Led Zeppelin, Jimi Hendrix, and the Rolling Stones. He comes from a musical family, and shares his roots in Kayi with Boubacar "Kar Kar" Traore, the mournful desert bluesman. Koite loves Mali, and has no plans to leave it for Europe or America like some of his fellow African musicians. His songs discuss love, social values, fatherhood, and national pride. He tours the US and Canada at the end of 2000, so don't miss him - he puts on a great live show! If you like Habib Koite, you should also check out Cheikh Lo and Henri Dikongue, who also make modern, fresh music using traditional rhythms and melodies.

A couple of Kabib Koite songs came stock with my new computer, and the soothing rhythms, vocals and well, amazing musicality stunned me. He is now one of my favorite artists. His music is so completely human it can be instantly recognized and appreciated by a ear of any nationality.

1. Fatma
2. Muso Ko (Woman)
3. Den Ko (Talking of Children)
4. Nanale (The Swallow)
5. I Ka Barra (Your Work)
6. Sira Bulu [Kobalt Edition]
7. Nimato (If You Don't Stop)
8. Cigarette a Bana (The Cigarette Is Finished)
9. Din Din Wo (Little Child)
10. Kunfe Ta (The Gutter)
11. Koulandian

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Habib Koite & Bamada - Baro

Posted By MiOd On Tuesday, October 22, 2013 0 comments
Now with his third album, Habib Koité has grown into a real triple threat. Not only is he a superb songwriter and singer, he's also a trained guitarist of remarkable style and invention, whose playing inspiration comes from native instruments, such as the harp-like kora--he often imitates its rippling runs--or the lute-like n'goni. Koité is very rooted, both in his own playing and that of his band, Bamada, but the structure and harmonies of his songs are readily accessible to Western audiences, a move away from the more bluesy idioms of, say, Boubacar Traore. Add to that a lilting, seductive voice, and Koité basically has all the goods in one package. At the same time, this is no compromise album in search of stardom in the West. This is very much the real Mali deal, as is apparent in the last few cuts, when the band switches to a more Wassoulou approach (from the south of the country, and typified by singers like Oumou Sangare), with its harsher, drier tone. But by then you've been won over. Koité is, without doubt, a major talent, and this record could well be his breakthrough to the big time. He's paid his dues and earned his status. The man is a star.

Mali is a country near the West Coast of Africa & home to many talented world-class musicians. Habib Koite & his band, Bamada, are among this elite group. This CD consists of *ALL* original compositions and songs written by the artist. The music is ambient, soothing, soulful and very pleasing. It is played on both modern and traditional instruments, making it very authentic. The acoustic guitar, flute, bass guitar, combine with the African instruments, calabassa, kamali ngoni, caragnan, tamani, tamamba, guiro, dum dum & balafon. The Mali language sounds poetic and lyrical ... translations to the songs in the liner notes gives us a cultural perspective to the words & music. We learn that "tere" is a form of superstition that applies to women. Habib sings and asks if men also have "tere", which refers to being given a "sign" or "message". In the song, "No More Cigarette", one wonders if Habib is writing a 'protest' song against the tobacco industry. In effect, foreign countries have created a costly habit which infects the youth of Mali ... We learn that "Baro" is a form of teasing or arguing, a custom of certain ethnic groups in Mali. It is allowed in long-standing relationships where harmony and peaceful coexistence occurs. Habib provides a very delightful song about this custom. We are told "takambes" is a dance from Northern Mali which demonstrates grace and beauty, as a symbol for love, friendship, faithfulness. Habib creates music for this type of movement. The listener feels the message through the harmonies and rhythms created by the instruments & voices. This CD transcends cultures and has universal appeal. The music is uninhibited, lyrical and poetic.

01. Batoumambe
02. Kanawa
03. Wari
04. Sin Djen Djen
05. Cigarette Abana
06. Woulaba
07. Baro
08. Sambara
09. Roma
10. Tere
11. Mali Sadiro
12. Takamba
13. Sinama Dehw

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Shajarian Mohammad Reza - Night Silence Desert

Posted By MiOd On Monday, October 21, 2013 0 comments
Night Silence Desert
Kayhan Kalhor, Mohammad Reza Shajarian
Kayhan Kalhor is the world's leading exponent of the kamancheh, an upright spike fiddle. Renowned for his work with Ghazal, a group that bridges Indian and Persian music, he applies a similar approach to Iranian folk and classical forms on Night Silence Desert. The Radif (Persian classical repertoire) grew from folk forms, but over the centuries the music evolved from its simple rural origins into an elaborately ornamented and rigorously structured style. This album doesn't take the music back to its basics--there's too much refined virtuosity on display. But the musicians infuse their playing with a vigor and crisp cohesion that belies the record's fitful production. First Kalhor convened 11 strummers, drummers, and flute blowers in Tehran in 1994 to lay down the sweeping instrumental passages. Four years later he and vocalist Shajarian finished the record in Vancouver, British Columbia, Canada. The two men exchange intricate call-and-response melodies that radiate impassioned exhilaration.

Kayhan Kalhor composed Night Silence Desert - Khorasan Suite to pay homage to his love of the folk music of northern Khorasan as well as folk music's historical contribution to the Persian classical tradition. He accomplished this by composing for a large instrumental ensemble featuring Persian classical instruments (kamancheh, setar, barbat, santur, tombak, tar, cello, and nay) and folk instruments (dotar, ghooshmeh, and daiyreh) and most importantly, the Khorasan-born vocalist Mohammad Reza Shajarian. Shajarian is a master of the Persian classical tradition who is also well versed in Khorasan folk music. He completes the instrumental composition and helps make this album a superlative collaborative effort. Kalhor took advantage of studio technology to introduce some special effects, such as multiple kamanchehs and Shajarian singing a duet with himself. Night Silence Desert features a wide selection of pieces with an unusual range of orchestration. At the heart of this suite are the four vocal movements, all set to text of a lover's agony (whether it is profane love or sacred love is ambiguous as often is the case in Persian poetry).

I group the ten movements in this suite roughly into three sections. The first four movements comprise the most coherent section. "Silence of the Night," an opening prelude, begins softly with the barbat playing a theme full of portent. It promises explosive passion with its slow and restrained plucking, creating tension that will grow throughout the suite and only be completely released in the final movement. The barbat is soon joined by the setar to repeat the theme in unison. The cello is heard underneath heightening the sense of mystery. This prelude grows into a rhythmic ostinato sustained by the cello in the second movement, "Desert," while the kamancheh is introduced singing a plaintive melody above. Several kamanchehs continue the melody as the tempo increases slightly. The music continues unbroken into the third movement an unmetered instrument and vocal. The multiple kamanchehs fall away until there is just the one before the desert night is set afire by Shajarian's voice. The passion has arrived. His intense lyricism is matched by the kamancheh in a duet that bleeds passion over the rhythmic ostinato. Towards the end the ostinato grows in volume as the final cries of the kamancheh die out. Percussion with the tombak and daff is added as the music becomes the fourth movement "Desert Night." The setar, barbat, and tar assert themselves with a strong unison statement of the opening theme. Desert night concludes this section with essentially a repeat of the opening movement, but more forceful and with the percussion.

The second section features the folk instruments prominently with the fifth movement, "Rain," which begins with the double reed ghooshmeh. Two ghooshmehs alternate between playing melody and supporting the other with a drone several times before being replaced by Shajarian who sings in duet with himself, echoing the two ghooshmehs by alternating melodies (left and right in stereo). After this lengthy and haunting introduction, the strings and percussion join Shajarian in a metered song, with a powerful daf-lead motif following the end of every verse. This is followed by the sixth movement, "Festive Occasion," a dance instrumental that most strongly represents the folk music of Khorasan. It begins with percussion and the melody in the strings, kamancheh, and the gooshmeh in turn.

Two instrumentals follow the second section, the first for dotar and the second for setar. I find these two beautiful pieces work as intermezzos, providing a bit of relief before the great passion of the penultimate movement and the climactic third section. Perhaps they also work as a transition between folk and classical traditions with the folk dotar giving way to the classical setar. In the ninth movement, an unmetered improvisation for voice and kamancheh (saz va avaz), Shajarian and Kalhor follow a more strict classical interplay, with Kalhor's kamancheh echoing Shajarian's melody at the end of each phrase. The poet bleeds and you hear his cry in the night. The potent and intense melancholy of this movement is a specialty of Shajarian and one of the strongest features of the Persian classical tradition, but it is almost too great to endure. This is well acknowledged by Shajarian and Kalhor, which is why they end the piece with a tasnif, "Lovers' Plight," all the strings, folk and classical, are present in this uplifting rhythmic piece, as Shajarian implores the lovers (and the listeners) to let go of their agony, for the sun will rise after this desert night. - David Dalle

(01). Silence of the Night
(02). Desert
(03). Desert Night
(04). Instrument and Vocal (Poem by Baba Taher)
(05). Ghoshmeh Instrumental
(06). Instrument and Vocal
(07). Rain (Lyrics by Ali Moallem)
(08). Dotar Instrumental
(09). Setar Instrumental
(10). Instrument and Vocal (Poem by Att r Neyshapouri)
(11). Festive Occasion
(12). Lover's' Plight

Musicians:
* Mohammed Reza Shajarian - vocals
* Kayhan Kalhor - kamancheh [spiked fiddle], setar [lute]
* Hossein Behroozi-Nia - barbat [lute]
* Ardavan Kamkar - santoor
* Bijan Kamkar - daf, daiyreh [drums]
* Morteza Ayan - tombak [goblet drum]
* Siamak Nemat Nasser - tar [drum]
* Homayoun Khosravi - cello
* Behzad Forouhadi - nay

Folk Musicians:
* Hadj Ghorban Soleimani - dotar [lute]
* Alireza Soleimani - dotar [lute]
* Ali Abchouri - gooshmeh
* Hossein Bebi - daiyreh (drums)

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Vishwamohan Bhatt - Maestro's Choice

Posted By MiOd On Monday, October 21, 2013 0 comments
Pandit Vishwa Mohan Bhatt (b. Rajasthan, India, 1952) is an exponent of Hindustani music (North Indian classical music). Vishwa Mohan Bhatt is one of the most celebrated shishyas (disciples) of the Sitar virtuoso Ravi Shankar. Born in Jaipur in Rajasthan in July 1952, he is the younger brother of Shashi Mohan Bhatt; who was one of the first three students to study with Shankar circa 1949/50, and the father of sitarist Krishna Mohan Bhatt. Much of his formative musical education came from his family. His father Manmohan Bhatt taught and as a boy Vishwa Mohan Bhatt soaked up his father’s singing, compositions and ragas.

Bhatt originally did not mean to pursue a career in music. He prepared for the security of the Indian civil service while studying sitar and violin. Around 1967 he found a Spanish Guitar left behind by a German student at his father’s music school in Jaipur. Bhatt claimed it for his own and set about remodelling it. After experimenting with the instrument’s structure, left and right hand techniques, various objects to produce the slide sound and strings, he modified the guitar with the addition of several drone strings and eight sympathetic strings, playing it like a Hawaiian slide guitar to get the sustained, sliding notes common to the vocal style of Indian classical music. Thus the ‘mohan veena’ was born, named after himself and Vina or Veena, the generic Sanskrit word for a stringed instrument. It is an instrument that appears to be a hybrid of a classical Spanish guitar and a sitar.

1. Raga Maru Bihag
2. Raga Maru Bihag
3. Raga Pahadi

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Global A Go-Go - Celebrating 20 Years Of World Music

Posted By MiOd On Sunday, October 20, 2013 0 comments
Track Listings
--------------
01. Manu Chao – Mama Cuchara
Written-By – Manu Chao

02. Tinariwen – Assouf
Written-By – Ibrahim Ag Alhabib

03. Rachid Taha – Rock El Casbah
Written-By – Joe Strummer, Jones*, Topper Headon

04. K'naan – What's Hardcore?
Written-By – Brian West, Gerald Eaton, K'naan Warsame

05. Mahmoud Ahmed – Atawurulegn Léla
Written-By – Mahmoud Ahmed

06. Gogol Bordello – Dub The Frequencies Of Love
Written-By – Hütz*, Gogol Bordello

07. Robert Plant, Justin Adams – Win My Train Fare Home (Live In Timbuktu)
Written-By – Jones*, Deamer*, Baggott*, Adams*, Thompson*, Plant*

08. Rodrigo Y Gabriela – Orion
Written-By – Burton*, Hetfield*, Ulrich*

09. Bassekou Kouyate, Ngoni Ba, Lobi Traoré – Banani
Written-By – Bassekou Kouyate

10. Ry Cooder, Ali Farka Touré – Diraby

11. Ali Farka Touré – Penda Yoro
Written-By – Ali Farka Touré

12. Orlando "Cachaíto" López – A Gozar El Tumbao
Written-By – Israel López*

13. Amadou & Mariam – La Réalité
Written-By – Amadou Bagayoko

14. A Hawk And A Hacksaw – In The River
Written-By – Trost*, Barnes*

15. Mali Music, Damon Albarn – Sunset Coming On
Written-By – Damon Albarn

K'Naan.; Manu Chao; Rachid Taha; Mahmoud Ahmed; Robert Plant; Justin Adams; Basekou Kouyate; Ngoni Ba; Lobi Traoré; Ry Cooder; Ali Farka Toure; Orlando 'Cachaito' López; Tinariwen (Musical group); Gogol Bordello (Musical group); Rodrigo y Gabriela.; Amadou & Mariam.; Hawk and a Hacksaw (Musical group); Mali Music.

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Skycrapers & Deities

Posted By MiOd On Sunday, October 20, 2013 0 comments
Kouyaté without Neerman is Lansiné Kouyaté. A Parisian griot, a balafon virtuoso from the region of Kangaba in Mali, a child born among musicians, an early musical prodigy who learned the ropes with the National Orchestra of Mali before playing with the stars of world music (Salif Keita, Mory Kanté, Omar Sosa, Cheick Tidiane Seck.). Neerman without Kouyaté is David Neerman. A French musician who expanded on his training (classical percussion and the piano) by choosing an instrument that is both keyboard and percussion, the vibraphone, who meandered through various eclectic projects (jazz, world, electro, noise, with Youn Sun Nah, Anthony Joseph, Alice Lewis, Krystle Warren.), as long as they smelled of adventure. With Kangaba, their first album (recorded with a rythm section), released in the summer of 2008 they created a glorious future for themselves. Well received by critics, the record gave the opportunity to the duet to tour alot and as such, to strengthen their performance, provide more substance to their music and discover new energies. Skyscrapers & Deities, their second album recorded last fall in an analog studio in the Parisian suburbs, is the result of this evolution. Lansiné still plays like he's stirring up tropical rains on water lilies and David has still plugged (or even more) his vibraphone on bizarre pedal effects (distortions, wah-wah). The duo is backed up by a new rhythm section, that accompanied them on tour : Antoine Simoni on the double bass and David Aknin on the drums, two musicians open to the rythms of rock and hip-hop. The name of the album, Skyscrapers and Deities comes from the spoken-word lyrics of special guest and only voice on the album Anthony Joseph on the track 'Haiti'. The other guest on the album is the legendary kora player Ballaké Sissoko, long time friend of Lansiné, since the days of the National Orchestra of Mali. Skyscapers inspire modernity, altitude and a panoramic point of view. Deities inspire ancestral magic, spirits, be they from the forest or the clouds. The album floats in between all these things, between the horizon and vertigo, technology and spiritualism.

1. Kalo Dié
Written-By – Antoine Simoni, David Aknin, David Neerman, Lansiné Kouyaté
2. Requiem Pour Un Con
Written-By – Michel Colombier, Serge Gainsbourg
3. Dietou
Featuring – Ballaké Sissoko
Written-By – David Neerman, Lansiné Kouyaté
4. Le Commissariat
Written-By – David Neerman, Lansiné Kouyaté
5. Toumbéré
Written-By – David Neerman, David Neerman
6. Phalènes
Written-By – David Neerman, Lansiné Kouyaté
7. Haiti
Vocals – Anthony Joseph
Written-By – David Neerman, Lansiné Kouyaté
8. Un Soleil Noir Sur Le Déclin
Written-By – David Neerman, Lansiné Kouyaté
9. Hawagis
Written-By – David Neerman, Lansiné Kouyaté
10. Djely
Written-By – David Neerman, Lansiné Kouyaté

Bass, Synth [Bass Synth] – Antoine Simoni
Drums – David Aknin
Synth – David Neerman
Xylophone [Balafon] – Lansiné Kouyaté

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Kayhan Kalhor & Erdal Erzincan - Kula Kulluk Yakisir Mi

Posted By MiOd On Sunday, October 20, 2013 0 comments
Iranian kamancheh player Kayan Kalhors East meets East projects have brought some tantalizing cultural hybrids to full flower. The on-going collaboration with Anatolian baglama master Erdal Erzincan is one of the most striking of them. The source material for their improvisations in this intense and fascinating performance - recorded in Bursa, to the south of Istanbul - includes music from all over Turkey and music of traditional Persian provenance. These two master musicians from Teheran and Erzurum intertwine melodies, revisit The Wind (title piece of their 2004 recording), and create instrumental music which acknowledges tradition but declines to be restricted by it.

When Kayhan Kalhor and Erdal Erzincan released The Wind, it was often shockingly beautiful evidence that jazz doesn't own the concept of improvisation—already a millennial concept when jazz first emerged in recognizable form at the turn of the 20th century. There are academics who now assert that "America's classical music" actually dates farther back, its roots easily found in older cultures. Does that mean, then, that the music played by Kalhor—Iranian-born child prodigy and virtuoso of the kamencheh (spike fiddle), steeped in his country's tradition but also studying western classical music in Canada and a collaborator with cellist Yo-Yo Ma in the Grammy-nominated Silk Road Ensemble for more than a decade—and the similarly virtuosic, Anatolian-born Erzincan (exemplary proponent of the oud-like baglama/saz)is jazz? Hardly, but at a time when cross-pollination—not just of genres but of cultures—creates an infinite number of hybrid permutations, there's little doubt that the music this duo makes speaks of the same transcendental spirit to which so many jazz musicians aspire.

For this impressive live performance, Kalhor and Erzinan appear as a duo, without The Wind's Ulaş Özdemir, whose divan baglama (or Turkish bass saz) provided a harmonic foundation. It would, perhaps, be unfair to say that it's not missed, but the truth is that, left to their own devices, exploring a repertoire that mixes completely free improvisations with traditional Iranian and Turkish music, as well as The Wind's central theme, Kalhor and Erzinan manage just fine on their own.

Being unfamiliar with the source material doesn't in any way spoil enjoyment of Kula Kulluk Yakişir Mi's hour-long, continuous performance, but it does make capturing the cues that must clearly exist amongst the two musicians that signal the shift from utter spontaneity to explorations of extant, often centuries-old themes less instantly obvious. Still, if conventional western forms are out the window here, it's not hard to hear the duo's shift from the fiery, pedal tone-based "Improvisation II"—impressive enough to garner a large round of applause, midpoint, from the Bursa, Turkey audience at this winter, 2011 performance—into the clearer form of "Deli Derviş," with Kalhor joining Erzincan in a whirling dervish of a melody, though it's the baglama that remains the dominant instrument. Kalhor assumes a more prominent role on the following "Daldalan Ban," demonstrating the timbral breadth of his bowed instrument as he moves from softer terrain to more aggressive, upper register explorations, the duo shifting dynamics from a near-whisper—where Kalhor's instrument begins to sound almost flute-like at times—to more energetic passages where Kalhor's kamencheh soars over Erzincan's pulsating rhythms, sometimes arpegiatted, sometimes heavily strummed.

Kula Kulluk Yakişir Mi closes with The Wind's core melody and a nine-minute medley of "Intertwining Melodies," Kalhor using the back of his instrument's resonating chamber as a percussion instrument before the duo engages in a whirlwind of Mid-Eastern themes, Kalhor moving effortlessly from bow to pizzicato as the two build to a fever pitch and climactic conclusion met with a final, thunderous round of applause. It's a fitting conclusion to a transcendent performance of stellar virtuosity and relentless spirituality.

Personnel: Kayhan Kalhor: kamencheh; Erdal Erzincan: baglama.

1. Improvisation I
2. All Turnam
3. Improvisation II
4. Deli Dervi
5. Daldalan Bar
6. Improvisation III
7. Kula Kulluk Yak r M
8. Improvisation IV
9. Improvisation V
10. The Wind
11. Intertwining Melodies

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