Ouzbekistan - Monâjât Yultchieva

Posted By MiOd On Saturday, November 30, 2013 0 comments
Ouzbekistan : Monâjât Yultchieva
Monâjât Yultchieva
Uzbekistan is a remarkable land. Landlocked with five or six other central Asian republics between Russia, China, India, Iran, and Turkey, it has managed to retain a distinctive identity. Its classical song form is instantly recognizable: an ensemble of lute(s), possibly fiddle and hammer dulcimer, and frame drums all playing at mid-tempo and all in the service of a quavery but powerful voice. Improvisation is not allowed and so there is none of the meandering quality that Middle Eastern or Indian music sometimes has.
Monajat Yultchieva is a disciplined mezzo-soprano, perhaps the top female classical singer of Uzbekistan. What she does is undeniably moving, but unfortunately she never gets out of second gear. While each piece does build to an impressive emotional climax, the sameness of the pattern and the general dragginess of the pace are oppressive after awhile. Some relief comes near the end of the album with the song of unrequited love "Saqiname-i Bayat," a slightly faster piece that sounds a little like Chinese music. It is followed by the typically slow but immensely atmospheric "Dashti-i Nava." This album would be good for the advanced listener to Uzbeki music, but for everyone else From Samarkand to Bukhara: A Musical Journey Through Uzbekistan on the label is recommended.

I think this is one of the best traditional Uzbek/Central Asian music CD's in the western market. Madame Monajat has a voice from heaven. She is a leader in her genre of music. I highly recommend this CD for those interested in traditional Uzbek/Central Asian music.

01. Monâjât
02. Tanâvar
03. Girya
04. Shâm u saharlarda
05. Kim avval kim ilgari
06. Tanâvar
07. Chârgâh
08. Ushshâq
09. Saqinâme-î-Bayât
10. Dasht-i navâ
11. Aylading
12. Dogâh-Hosayni

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Chine : Hommage À Chen Zhong (Tribute To Chen Zhong) (China)

Posted By MiOd On Saturday, November 30, 2013 0 comments
Playing the xun, an ancient ocarina, the xiao, a vertical flute, and the qin zither, half the time with 'amateur' ensemble or zheng zither accompaniment. A last exponent in 1996, haunting and poised, dead now.

01. Xun feng qu (vent du printemps), xiao et ensemble
02. Yangguan san die (trois variations sur la passe du soleil), xun et ensemble
03. Gaoshan liushui (Hautes montagnes et eaux qui coulent), xiaob et zheng
04. Xigong ci (poème du Palais de l'Ouest), xun et ensemble
05. Zhuangtai qiu si (songe d'automne devant la coiffeuse), xiao et zheng
06. Chu ge (chant du pays de Chu), xun et zheng
07. Foshang dian (Le Bouddha au-dessus de l'autel), xiao et zheng
08. Guanshan yue (la Lune sur le mont Guanshan)
09. Chu shui lian (le Lotus sort de l'eau), xiao et ensemble
10. Pu'an zhou (incantation de Pu'an), xun et ensemble
11. Han gong qiu yue (Lune d'automne au palais des Han), ensemble
12. Long xiang cao (Dragon volant), qin
13. Yi guren (Un vieil ami), qin

320 kbps including full scans

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Burundi - Musiques Traditionnelles

Posted By MiOd On Friday, November 29, 2013 0 comments
Part of Ocora's extensive traditional music lines, this album of music from Burundi attempts to present some of the salient examples of musical traditions in the old Kingdom. Some of the music is really quite amazing in the way that it can be both incredibly simple, but at the same time almost mesmerizing. The works on the album are really more of the form for an ethnomusicologist, in that many are simply a minute or two and exist solely to demonstrate a given technique or instrument, but for those ethnomusicologists, it will be quite worthwhile. There are demonstrations of native inanga zithers, ubuhuha vocal techniques, drum troupes, whispered singing techniques, musical bows, and ritualized greetings. Most aspects of the musical culture are represented in some fashion in the course of the album. For those with the patience to endure it, this album is very noteworthy, at least in its musicological values, if not for its aesthetics.

01. Chant Avec Cithare 5:34
02. Chant De Femmes 2:39
03. Ubuhuha 1:18
04. Ubuhuha 0:36
05. Complainte Avec Vièle Monocorde 2:29
06. Chant Et Arc Musical 1:02
07. Chant Et Sanza 1:58
08. Solo De Flûte 3:16
09. Akazéhé Par Une Jeune Fille 1:22
10. Akazéhé Par Deux Jeunes Filles 1:33
11. Solo De Cithare 2:30
12. Tambours Royaux "Ingoma" 7:34
13. Suite De Cithare Inanga Avec Voix Chuchotée 13:30
14. Sanza Ikembe Avec Voix 4:02
15. Tambours Ingoma Avec Chœur D'Hommes 7:30
16. Group De Tambours Royaux Avec Appels De Trompes 5:16
17. Chant D'Enfants Accompagné D'Un Arc Musical Umuduri

320 kbps including Covers

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Arménie : Musique de tradition populaire et des Achough

Posted By MiOd On Friday, November 29, 2013 0 comments
Armenian music is mainly sung. It is said that everyone sings in Armenia and for all occasions. Their music has had many influences from the diverse countries surrounding them (Asia, Middle East, Russia, and more) while remaining typical to their spirit. The Armenian popular music is sung either in solo or accompany with few instruments. They have three genres of songs: peasant songs, city songs, and bard epic songs. Their songs recount in music their everyday situations, preoccupations, and struggles; they can also accompany dances. This CD also features the duduk, a well-known languorous Armenian oboe. The soul of a people in music.

01. Work Song (Village Of Choratyali) - Chara Dalian
02. Harvest Song - Arzas Oskanian
03. Sheperd's Tune - Antranik Askanian
04. Song Of The Emigrant - Hayrik Mouradian
05. A Lament - Khatchadour Khatchaturian/Antranik Askarian
06. Tune For Dancing - Hayrik Mouradian
07. Love Song - Tchivan Kasparian/Antranik Askarian/Vladimir Ekorian
08. Dance Of The Mountain Folk - Souren Haroutionian/Serguey Assadourian/Khatchadour Miguerditchian
09. An Epic Song - Chara Dalian
10. The Crane - Arzas Oskanian
11. The Wind Subsides - Vatche Hovsepian/Antranik Askarian
12. Here Is The Aras (Armenian River) - Chara Dallian
13. A Mother's Lament - Loussik Totchian
14. Marriage Song - Djivan Kasparian/Antranik Sagarian
15. Moonlight - Vartouki Khatchatourian/Antranik Sagarian
16. Dance Of The Village Of Karni - Souren Haroutiounian/Serguey Assadourian/Khatchadour Miguerditchian
17. Kamantcha - Raffi Hovanessian
18. Toun En Kelkhen Imastoun Yes - K. Zakarian
19. Mi Khost Ounim Iltimazor - Chara Talian
20. Poeme Chante De Chirin - Vagharchak Sahakian
21. Poeme Chante De Tchivani - Chara Talian
22. Poeme Chante De Cheram - Kouben Mateossian
23. Naze-Naz - Ophelia Hampartzoumian
24. 'What Am I Saying?' - Hovannes Patalian
25. 'He Was Moved' - Loussik Kochian
26. 'My Beloved' - Roupen Margossian

320 kbps including full scans

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Japanese Traditional Music [10] - Percussion

Posted By MiOd On Friday, November 29, 2013 0 comments
Track Listings
--------------
1. Daitenryu
2. Suwa-Ikazuchi
3. Gojinjõ-Daiko
4. Gion Bayashi
5. Kanda-Bayashi
6. Sawara-Bayashi
7. Chichibu Yatai Bayashi

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Japanese Traditional Music [9] - Shamisen II

Posted By MiOd On Thursday, November 28, 2013 0 comments
Track Listings
--------------
[01]. Nagauta; Genroku Hanami Odori
[02]. Hauta; Harusame
[03]. Hauta; Ume Wa Saitaka
[04]. Kouta; Yozakura
[05]. Kouta; Hara No Tatsutokya
[06]. Zokkyoku; Sanosa
[07]. Zokkyoku; Kiyari Kuzushi
[08]. Zokkyoku; Dodoitsu
[09]. Jiuta; Yuki
[10]. Jiuta-Sakumono; Kyokunezumi

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Japanese Traditional Music [8] - Shamisen

Posted By MiOd On Thursday, November 28, 2013 0 comments
ShamisenA three-string plucked lute from Japan, since the 17th century a popular contributor to all forms of folk and art music. Standard tunings are b-e′-b″, b-f#′-b′ and b-e′-a′. The shamisen is played with an ivory plectrum; its distinctive sound is caused by a cavity in its long neck which allows the lowest strings to vibrate against the wood.

TRACK LISTINGS

(01) [Japanese Traditional Music] Gidayuu; Kiyari Ondo
(02) [Japanese Traditional Music] Gidayuu; Nozakimura no Dan
(03) [Japanese Traditional Music] Kiyomoto; Kanda Matsuri
(04) [Japanese Traditional Music] Tokiwazu; Yuuzuki Sendou
(05) [Japanese Traditional Music] Shin-nai; Akegarasu
(06) [Japanese Traditional Music] Shin-nai; Ranchou
(07) [Japanese Traditional Music] Shin-nai; Nagashi

WV (EAC Rip): 340 MB | MP3 - 320 kbs: 170 MB | Booklet Scans

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Burundi - Musiques Traditionnelles

Posted By MiOd On Wednesday, November 27, 2013 0 comments
Track Listings
--------------
01. Chant Avec Cithare 5:34
02. Chant De Femmes 2:39
03. Ubuhuha 1:18
04. Ubuhuha 0:36
05. Complainte Avec Vièle Monocorde 2:29
06. Chant Et Arc Musical 1:02
07. Chant Et Sanza 1:58
08. Solo De Flûte 3:16
09. Akazéhé Par Une Jeune Fille 1:22
10. Akazéhé Par Deux Jeunes Filles 1:33
11. Solo De Cithare 2:30
12. Tambours Royaux "Ingoma" 7:34
13. Suite De Cithare Inanga Avec Voix Chuchotée 13:30
14. Sanza Ikembe Avec Voix 4:02
15. Tambours Ingoma Avec Chœur D'Hommes 7:30
16. Group De Tambours Royaux Avec Appels De Trompes 5:16
17. Chant D'Enfants Accompagné D'Un Arc Musical Umuduri

320 kbps including Front Cover

HERE

Ensemble Kineya - Japon: Nagauta

Posted By MiOd On Wednesday, November 27, 2013 0 comments

Kabuki developed from noh plays and bunraku puppet theatre. Hence, the actors do not always speak but act out and sometimes dance the narratives of a musical ensemble at the side of the stage. If you want the hear the short percussive accents and dances of Kabuki, this CD will not meet your expectations, and I recommend instead Ensemble Nipponia's very fine album on Nonesuch. Nagauta, the form of long narrative songs sometimes presented in concert separate from kabuki, is the focus here of Ensemble Kineya. The group plays shamisen lute, the nokan and shinobue flutes, the shoulder drum ko-tsuzumi, the hip drum o-tsuzumi, and the more familiar stick drum or taiko. The performance of three pieces is finely recorded. I have seen three full kabuki performances [a live recording of the drama Kanjincho is no longer available (King Records, Japan, KICH 2003)] and can thereby state that this CD does provide the flavor of kabuki with the alternating single narrator, with one shamisen and drum or flute, followed by the chorus of the full ensemble. Yet without the movement of actors, the color of costumes, and the rich backdrops, the music is but a shadow of the kabuki experience.

1. Kurama Yama
Composed By – Katsuraburô Kineya XII

2. Niwaka Jishi
Composed By – Rokusaburô Kineya IV

3. Reimei
Composed By – Shôtarô Yamada

4. Ninin Wankyû
Composed By – Kinzô Ginya


Flute [Fue] – Hyakushichi Fukuhara
Percussion [Ko-tsuzumi] – Hikotoji Mochizuki, Kahô Tösha, Rosen Tösha*
Percussion [Ô-tsuzumi] – Tatsuyuki Mochizuki

Shamisen – Eishirô Kineya, Isoichirô Yoshimura, Katsuhôya Kineya, Katsukuni Kineya
Taiko – Masahito Umeya
Vocals – Ishinosuke Yoshimura, Kinshirô Yoshimura, Komazô Hiyoshi, Naokichi Kineya

Notes
Recorded in Japan in 1997.

French translations of track titles:
1. Le Mont Kurama
2. La Danse du lion à la fête de Yoshiwara
3. Premières lueurs du jour
4. Le Déboublement de Wankyû

192 kbps including Front Cover

HERE

Japanese Traditional Music [7] - Sankyoku

Posted By MiOd On Wednesday, November 27, 2013 0 comments
This is a very good CD of Sankyoku music, that being a kind of Japanese chamber music with vocals and usually at least three instruments: the koto (zither), the shamisen (kind of like a banjo), and the shakuhachi (flute). The CD tracks all feature selections that are standard classics of the Sankyoku repertoire, so this makes for a great introduction to this musical form. The blend of the different instruments is really appealing, and the vocals (which I often find a bit distracting in Japanese music) work pretty well here after a little getting used to. Another plus, track 2 has one of the all time great koto musicians, Sawai Tadao.

This CD was originally produced in Japan, so the text on the back and on the notes is bilingual (Japanese and English). The liner notes are extensive in Japanese and even include the lyrics to the vocals, but the English part is a bit skimpy. Also, the CD case comes in an attractive CD slip-box (an unusual format here in the States) that also helps protect the actual case itself from the usual wear and tear.

All in all this is fine, elegant music very well-packaged. It's too bad the series of which this is CD #7 is becoming more and more of a rarity nowadays. Get it while you can, I guess.

TRACK LISTINGS

1. Yaegoromo (Ishikawa Koto) - Yonekawa Toshiko
2. Hagi No Tsuyu (Ikuyama Kengyo) - Tadao Sawaï
3. Sho-Chiku-Bai (Mitsuhashi Koto) - Sato Chikaki,

WV (EAC Rip): 370 MB | MP3 - 320 kbs: 180 MB | Booklet Scans

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Japanese Traditional Music [6] - Sou

Posted By MiOd On Tuesday, November 26, 2013 0 comments
TRACK LISTINGS

(01) [Japanese Traditional Music] Rokudan
(02) [Japanese Traditional Music] Midare
(03) [Japanese Traditional Music] Godan - Ginuta
(04) [Japanese Traditional Music] Chidori No Kyoku
(05) [Japanese Traditional Music] Aki No Kyoku

WV (EAC Rip): 290 MB | MP3 - 320 kbs: 160 MB | Booklet Scans

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Selvaganesh - Soukha

Posted By MiOd On Tuesday, November 26, 2013 0 comments
ebut album from percussionist extraordinairre, V.Selvaganesh. We have known the musical power of Selva over the years as an integral member with Remember Shakti, astounding records with Jonas Hellborg (Icon, Good People in Times of Evil). On this outing he teams up with Zakir Hussain, progressive Sitarist Niladri Kumar, mandolin maestro U.Shrinivas and the great John McLaughlin. Soukha has been in work for years and it promises to be a musical treat fusing Carnatic Music and Western Jazz Rock.

Like many other classically trained Indian musicians of his generation percussion master V. Selvaganesh is based in tradition and at the same time finding new ways to integrate the transcendent beauty of Indian music with contemporary musical forms. As he wisely says in the booklet: "Tradition is the path to fulfill oneself. But it is but a word created by men whereas music is God's gift".

Selvaganesh is best known for his work with Zakir Hussain, U. Shrinivas and John McLaughlin in Remember Shakti and for his collaborations with bassmaestro Jonas Hellborg, f.ex. the wonderful "Kali's Son". Here all the
other three members of Remember Shakti participate, John contributing the final composition "Sonu Mama" and playing some inspired guitar and U. Shrinivas spreading his mandolinmagic on several cuts.

Other participants includes vocalist extraordinary Shankar Mahadevan, who has sung on John McLaughlin's fine "Industrial Zen" and on the beautiful "Breathing Under Water" by Anoushka Shankar and Karsh Kale. Sitarvirtuoso Niladri Kumar, third part of the 'powertrio' heard on "Kali's Son". And Selvaganesh' illustrious father Vikku Vinayakram, the original Shakti-percussionist alongside Zakir.

All 8 tracks are wellcrafted, wellplayed, the whole album sprinkled with inspiration and musical delight on the highest level.

A must for all lovers of Indian music, and for all interested in drumming and rythm, Selvaganesh being a foremost exponent of the konakol-tradition. And having in fact released an instructional DVD on the subject together with John McLaughlin in 2007

1. Ballad Of Varan
2. Goa Party
3. Love To My Brothers
4. Shiva Thandav
5. Lord Of Rhythm
6. Vikku Ji U
7. You & Me
8. Sonu Mama

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Japanese Traditional Music [5] - Shakuhachi

Posted By MiOd On Tuesday, November 26, 2013 1 comments
shakuhachi
Japanese end-blown bamboo flute. Its notes are produced by blowing across the open upper end, resulting in a distinctively breathy tone. It has five fingerholes. The shakuhachi is of great antiquity; it has been widely played as a solo instrument and in small ensembles, especially with the koto and samisen (a fretless lute).

Small end-blown Japanese bamboo NOTCHED FLUTE. It was imported from China by the 8th century but reached its modern form in the 15th. The standard instrument is 54. 5 cm long and has four finger-holes and a thumb-hole, producing the approximate notes d′-f′-g′-a′-c″; it is widely used in all forms of Japanese folk and art music.

TRACK LISTINGS

1. Shika No Tone
2. Hifumi - Hachigaeshi No Shirabe
3. Sanya Sugagaki
4. Tsuru No Sugomori
5. Umibe No Yubae
6. Toge Hachiri
7. Kojo No Tsuki

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Japanese Traditional Music [4] - BIWA

Posted By MiOd On Monday, November 25, 2013 1 comments
This CD offers a collection of traditional Japanese pieces for the Biwa, the Japanese lute, which came to Japan from China at the end of the first millennium. The Biwa and its playing remained pretty much the same as it was 800 to 1,000 years ago, while the Chinese Pi-pa, its ancestor, has changed quite considerably, becoming a more virtuosic instrument. The instrument is unfortunately losing popularity in Japan among youngsters mainly because of the influence of Western music, as is the case in many Asian countries. There are solo pieces (the first two pieces) as well as old epic stories and songs accompanied by the Biwa (the four others). Three different schools of playing the Biwa are presented: the Satsuma-Biwa, the Chikuzen-Biwa, and Heike-Biwa. The Biwa was originally played by blind monks, and the Heike-Biwa is the most popular. ~ Bruno Deschênes, All Music Guide

A beautiful biwa brought to Japan through the Silk Road is preserved at Shoso-In in Nara prefecture. Japan's oldest epic tale, Heike Monogatari (the Story of Heike) is sung to biwa accompaniment. There are three playing styles of biwa, Heike Monogatari featuring all three; the noble and profound Heike biwa, the wild Satsuma biwa and the graceful Chikuzan biwa.

Haru No Utage
Chikuzen Shokyoku
Kawanakajima
Arsumori
Gionshoja
Gionshoja

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Japanese Traditional Music [3] - KABUKI

Posted By MiOd On Monday, November 25, 2013 1 comments
KABUKI

Popular Japanese entertainment that combines music, dance, and mime in highly stylized performances. The word is written using three Japanese characters — ka ("song"), bu ("dance"), and ki ("skill"). Kabuki dates from the end of the 16th century, when it developed from the nobility's no theatre and became the theatre of townspeople. In its early years it had a licentious reputation, its actors often being prostitutes; women and young boys were consequently forbidden to perform, and kabuki is today performed by an adult all-male cast. Its texts, unlike no texts, are easily understood by its audience. The lyrical but fast-moving and acrobatic plays, noted for their spectacular staging, elaborate costumes, and striking makeup in place of masks, are vehicles in which the actors demonstrate a wide range of skills. Kabuki employs two musical ensembles, one onstage and the other offstage. It shares much of its repertoire with bunraku, a traditional puppet theatre.

Traditional form of Japanese theatre, including dance numbers and purely dramatic plays. It is accompanied by offstage music (wood blocks, gongs, xylophone, bells etc, for sound effects), as well as on-stage musicians (singers and shamisen, or lute, players).

Japanese form of dance theatre dating back to the 16th century. Kabuki means song, dance, and acting, although the term originally meant shocking or strange, in reference to the form's unusual style, and it originated in shows given by O-Kuni, a dancer and lay priestess from the Izmumo region, and her all-female troupe. They were very popular in Kyoto where they performed a fusion of prayer dance, folk dance, comic mime, and erotic dance. This mix evolved into dance dramas whose populist style contrasted with the refined and aristocratic noh theatre. Part of their popularity derived from their overtly erotic content which led to a ban on women appearing in kabuki performances (from 1629) and on boys (from 1652). Adult male dancers thus took over the kabuki style, creating the profession of female impersonator or onnagata which became an honoured calling for which boys were trained from childhood. Kabuki evolved through four basic stages, its works originally taking their inspiration from historical sagas, then tending more towards dance, then concentrating on folk stories, and finally aiming for more contemporary narratives. In its classic form kabuki is an integrated mix of dance, gesture, music, costume, make-up, and vivid stage effects. Performances tend to be long by Western standards and slow moving, but are rich in imagery and emotion. Two famous works are Chushingura (The Forty-Seven Loyal Samurai), a historical tale of honour and revenge, and Sumidagawa (The Sumida River), the story of a mad woman's search for her lost son. Kabuki dance troupes (as distinct from kabuki theatre troupes) also now give independent performances, with both male and female artists taking part.

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Krishna Das - One Track Heart

Posted By MiOd On Monday, November 25, 2013 0 comments
Krishna Das ("KD") and Jai Uttal ("Jai") working together joyfully on one CD. Two star talents, and no star ego. Those who are fans of both artists will understand why this CD is a precious, essential work of art: please don't hesitate -- buy it!
Make no mistake; this is obviously KD's show. He sings all the lead vocals and is the guiding spirit behind the production. But anyone who knows Jai's work as a vocalist and multi-instrumentalist knows the brilliant, innovative musicianship Jai brings to the party.

A remarkable quality of this CD is the variety of its musical textures. This would make a great gift for someone who has never had the pleasure of hearing sacred music interpreted by Western artists. It would be humanly impossible not to like at least some of this diverse but consistently beautiful music.

Another great quality of this CD is its originality. It is not quite like anything else I have heard from either KD or Jai. Yet there is nothing quirky or forced about it; it has the relaxed sincerity essential to a joyful experience of kirtan.

Finally, in this day of cheap CD packaging, KD generously gives us no less than 25 pages of fascinating liner notes, including a verse-by-verse translation of the sacred chants and funny, fascinating anecdotes concerning the songs themselves and KD's own experiences as a devotee of Neem Karoli Baba. (Neem Karoli Baba lived in India and was a guru to both KD and Jai; he passed away in 1973.)

Track 1 is a sunny chorus in celebration of Shiva. KD, Jai, and percussionist Geoffrey Gordon all sing together throughout the song, rather than following a call-and-response form. This is a friendly, unpretentious, cheerful introduction to the joys of kirtan.

Track 2 is slow and quiet, a poignant hymn to the Goddess.
Track 3 is a chant to the Divine mother in her manifestations as Kali and Durga. Each verse KD sings is echoed beautifully by Diana Rogers (she has an English name but sounds authentically Indian).

Track 4 is the "hare krishna" chant sung to a lovely, simple melody, which Jai picks out on the banjo, of all things. KD sings with sweet, brave, impassioned sincerity. He is backed up by something provocatively entitled the "Gospel Choir, First Church of Divine Spark (East Calcutta, Bengal)." The result is utterly engaging without being at all saccharine; like an old Appalachian lullaby sung from a creaking porch swing.

Track 5 is the Hanuman Chaleesa, a long series of verses in praise of Hanuman. Hanuman is the monkey god of Hindu mythology, a mischievous but immensely powerful servant of the more remote and imposing Ram, the male god of the Infinite. Hanuman is seen as a gateway to Ram, more accessible to us mere humans. Anyway, this track is a delight simply because KD unabashedly loves and venerates Hanuman, who is closely associated with Neem Karoli Baba. KD's love and joy are infectious whenever he sings to Hanuman, on this and other CD's. Also, the steady momentum of the rhythmic verses induces a relaxed, joyous mood, even if you don't follow the translation. Finally, I love the unexpected touch of deft wah-wah electric guitar in the background -- this is the kind of musical risk which, when it works, helps bridge the gap between East and West and, without cheapening it in any way, make Indian sacred music accessible to a modern audience.

Track 6 a relaxed, instrumental composition by Jai and studio whiz Jim Wilson. Jai on dotar engages in musical conversation with Charlie Burnham on violin. This track serves as an introduction to Track 7, a prayer to the Goddess for forgiveness. The truth is I find these two tracks a bit slow and uninspiring, but they are certainly solid musically.

Track 8 is wonderful! Think nothing new can be done with the "hare krishna" chant? Think again! Geoffrey Gordon plays a rousing snare drum and Charlie Burnham both accompanies and soars off on violin and mandolin. This daring approach gives the chant an absolutely unique musical flavor. Imagine a hearty band of Scottish warriors marching across the misty heath in search of -- well, enlightenment. Don't laugh: it works!

Track 9 is a prayer to Hanuman (see discussion of Track 5 above). The verses are both sung and spoken. KD is a big kid when it comes to Hanuman, and as I said above, his unselfconscious joy and devotion are infectious. But this track would be worth having just to hear guest musician Yang-Qin Zhao on something mysterious and wonderful called the butterfly harp. Jai also chimes in unexpectedly from time to time on finger cymbals, which has a startling effect that focuses awareness in an almost Zen-like manner. It is impossible to really describe the creative musical texture of this piece, which is reverential but lighthearted at the same time.

Track 10 is the "shri ram" chant. KD's voice glows with warmth, and Jai's beautiful, passionate voice in the small call-and-response chorus help make this version of "shri ram" ravishing. This is spiritual nectar indeed: intoxicating, no hangover, wow. Please KD and Jai -- please make another CD together soon!

Track 11 is yet another version the "hare krishna" chant. KD's voice is soft and yearning, while Diana Rogers again accompanies KD beautifully in the background. Dan Reiter plays cello, adding to the mellow sound.

I could write several more pages of uninformed praise, but I think Amazon imposes a word-count limit. In sum: if you like kirtan, you need this CD. If you've never heard kirtan and you're curious, please try this CD.

01. Hara Hara Mahaadeva
02. Devi Puja
03. Kali Durge
04. The Krishna Waltz
05. Hanuman Chaleesa
06. Forgiveness
07. Prayer To The Goddess For Forgiveness
08. Hare (Mc) Krishna
09. Prayer To Hanuman
10. Shri Ram Jai Ram

Flac tracks (EAC Rip): 450 MB | MP3 - 320 kbs: 160 MB | Front Cover

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Sri Lalitha Sahasranama Stotram

Posted By MiOd On Sunday, November 24, 2013 1 comments

Names
Lalita Sahasranama contains a thousand names of the Hindu mother goddess Lalita.[1] The names are organized in a hymns (stotras). It is the only sahasranama that does not repeat a single name. Further, in order to maintain the meter, sahasranamass use the artifice of adding words like tu, api, ca, and hi, which are conjunctions that do not necessarily add to the meaning of the name except in cases of interpretation. The Lalita sahasranama does not use any such auxiliary conjunctions and is unique in being an enumeration of holy names that meets the metrical, poetical and mystic requirements of a sahasranama by their order throughout the text.
Lalita Sahasranama begins by calling the goddess Shri Mata (the great mother), Shri Maharajni (the great queen) and Shrimat Simhasaneshwari (the queen sitting on the lion-throne).[2] In verses 2 and 3 of the Sahasranama she is described as a Udayatbhanu Sahasrabha (the one who is as bright as the rays of thousand rising suns), Chaturbahu Samanvita (the one who has four hands) and Ragasvarupa Pashadhya (the one who is holding the rope).[3] Chidagnikunda Sambhuta (one who was born from the altar of the fire of consciousness) and Devakarya samudyata (one who manifested Herself for fulfilling the objects of the devas) are among other names mentioned in the sahasranama.

Composition
Lalitha sahasranama is said to have been composed by eight vaag devis (vaag devathas) upon the command of Lalitha. These vaag devis are Vasini, Kameshwari, Aruna, Vimala, Jayinee, Modhinee, Sarveshwari, Koulini. The sahasranama says that "One can worship Lalitha only if she wishes us to do so". The text is a dialogue between Hayagriva, an (avatar) of Mahavishnu and the sage Agastya. The temple at Thirumeyachur,near Kumbakonam is said to be where Agastya was initiated into this sahasranama. Another alternative version is the Upanishad Bramham Mutt at kanchipuram is where this initiation happened.
This sahasranama is held as a sacred text for the worship of the "Divine Mother", Lalita, and is used in the worship of Durga, Parvati, Kaali, Lakshmi, Saraswati, Bhagavathi, etc. A principal text of Shakti worshipers, it names her various attributes, and these names are organized in the form of a hymn. This sahasranama is used in various modes for the worship of the Divine Mother. Some of the modes of worship are parayana (Recitations), archana, homa etc.

Story
This stotra (hymn of praise) occurs in the Brahmanda Purana (history of the universe) in the chapter on discussion between Hayagreeva and Agasthya. Hayagreeva is an incarnation of Vishnu with the head of a horse who is held to be the storehouse of knowledge. Agasthya is one of the sages of yore and one of the stars of the constellation Saptarshi (Ursa major). At the request of Agasthya, Hayagreeva is said to have taught him the thousand holiest names of Lalita. This has been conveyed to us by the sage Vyasya Mahrishi. Lalitha sahasranama is the only sahasranama composed by vagdevatas under Lalitha's direction. All the other sahasranamas are said to have been composed by Vyasa Maharishi.
Paramashiva is one of the trinity of Hindu pantheons, in charge of moksha (layam). He married Sati, the daughter of Daksha. Daksha and Paramashiva did not get along and consequently Daksha did not invite Paramashiva for one of the great fire sacrifices that he conducted. However Sati went to attend that function in spite of Paramashiva’s protest. Daksha insulted her husband and she jumped into the fire and ended her life. Consequently at the behest of Paramashiva, Daksha was killed and later resurrected with a goat’s head. This incident upset Paramashiva and he entered into deep meditation. Sati reincarnated as daughter of Himavat, king of the mountains, and his wife, the apsara Mena. Naturally, Pārvatī sought and received Shiva as her husband.
The devas faced an enemy in Sura Padma / Banda who had a boon that he could be killed only by a son of Shiva and Parvati. So, to wake Shiva from his deep meditation, the devas deputed Manmatha, the God of love who shot his flower arrows at Paramashiva. Paramashiva woke up and opened his third eye and burnt the God of love into ashes. The Devas and Rathi Devi the wife of Manmatha requested Paramashiva to give life to Manmatha. Heeding their request Paramashiva stared at the ashes of Manmatha. From the ashes came Bhandasura, who made all the world impotent and ruled from the city called Shonitha pura. He started troubling the devas. The devas then sought the advice of Sage Narada who advised them to conduct a fire sacrifice. From the fire rose Lalitha Tripura Sundari.

Lalitha
She is described as extremely beautiful, having dark thick long hair with the scent of Champaka, Asoka and Punnaga flowers. She had the musk thilaka on her forehead, eyelids which appeared as if they were the gate of the house of the God of love, and having eyes like fish playing in the lake of her face. She had a nose with studs that shone more than the stars, ears with the sun and moon as studs, cheeks which were like the mirror of Padmaraga, beautiful rows of white teeth, and she was chewing Thamboola with camphor. She had a voice sweeter than the sound emanating from Veena of Sarswathi, and having such a beautiful smile that Shiva himself could not take his eyes off her. She was wearing Mangala soothra and necklaces, with beautiful breasts which were capable of buying the invaluable love of Kameswara, having wisps of beautiful hair raising from her belly, her stomach having three pretty folds, and she was wearing red silk tied with a string with red bells. She had thighs which steal the heart of Kameshwara, knees which looked like crowns made of precious gems, voluptuous legs, upper part of the feet resembling the backs of tortoises, feet which resembled lamps made of gems which could dispel worries from the mind of devotees and a body with the golden red color. She was given in marriage to Kameshwara[citation needed] and made to stay in Nagara at the top of Maha Meru Mountain.

Lalitha Sahasranamam Part 1

Lalitha Sahasranamam Part 2

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Sur Sudha - Images of Nepal

Posted By MiOd On Sunday, November 24, 2013 0 comments
The Nepalese trio Sur Sudha came together in the late 1980s for what amounts to a national-cultural mission. They set out to document the varieties of music in Nepal, and, given the remarkable contrasts in the landscape, it's no surprise that Sur Sudha's musical evocations span large distances. The musical highs and lows, though, are all kept within close reach of each other, reminding that Sur Sudha is a spare ensemble, employing only flute (Prem Rana Autari), sitar (Bijaya Vaidya), and tabla (Surendra Shrestha). The tunes here are compact, ranging from just over 5 to around 16 minutes, much in contrast to traditional Indian ragas, which can stretch to near eternity in their balance of drones and cyclic tabla rhythms. Like Indian music, these pieces feature each instrument closely entwined with the others, developing melodic units that spiral at a moderate and measured pace and featuring the sitar in a not-quite-drone role that sponges up the flute tones and wrings them back out in resonating solo segments. Listeners who enjoy standout solos as much as collective improvisations off raags (a musical scale similar to Indian ragas) will enjoy the work Sur Sudha has done to keep the band's direction balanced on an axis of expressive play.

Finding a way to remember Nepal. Pictures, encounters, scenery, atmosphere continually evoking harmony and tranquillity every hour of the day as I travelled winding roads through mountains, hills and over southern plains. This the music that evokes and expresses the images of the life and beauty, the people and their spirits that I sought, saw and seek to retain. I will listen to this music forever, swaying within its pulsating geographies and cultures and be uplifted and enthralled by the layers of rhythm. This is Nepal played and presented in sound and images that are direct and welcoming connections to the soul.

An absolutely gorgeous, lushly melodic album. Fans of Indian classical may find this familiar -- yet oddly dissimilar. Although the instruments are similar -- sitar, tabla and flute -- the music is not quite as langourous and deliberative; this has a more pronounced melodic drive which may actually make it more accessible to Western ears. Wonderful stuff. Highly recommended!

1. Raja Mati
2. Resham Firri
3. A Fisherman's Song
4. Stutee (Prayer)
5. Nayaki Kanghada

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Various - Mukti Mantras

Posted By MiOd On Saturday, November 23, 2013 0 comments
Track Listings
--------------
1. Ravi Putray Namah
2. Shani Peedahaar Stotram
3. Shanaishchar Kavacham
4. Shanaishchar Ashtottar Shatanam Stotram
5. Hanuman Stuti
6. Shanaishchar Kavacham
7. Shanaishchar Stotram
8. Shani Stuti

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Mehdi Hassan - Shahenshah-e-Ghazal

Posted By MiOd On Saturday, November 23, 2013 0 comments
Birth anniversary of the Shanenshah-e-Ghazal Mehdi Hasan was observed Thursday all over the country with tributes paid to his contributuion into the field of ghazal singing.
Mehdi Hassan was born on July 18, 1927 in a village called Luna, into a family of traditional musicians.
He was honoured with Tamgha-e-Imtiaz, Pride of Performance and Hilal-e-Imtiaz by the government of Pakistan.
In 1983, he was awarded Gorkha Dakshina Bahu in the court of King Birendra by the Government of Nepal. He was awarded KL Saigal Sangeet Shehenshah Award by the government of India.
He remained a leading singer of the Pakistani film industry along with Ahmed Rushdi.
The highest civilian award of Pakistan, `Nishan-e-Imtiaz', was also conferred on him.
In 1957, Mehdi Hassan was given the opportunity to sing on Radio Pakistan, which earned him recognition within the musical fraternity.
He had a passion for Urdu poetry, and therefore, he began to experiment by singing ghazals on a part-time basis.
His first song was `Jis ne mere dil ko dard diya' from film `Susral' in 1962 and popular ghazal `Insha ji utho ab kooch karo is shaharr me dil ko lagana kia' made him immortal. Legendary Indian singer Lata Mangeshkar complimented him, saying that "Bhagwan talks in his throat."

'Ustad Mehdi Hassan' is undisputed emperor of Ghazals who was born in India in 1927 but settled in Pakistan after the partition in 1947. Mehdi Hassan saab was trained extensively in Indian Classical music especially in Dhrupad form of music and He is also a popular playback singer in Pakistan Film Music and one of the greatest icons in Pakistan Musical history and as a matter of fact, it wouldn't be hyperbolic statement to say the name 'Mehdi Hassan' has become synonymous name to Ghazal music. This album 'Shahenshah-e-Ghazal' literally means "The King Of Kings Of Ghazals" which truly stands to it's name. This album was originally released as "Classical Ghazals" as 3 cd box set in Navras Records, UK (Notably it was the first release in that label) and it features 'Ustad Sultan Khan' on Sarangi and 'Ustad Shukat Hussain Khan' On Tabla who gave amazing accompaniment to Usad Mehdi Hassan's mesmerizing vocals. If you are new to Ghazals or wanted to explore this genre, It can't be better than this. Yes, If you are new to this genre, I would recommend to start with the song called "Shola Tha Jal Bujhaoon" set in Raga Kirwani (Track 5 on CD 1). Needless to Say, Highly Recommended. Enjoy. :)

Mehdi Hassan (Urdu: مہدی حسن) respectfully called Khan Sahib and titled as “Shahenshah-e-Ghazal” (English: King of Ghazals) is a well-known Pakistani Ghazal singer and a former playback singer for Pakistani films.

Mehdi Hassan was born in the village of Luna in Rajasthan, India in 1927 into a family of rich traditional musicians. He claims to be the 16th generation of hereditary musicians hailing from the Kalawant. Kala means “Art” and Want means “teacher” so he is from family of teacher who taught Kings and Royal families the art of music. Mehdi Hassan received his musical training and grooming under his father, Ustad Azeem Khan and his uncle Ustad Ismail Khan who were classical musicians, well-versed in Dhrupad and Khayal singing. They instructed him in classical music and voice rendition within the framework of classical forms of Thumri, Dhrupad, Khayal and Dadra, from the young age of eight. After the Partition of India, 20 year-old Mehdi Hassan and his family migrated to Pakistan and suffered severe financial hardships. To make ends meet, Mehdi Hassan began working in a bicycle shop and later became a car and diesel tractor mechanic. Despite the hardships, his passion for music didn’t wither and he kept up the routine of practice (Riyaaz) on a daily basis.

Disc 1:
1. Kesariya Balam Padharo Maare Desh - Rajasthani Folk song in Raga Mand
2. Mugham Baat Paheli Aisi - Raga Yaman Kalyan
3. Umad Ghumad Ghir Aayo - Thumri in Raga Desh
4. Teer Nainon Ka Zalim - Dadra (Traditional)
5. Shola Tha Jal Bujhaoon - Raga Kirwani
6. Ek Bas Tu Hi Nahin - Raga Mian ki Malhar

Disc 2:
1. Jab Tere Nain Muskurate Hain - Raga Sahera
2. Ek Khalish Ko Hasil - Ghazal In A Rare Raga
3. Khuli Jo Ankh - Raga Bhankar
4. Ab Ke Hum Bichde - Raga Bhopali
5. Heer In Raga Bhairavi

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Girija Devi - Songs From Varanasi

Posted By MiOd On Thursday, November 21, 2013 0 comments
Girija Devi (Hindi: गिरिजा देवी; IAST: Girijā Ḍhevī) (born 1929) is an Indian classical singer of the Banaras gharana. She performs classical and light classical music and has helped elevate the profile of thumri. Devi performs the purabi ang thumri style typical of the tradition and her repertoire includes the semi-classical genres kajri, caiti, and holi and she sings khyal, Indian folk music, and tappa. The New Grove Dictionary of Music and Musicians states that her semi-classical singing combines her classical training with the regional characteristics of the songs of Bihar and eastern Uttar Pradesh.

Track Listings
1. Raga Maru Bihag, Khyal, Vilambit Ektal: Rasia Ho Na Jana
2. Raga Maru Bihag, Khyal, Drut Tintal: Palaka Na Lagi Mori Ankhiyan
3. Raga Desh, Tappa, Sitarkhani: Bhul Lao Sanda Dukh Ve
4. Raga Pilu, Thumri, Tilwara: Be Dardi Balam
5. Dadra: Diwana Kiye Shyam

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Parvathy Baul - Soulful Baul Songs

Posted By MiOd On Wednesday, November 20, 2013 0 comments
Parvathy Baul is a Sufi music singer.

1. Ami Tomar Lageya Re (For You, Oh Beloved!)
2. Jonomo Morono Hobe Nibarono (Practice Of Dying)
3. E Kotha Kare Bolbo Ki (Lexis Of My Sai And Darbesh)
4. Shudhu Manob Jonom Mile Ki Hobe (Is It Enough To Be Born As Man)
5. Aye Kheye Ne Beheshter Shei (The Wine Of Mystics)
6. Thok Dekhi Mon Rager Chakmoki (The Inner Smoking Pipe)
7. Dena Dena Dena Lo (The Pot Of Date-Palm Juice)

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Rashmi Chakraborty - Soul of the Night

Posted By MiOd On Wednesday, November 20, 2013 0 comments
Rashmi Chakraborty:
Smt. Rashmi Chakraborty is one of the most talented violinists of North Indian Classical Music. She took her initial training in music from her mother Smt. Manisha Sen Sharma. She was groomed as a violinist at a very young age under the tutelage of the internationally famous violinist Vidushi Sisirkona Dhar Chowdhury. Later, She received Talim in Alap, Dhrupad and the delicacies of ragas from Dhrupad Maestro, Padmsbhushan Ustad R. Fahimuddin Khan Dagar. Smt. Rashmi was awarded the title ‘Surmani’ by the Sur-Singer-Samsad, Mumbai for her excellent performance in the ‘Kal-Ke-Kalakar Sangeet Sammelan’. Since 1985, she has been a regular artiste of All India Radio, Kolkata, and has been rendering performances in various organizations including Doordarshan, Kolkata. Smt. Rashmi always mesmerizes her audience by her captivating recital of violin.

She also has a brillint academic career with M.A., M.Phil. in Economics. She has served as an Associate Professor in Economics in a college under the University of Calcutta and has several published Papers of National and International standard.
The Album ‘Soul of the Night’ is an enchanting depiction of some night-ragas expressing different moods, rhythms and melodies.

1. Raga Bihaag
Alap, Jod, Jhala;
Bandish in Bilambit Tintal & Drut Tintal

2. Raga Desh
Short alap; Bandish in Maddhyalay Jhamptal

3. Raga Hansadhwani
Short alap; Bandish in Teevra Tal
& in Drut Tintal

4. Dhun

5. Bhajan

Tabla: Pandit Sujit Saha

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Etnica - Music Of India

Posted By MiOd On Wednesday, November 20, 2013 0 comments
Etnica
Music Of India
Music for Soul
Track Listings
--------------
1. Raga Malkauns
2. Raga Malakosha
3. Abhayamudra
4. Sama-Veda
5. Ganga
6. Kapilavatsu
7. Hadjuraho

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Road Of The Gypsies

Posted By MiOd On Tuesday, November 19, 2013 0 comments

Track Listing
-------------
01. Goran Bregovic - Ederlezi
02. Lida Goulesko & Schnuckenack Reinhardt Quintett - Moskovskija Okna
03. Blehorkestar Bakija From Vranje - Pobjednicki Cocek
04. Rromano Dives - Besena Rovena
05. Goran Bregovic - Mesecina
06. Esma Redzepova & Ensemble Theodosievsky - Szelem Szelem
07. Kocani Orkestar - Romski Cocek
08. Bratsch - Nane Tsora
09. Matelo Farret - Mademoiselle De Bucarest
10. Kalyi Jag - Csilavtu
11. Jelem - Nevechernyaya
12. Romica Puceanu & Orchestra Florea Cioaca - Erau Zarzarii-Nfloriti
13. Vanessa & Sorba With Titi Winterstein Quintett - Swiodeschka
14. Camaron - Nana Del Caballo Grande
15. Rromano Dives - Gelem, Gelem
16. Loyko - Road Of The Gypsies

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Spanish Guitar - Best Hits

Posted By MiOd On Tuesday, November 19, 2013 0 comments

The compilation consists of 2 CD's - an excellent guitar compilation, including some of the finest guitar artists in the world.

Disc 1
[01]. Govi - Andalusian night
[02]. Ottmar Liebert - Barcelona nights
[03]. Lara & Reyes - Exotico
[04]. Oscar Lopez - Corrientes
[05]. Grant Geissman - Gypsies
[06]. Strunz & Farah - Quetzal
[07]. Larry Coryell - Concierto de aranjuez
[08]. Juan Carlos Quintero - The Way home
[09]. Jesse Cook - Hermanos
[10]. Carlos Villalobos - Duende
[11]. Gus de Lange - Wandering gypsy
[12]. La Esperanza - La punta
[13]. Marc Antoine - Cabrillo
[14]. Sasha - Sad anl light
[15]. Erich Avinger - Lovin' you

Disc 2
[01].Ottmar Liebert - Heart Still Beating
[02].Blonker - La Valleta
[03].Robert Michaels - Cupids Dance
[04].Govi - Persuasion
[05].Jesse Cook - That's Right
[06].Nicolas De Angelis - Jalouse Andalouse
[07].Gipsy Kings - Inspiration
[08].The Shadows - Adios Muchachos
[09].Lara & Reyes - Cotton Candy
[10].Oscar Lopez - Gypsy Soul
[11].Armik - Dancing Shadows
[12].Nova Menco - Close To The Edge
[13].Chris Spheeris - Viva
[14].Antonio Cobo - Piano
[15].Armik - Tropical Breeze
[16].Shahin & Sepehr - Nature Boy
[17].Paco De Lucia - Danza
[18].Oscar Sher - Oscar's Waltz

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Hariharan - Om Shiv Dhuni

Posted By MiOd On Monday, November 18, 2013 0 comments
Hariharan, born 3 April 1955 in Thiruvananthapuram, Kerala, is an Indian playback singer in Hindi, Tamil, Malayalam, Kannada and Telugu movies, an established ghazal singer, and one of the pioneers of Indian fusion music.

In 2004, he was awarded the prestigious Padma Shri and Yesudas Award for his outstanding performance in music. Hariharan also collaborated with Pakistan-based band Strings for a track called bolo bolo.

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Anoushka Shankar - Traces of You

Posted By MiOd On Monday, November 18, 2013 1 comments
Traces of You, featuring three new songs with Norah Jones!

After the great success of her DG debut Traveller which spent 6 weeks in the top 10 of the Billboards World Music chart and received a Grammy nomination, Anoushka Shankar returns with another outstanding recording: Traces of You, featuring three new songs with her half-sister, Norah Jones.

Named Best Artist (Songlines Awards 2012) for Traveller its hybridism feels as natural as conversation (The New York Times) sitar player and composer Anoushka Shankar has created a strikingly original new album.

Produced by British composer and multi-instrumentalist Nitin Sawhney, Traces of You features contributions by Anoushkas longtime associates: tabla genius Tanmoy Bose, flutist Ravichandra Kulur, and percussion wizard Pirashanna Thevarajah. Other highlights are a musical exploration of the unique sound of the Hang drum, played by its foremost exponent, Manu Delago.

Traces of You draws on Indian classical ragas, Western classical string arrangements, mid-20th century-style lyrics of extended poetry and modern soundscapes.

Filmmaker Joe Wright (Atonement, Anna Karenina, Pride & Prejudice) has filmed a music video for the title track, Traces of You, featuring Anoushka and Norah.

This album was inevitable. The two daughters of Ravi Shankar, both talented in their own fashion, have come together in honor of their late father and produced an extraordinarily fine album of contemporary world fusion tunes with an Indian flavor, thanks to Anoushka Shankar's sweet and precise sitar. Except for one track with Vishwa Mohan Bhatt, Shankar is the composer. She had the assistance of producer Nitin Sawhney, who was personally responsible for arrangements and electronic programming. Instrumentation is fairly minimal: chiefly the sitar, the piano of Norah Jones and Sawhney, cello, hang ("han", a hollow-sounding, flying saucer-shaped metallophone of nitrited steel played by hand), some percussion (mridangam, ghatam, tabla), tanpura drone, shehnai double reed, bansuri flute, and on one track guitars, ukelele, and glockenspiel, plus electronic programming. Jones sings on three tracks. The music varies from the style of Hindustani dhuns and thumri (light classical and folk melodies) to free jazz (Scandanavian style) to Vedic chant. Some tracks are based on ragas, Shree for "In Jyoti's Name" and Manj Khamaj for "Monsoon". In the notes, Shankar provides comments to each track, reflecting on her father and on Hindu philosophy. Lyrics to Jones' songs and the Vedic prayer are also included. As mentioned by Shankar, Jones' song "Unsaid" is similar to her father's theme music to Satyajit Ray's film Pather Panchali, music that she never heard. [I just compared both and it does raise eyebrows.) This is Anoushka's finest nonclassical album to date. The famous German classical label DGG, which long ago had issued some raga performances by Ravi Shankar, recognized her work as a wonderful, beautiful, and meaningful cross-over album. Ravi would have been proud. 56 minutes.

01. The Sun Won't Set
Anoushka Shankar, Norah Jones

02. Flight
Anoushka Shankar, Nitin Sawhney (1964 - )

03. Indian Summer
Anoushka Shankar, Manu Delago

04. Maya
Anoushka Shankar

05. Lasya
Anoushka Shankar, Nitin Sawhney (1964 - )

06. Fathers

07. Metamorphosis
Anoushka Shankar

08. In Jyoti's Name

09. Monsoon
Anoushka Shankar, Nitin Sawhney (1964 - )

10. Traces Of You
Anoushka Shankar, Norah Jones
Nitin Sawhney (1964 - )

11. River Pulse
Anoushka Shankar, Vishwa Mohan Bhatt

12. Chasing Shadows
Anoushka Shankar, Norah Jones

13. Unsaid
Anoushka Shankar, Norah Jones

Norah Jones · Ravichandra Kulur
Manu Delago · Nitin Sawhney
Pirashanna Thevarajah · Sanjeev Shankar
Kenji Ota · Tanmoy Bose

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Satish Vyas - Shaswat (Pure)

Posted By MiOd On Sunday, November 17, 2013 0 comments
Shri Satish Vyas one of India’s noted Santoor players was born into a family noted for its contribution to Indian music. He was initiated into Vocal music by his father Pandit C.R. Vyas one of India’s recognized vocalists.

In 1976 Satish Vyas was exposed to the magic of the Santoor and to Pandit Shiv Kumar Sharma. He sought the maestro’s tutelage and secured it and for the past twenty two years he has dedicated himself to his guru and to the Santoor. Satish Vyas is among the senior most and well known disciples of Pandit Shiv Kumar Sharma. For the past decade and more he ahs been performing at a variety of music festivals and concerts all over India and abroad.

Shaswat the latest offering by Satish Vyas depicts various facets of human emotions from divine devotion to love.

Welcome to the fascination world of sound & music that has the power to comfort & calm the senses and the mind music that is structured to help you relax in the comfort of your own home or anywhere you feel the need to reduce your stress level for a while.

In times long ago the healing power of sound & Music was prized a powerful and mysterious tool to help balance mind body and spirit ancients such as Plato, Pythagoras and Orpheus spoke of music as a source of health and vitality. Further music and rhythms have always been an integral aspect of traditional rites and rituals of worship. The ancients understood as we do today that music is truly a universal language needing no words to convey emotion and meaning.

Music does indeed soothe the soul!

Shaswat is a unique album created by Satish Vyas. All the tracks featured in this album are soulful immensely expressive and emotional. This creates a relaxing and de stressing effect on the listerner helping to ease some of the pressures that we face as busy professionals in today’s hectic world of deadliness and competitions.

1. Dawn at the Temple
2. Homeward Journey
3. Dalliance
4. Yearning
5. Cloudburst in the Valley
6. Petel Blossom

Music composed and arranged by Satish Vyas.
Santoor – Satish Vyas
Pakhawaj and side rhythms – Pandit Bhavani’s Shanker
Tabla – Shi Vijay Ghate
Keyboard - Shi Atul Raninga
Vibrophone – Shri Salim
Harp and Matka – Shir Indu Atma
Side Rhythms – Shri Pancham
Vocal – Shri Sanjeev Chimmalgi and Shripati Hegde
Recording engineer – Shri Hasan Sheikh
Recorded at Trio Digital Andheri Mumbai
Special thanks to Sri Ronu Majumdar.

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Esperanza Spalding - Junjo

Posted By MiOd On Thursday, November 14, 2013 0 comments

The debut recording by acoustic upright bassist and vocalist Esperanza Spalding, a native of Portland, OR, residing in Boston, MA, is an exercise in joy and freedom. Well rendered for such a very young musician, it's quite notable, considering the certainty of her concept and clarity of her vision. While steeped in contemporary jazz, there are Latin flavors, unabashed free moments, and some implied and direct swing. Further, it is an expression of her well-being, optimism, and future hope for her life in this music. Also in her peer group, pianist Aruan Ortiz and drummer Francisco Mela add a hundredfold to this music and establish themselves as leaders-to-be, and are quite capable partners for Spalding's wonderful sounds. The first piece, a take of the Jimmy Rowles evergreen "The Peacocks," lets you know something special is going on. Spalding's bass leads out with the probing piano of Ortiz as wordless vocals and a modal jam all precede the melody, followed by a free section. The imagination quotient of this interpretation is off the charts. "Mompouana" is a most impressive circular tune surrounding the sweetness and light of Spalding's voice in a 9/8 time signature, choppy piano motifs, upper to midrange drama, and thoughtful, intricate secondary lines. In their ultimate playful state, "Perazuán" and "Perazela" show Spalding's ability to scat, with Ortiz on the former and furiously alongside Mela on the latter track. The other covers are a darker-than-the-original rendition of Chick Corea's neo-bopper "Humpty Dumpty" and the personable, lighthearted "Loro," written by Egberto Gismonti. "Two Bad," with a feeling reminiscent of the standard "Alone Together," is a brittle, quirky, and unpredictable tune that is the only instrumental of the lot. Spalding sings no lyric content whatsoever; her style is all natural, sensual, and precious. Whether she is coerced to sing songs in the future is to be determined. For sure, she is an accomplished bassist, musician, and original thinker. Junjo is an auspicious beginning that should catch the ears of any lover of great music.

1. The Peacocks
2. Loro
3. Humpty Dumpty
4. Mompouana
5. Perazuán
6. Junjo
7. Cantora de Yala
8. Two Bad
9. Perazela

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Esperanza Spalding - Esperanza

Posted By MiOd On Thursday, November 14, 2013 0 comments

Bassist, vocalist, and composer Esperanza Spalding's eponymous release on Heads Up International is touted on the Concord Label Group's website as her debut recording. This is patently untrue. In fact, if it weren't for her actual debut , 2006's Junjo on Spain's Ayva imprint, this set may not have existed at all. Junjo showcased Spalding as a leader, playing in an acoustic trio with pianist Aruan Ortiz and drummer Francisco Mela singing wordlessly over bubbling Latin and Afro-Cuban melodies and rhythms. Though written by Brazilian legend Milton Nasciemento and featuring backing vocalists and additional percussion to the bass, piano, and drum format, Esperanza's opening track, "Ponta de Areia" resembles the sound and M.O. of the earlier album quite a bit. This is on purpose, as Spalding simply nods to one of the many places she comes from musically. The track, with its languid, nursery rhyme-like melody and beautifully understated instrumental accompaniment, gently opens the listener to an aural experience that's quite unlike anything else out there. Spalding sings in three languages here English, Spanish, and Portuguese she plays bass, does the arranging, and acts as her own producer on this wildly diverse and exceptionally well-executed set. How does a 23-year-old get all that control? Simple: she's a prodigy; she is a seasoned session player (she's worked with Joe Lovano, Pat Metheny, and Patti Austin to name just three), and she's a faculty member at the Berklee College of Music.

The ambition on display on Esperanza is not blind; it's deeply intuitive, and her focus brings out the adventure on the album in all the right ways. By a lesser musician, even attempting something like this would have been disastrous. A core band consisting of pianist Leo Genovese, percussionist Jamey Haddad, and drummer Otis Brown backs Spalding. She follows the Nasciemento cut with her own fingerpopping midtempo ballad "I Know You Know," where her crystal clear contralto walks a phrasing tightrope between near scat, classic jazz, and Latin soul singing. The layers of hand percussion and knotty pianism fill the middle as her bassline and drums hold down a constant skittering thrum for the lyrics to balance on. But she can write and sing straight ballads as well. "Fall In," a seemingly simple duet where her voice over Genovese's piano are the only ornaments, is a stellar example and also displays a very sophisticated and slippery sense of wordcraft and a gorgeous melodic sensibility. "I Adore You," featuring Horacio "El Negro" Hernandez in one of his two appearances on drums, offers another example of Spalding's wordless vocalizing; it is a popping Brazilian samba-cum-rhumba with a snappy backing chorus of Brown, Gretchen Parlato, and Theresa Perez. They help her move the smoking piano and the shuffling, time-shifting drums of Hernandez on the choruses. Spalding's bass part here is anything but basic, it's startling in its rhythmic and lyric invention as it adds another harmonic counterpart to the piano and percussive textures. New Orleans saxophonist Donald Harrison performs in one of his two guest spots on the provocative and sassy jazz tune "She Got to You." With a quick, even-burning tempo, there are traces of Betty Carter, Ella Fitzgerald, and even Blossom Dearie in Spalding's phrasing. For all of the hard-driving percussion and the track's boppish tempo, it is wonderfully accessible. "Precious," played with her trio (including some nice Rhodes work by Genovese) is like a mirror image; it's lithe, new-soul melody line flirts with jazz in the arrangement but stays on the pop side of the fence. If radio would get behind this it would be a monster. "Mela" is a wailing, post-bop instrumental with Hernandez on drums and guest Ambrose Akinmusire on trumpet. Check Spalding's bass solo here, it, like the tune, is a burner. In sum, Esperanza sounds like the work of a much older, more experienced player, singer, and songwriter. Spalding not only has these gifts in natural abundance but is disciplined in her execution as well. On this recording she seeks to widen her musical adventure at every turn, but she does it with such with taste, refinement, and a playful sense of humor that virtually anyone who encounters this offering will find not only much to delight in, but plenty to be amazed by as well.

[01]. Ponta de Areia
[02]. I Know You Know
[03]. Fall In
[04]. I Adore You
[05]. Cuerpo Y Alma (Body & Soul)
[06]. She Got to You
[07]. Precious
[08]. Mela
[09]. Love in Time
[10]. Espera
[11]. If That's True
[12]. Samba Em Preludio

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Bulerias de Oro

Posted By MiOd On Thursday, November 14, 2013 0 comments

Flamenco album released in Spain in 1993 by Hispavox on original sound recording made in 1976 with a collection of 12 gold 'bulerías'. 'Bulería' is one of the greatest 'palos' (styles) of classic flamenco, fundamentally important in the gypsy singing area of Jerez de la Frontera (Spain).

The CD brings together a cast of great flamenco singers of the era, among which the voices of Antonio Mairena, Manolo Caracol, Terremoto de Jerez, Pericón de Cádiz or singers sisters Fernanda, Bernarda and Pepa de Utrera. ”

[01]. Fiesta en Cádiz (Pericón de Cádiz, Chato de la Isla y Manuel Soto el Sordera)
[02]. No quiero 'na' contigo (Manolo Caracol)
[03]. En esta esquina me paro (Manuel Soto el Sordera)
[04]. Deja que pasen tres días (Manolo Vargas)
[05]. Remedio 'pa toos' los males (Antonio Mairena)
[06]. Fiesta en Utrera (Perrate, Fernanda, Bernarda y Pepa de Utrera)
[07]. En la calle Nueva (Terremoto de Jerez)
[08]. Virgen de la Merced (Aurelio Sellés)
[09]. Como cantó Pastora (Gabriel Moreno)
[10]. Cuando se entere el sultán (Fernanda de Utrera)
[11]. Levántate, Filomena (Pericón de Cádiz)
[12]. Fiesta en le Barrio Santiago (Terremoto, Romerito, El Borrico, El Diamante Negro, El Sordera y El Sernita)

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Enrico Macias - Hommage à Cheikh Raymond

Posted By MiOd On Thursday, November 14, 2013 0 comments
Hommage a Cheikh Raymond - Algeria, France
Enrico Macias
Accompagne par Taoufik Bestandji et par l'ensemble Foundok

This hommage to Enrico Macias' father in law has been my musical discovery of the year. Not only is it a very touching, enlightning, delicate and marvelous journey into andaluso-arabic music, but its beauty also makes you dream of a time when both sides of the mediterrenean sea used to share their treasures instead of fighting, a time of tolerance, as it was also expressed in the beautiful Youssef Chahine's movie "Le Destin"... I can only hope such a magnificiency will contribute to a better understanding and opening to the arabic culture and people.

CD1
Nouba Zidane
[01]. Bacheraf Zidane
[02]. Istikhbar
[03]. Inqlab Zidane 1: Ya Bahi el Jamel (Merveille des merveilles)
[04]. Inqlab Zidane 2: Gharamek (Ammour chagrin)
[05]. Final-Khlac Zidane: Djamalouhou (Divine Beaute

Nouba cika
[06]. Istikhbar cika
[07]. Inqlab 1er:Qalbi Ebtala (Noir Desir)
[08]. Inqlab 2eme: Ya sahib el ouyoune (Les yeux fardes)
[09]. Inqlab 3eme: Men Ya'ti qalbou (Patience)
Les Quatrains
[10]. Ghzali wainou (ou-es tu ma gazelle)
[11]. Qoudam Darek (Demeure du coeur)

CD2
Varietes Orientales
[01]. Istikhbar mode Iraq
[02]. Ya bellarej (cicogne)
[03]. Haouzi Inqlab Dhil (douloureux silence)

Inqlab Dhil (feur d'amandiers)
[04]. Istikhbar Dhil
[05]. Inqlab Dhil/Modal
[06]. Waine enbatou (Nuit d'amour)

La Nouba Rahaoui
[07]. Istikhbar Rahaoui
[08]. Valse Bilah ya hamami (Le messager)
[09]. Quatrains wat'habini (M'aimes-tu?)
[10]. Final: Bettar ouel oud (Nouba)
[11]. Koum Tara
Duo Enrico Macias/Cheb Mamio

Musiciens concert Bourges et "Koum Tara":
Enrico Macias: guitare
Taoufik BESTANDJI Direction d'orchestre et artistique-Alto, luth, percussions et choeurs
Hamidou Abdi: flute (jouaq), hautbois (zourna) et choeurs
Lakehal Belhaddad: Cithare (Qanoun)
Zouheir Yahyaouia: darbouka
Nacer Bousaboua: tambourin

Musiciens concert Bourges:
Ahmed Aouabdia: luth (oud) et choeurs
Kamel Labaci: guitare flamenca et choeurs
Jose de Suza: violoncelle

Mucisiens "Koum Tara":
Brahim Djelloul: violon
Galiere Nicolas: violoncelle
Seguin Remy: alto
Tarbour Jean-Claude: violon
Jean-Claude Ghrenassia: Batterie, basse, arrangements cordes

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Greatest Hits Violin

Posted By MiOd On Thursday, November 14, 2013 0 comments

Includes performances by Isaac Stern, Cho-Liang Lin, Pinchas Zukerman, New York Philharmonic / Leonard Bernstein, and other great artists.

[01]. J.S. Bach: I. Prelude from Partita No. 3, BWV 1006
[02]. Saint-Saëns: Introduction & Rondo capriccioso, Op. 28
[03]. Brahms: Hungarian Dance No. 5
[04]. Mendelssohn: III. Allegretto non troppo - Allegro molto vivace from Violin Concerto, Op. 64
[05]. Borodin: Nocturne
[06]. Kreisler: Liebesleid
[07]. Kreisler: Liebesfreud
[08]. Vivaldi: I. Allegro from The Four Seasons ("Spring")
[09]. Mozart: III. Rondeau. Tempo di Menuetto from Violin Concerto No. 5, K. 219
[10]. Massenet: Méditation from Thaïs
[11]. Dvořák: Humoresque, Op. 101, No. 7
[12]. Lalo: V. Rondo. Allegro from Symphonie espagnole, Op. 21
[13]. Debussy: "The Girl with the Flaxen Hair"
[14]. Tchaikovsky: III. Finale. Allegro vivacissimo from Violin Concerto in D

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Instrumental Dreams - Flute

Posted By MiOd On Tuesday, November 12, 2013 0 comments

Master musician and best-selling recording artist Robert Gass chose from hundreds of recordings to create this stunningly beautiful musical journey. Featuring world music masters including Carlos Nakai on the Native American flute and Paul Horn playing live inside the Taj Mahal, this recording is ideal for yoga, relaxation, or simply enjoying the world’s most beautiful flute music.

[01]. East Wind Associates - Wooden Ship
[02]. Djivan Gasparian - Ask Me No Questions
[03]. N. Shulman/Judy Loman - Gymnopedie #2
[04]. Spotted Eagle - In Sunrise I Walk
[05]. Richard Warner - Tao
[06]. Joanie Madden - Women of Ireland
[07]. Kay Gardner - Lydian Dreams
[08]. Ensemble Villa Musica - Adagio from Flute Quartet in D
[09]. Omar Faruk Tekbilek - Moment of Doubt
[10]. Riley Lee - Melting Snow
[11]. Una Ramos - Reflets de Soleil
[12]. Steve Gorn - Rag Shivaranjani
[13]. Tim Weisberg - Dion Blue
[14]. R. Carlos Nakai - Catfish Blues
[15]. Paul Horn - Prologue/Inside (The Taj Mahal)

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Luis Delgado - Alquibla II - Música Original De La Série De TVE

Posted By MiOd On Tuesday, November 12, 2013 0 comments

Luis Delgado has composed and produced various soundtracks for television programs. Outstanding is the soundtrack of Alquibla, a serial about the Arabian world, written by Juan Goytisolo and directed by Victoria Prego.

(01) SINTONIA - El Musem
(02) LOS MUSULMANES SOVIETICOS - Los nomadas Kirghises
(03) El Janato de Kazan
(04) El Viajero Olufsen
(05) Bujara
(06) El Mazar de Sha-i-Zenda
(07) El desengano
(08) LA TURQUIA PROFUNDA - Derebogazi
(09) Xirid
(10) EL ISLAM NEGRO - Ibn Battuta
(11) 'Banko'
(12) Niger
(13) DIPTICO CHII - La linea justa
(14) Blanco White
(15) Fin de una dinastia
(16) El retorno de Lazaro
(17) LOS ASCETAS DEL DESIERTO - La necropolis fantasmal
(18) La espera del Barzah
(19) ABDELKRIM Y LA EPOPEYA DEL RIF - La epopeya de Abdelkrim
(20) La Republica del Rif
(21) Biografia de Abdelkrim
(22) Xihad
(23) De africa a la guerra civil
(24) RAMADAN - La aleya
(25) Noche de Ramadan
(26) Amanecer en la plaza de Husein
(27) CEMENTERIOS ISLAMICOS - Cementerio marino
(28) Kasimpacha
(29) LOS ULTIMOS JUGLARES - Jerome Tharaud
(30) El callejon del Mukef
(31) LA OTRA ORILLA - De Mieres a Larache
(32) La pagaduria de Sidi Ifni
(33) Aduanas fantasmas
(34) LOS ATLETAS DE ALI - Rustam

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Luis Delgado - Alquibla - Música Original De La Série De TVE

Posted By MiOd On Tuesday, November 12, 2013 0 comments

Luis Delgado has worked with all kinds of groups, like Iman (Andalusian rock), Atrium Musicae (antique music), Babia (East-West fusion), Finis Africae (ethnic fusion), C?lamus (Spanish medieval music), La Musga?a (traditional music), Spanish-Moroccan group "Ibn Baya" etc. Born July 16, 1956, in the Chamberi quarter of Madrid, Luis Delgado did his first concert at the age of 14 with the orchestra of La?des, Gaspar Sanz, whose director, D. Manuel Grand?o, taught him most of what he knows about music. Luis also took classes in Hindu, Iranian and Andalusian music, as well as in African percussion. The musical spectrum of this Spanish multi-instrumentalist, composer and producer ranges from ambient to different kinds of traditional and ethnic music, and even includes medieval and ancient music.

Luis Delgado has composed and produced various soundtracks for television programs. Outstanding is the soundtrack of Alquibla, a serial about the Arabian world, written by Juan Goytisolo and directed by Victoria Prego.

Sintonia
1 El Musem (1:52)

El Cairo, Diptico Urbano
2 Cairo Mokatam (1:39)
3 Al Muski (1:25)
4 Al Jalifa (2:30)
5 Mantis Religiosa (0:54)

Istanbul, La Ciudad Palimpsesto
6 Hgya Sophia (1:16)
7 El Bosforo (2:21)
8 Top Kapi Saraji (2:23)

El Espacio En La Ciudad Islámica
9 Cives Blancas (0:38)
10 Basora (1:30)
11 Kotubia (1:51)
12 Xmaa L'Fnaa (2:52)

Gaudí En Capadocia
13 Reflexión (3:00)

El Desierto, Realidad Y Espejismo
14 Beduinos (1:15)
15 El Tambor Del Sol (1:00)
16 El Baño Lustral (2:24)

Gaudí En Capadocia
17 Profecía (2:56)

Itinerario De Un Campeón
18 Kispit (1:06)

Ver Sin Ser Vista, La Mujer En El Islam
19 Mujeres Beduinas (1:30)
20 El Serrallo (2:00)

El Islam, Realidad Y Leyenda
21 Inquisición (0:15)
22 Meca (2:20)

Zagüias Y Cofradias Islámicas
23 Hadra (1:17)

Sintonía
24 El Musem (1:52)

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Ustad Amjad Ali Khan - Sarod

Posted By MiOd On Monday, November 11, 2013 0 comments
He was all of 6 years old, when Amjad Ali Khan gave his first recital of Sarod. It was the beginning of yet another glorious chapter in the history of Indian classical music. Taught by his father and guru, the great Haafiz Ali Khan of Gwalior, Amjad Ali Khan was born to the illustrious Bangash lineage rooted in the Senia Bangash School of music. Today he shoulders the sixth generation inheritance of this legendary lineage.

After his debut, the career graph of this musical legend took the speed of light, and on its way the Indian classical music scene was witness to regular and scintillating bursts of Raga supernovas. And thus, the

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world saw the Sarod being given a new and yet timeless interpretation by Amjad Ali Khan. Khan is one of the few maestros who consider his audience to be the soul of his motivation.

As he once said, "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."

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He has performed at the WOMAD Festival in Adelaide and New Plymouth, Taranaki in New Zealand, WOMAD Rivermead Festival in UK, Edinburgh Music Festival, World Beat Festival in Brisbane, Summer Arts Festival in Seattle, BBC Proms, International Poets Festival in Rome, Shiraz Festival, UNESCO, Hong Kong Arts Festival, Adelaide Music Festival, 1200 Years celebration of Frankfurt and Schonbrunn in Vienna.

In the matter of awards, Amjad Ali Khan has the privilege of winning the kind of honours and citations at his relatively young age, which, for many other artistes would have taken a lifetime. He is a recipient of the UNESCO Award, Padma Vibhushan (Highest Indian civilian award), Unicef's National Ambassadorship, The Crystal Award by the World Economic
Forum and Hon'ry Doctorates from the Universities of York in 1997, England, Delhi University in 1998, Rabindra Bharati University in 2007, Kolkata and the Vishva Bharti (Deshikottam) in Shantiniketan in 2001. He has represented India in the first World Arts Summit in Venice in 1991, received Hon'ry Citizenship to the States of Texas (1997), Massachusetts (1984), Tennessee (1997), the city of Atlanta, Georgia (2002), Albuquerque, NM (2007)and the Key of the City of Tulsa, Oklahoma (2007). April 20th, 1984 was cleared as Amjad Ali Khan Day in Boston, Massachusetts. In 1995, Mr. Khan awarded the Gandhi UNESCO Medal in Paris for his composition Bapukauns. In 2003,the maestro received “Commander of the Order of Arts and letters” by the French Government and the Fukuoka Cultural grand prize in Japan in 2004.

He represented India in the first World Arts Summit in Venice, received Hon'ry Citizenship to the States of Texas, Massachusetts, Tennessee and the city of Atlanta. April 20th, 1984 was declared as Amjad Ali Khan Day in Boston, Massachusetts. In 1995, Mr. Khan was awarded the Gandhi UNESCO Medal in Paris for his composition Bapukauns.

His collaborations include a piece composed for the Hong Kong Philharmonic Orchestra conducted by Yoshikazu Fukumora titled Tribute to Hong Kong, duets with gutarist Charley Byrd, Violinist Igor Frolov, Suprano Glenda Simpson, Guitarist Barry Mason and UK Cellist Matthew Barley. He has been a visiting professor at the Universities of Yorkshire, Washington, North Eastern and New Mexico. BBC Magazine had voted one of his recent CDs titled ‘Bhairav’ among the best 50 classical albums of the world for the year 1995. In 1994, his name was included Biographical in International Directory of Distinguished Leadership, 5th edition. In 1999, Mr. Khan inaugurated the World Festival of Sacred Music with His Holiness the Dalai Lama. In 1998, Khan composed the signature tune for the 48th International Film Festival. In March 2002, Mr. Khan released his Carnegie Hall concert recording, Sarod for Harmony-Live at Carnegie Hall to commemorate his fiftieth performing year. In 2003, Maestro Amjad Ali Khan performed for His Royal Highness Prince Charles at his Highgrove Estate for the second time after earlier recitals in 1989, 1995 and 1997(at St. James Palace).

He has been a regular performer at the Carnegie Hall, Royal Albert Hall, Royal Festival Hall, Kennedy Center, Santury Hall (First Indian performer), House of Commons, Theater Dela Ville, Muee Guimet, ESPLANADE in Singapore, Palais beaux-arts, Mozart Hall in Frankfurt, Chicago Symphony Center, St. James Palace and the Opera House in Australia.

In his case, the term 'beauty of the Ragas' acquires a special meaning as he has to his credit the distinction of having created many new Ragas. It is love for music and his belief in his music that has enabled him to interpret traditional notions of music for a new refreshing way, reiterating the challenge of innovation and yet respecting the timelessness of tradition.

Two books have been written on him. The World of Amjad Ali Khan by UBS Publishers in 1995 and Abba-God’s Greatest Gift To Us by his sons, Amaan and Ayaan published by Roli Books-Lustre Publications in 2002. A documentary on Mr. Khan called Strings for Freedom won the Bengal Film Journalist Association Award and was also screened at the Ankara Film Festival in 1996.

In 2007, Mr. Khan featured in the Southbank Centre’s recently launched the Royal Festival Hall hoardings project ‘Rankin’s Front Row’, where his photograph is included in the frieze that will run the length of the river façade of the Royal Festival Hall. This year see the premier of Samagama Sarod Concerto with Conductor David Murphy and the Scottish Chamber Orchestra. Khan performed at the Central Hall of the Indian Parliament on the commemoration of India's 60th year of Independence in 2007.

In 2009, Mr. Khan presented his Sarod concerto Samagam with the Taipei Chinese Orchestra. This year also sees the collaboration with Guitarist Alvaro Pierri. Recently, Amjad Ali Khan was nominated for a Grammy award in the best traditional world music album category. Khan has been nominated for the album 'Ancient Sounds', a joint-venture with Iraqi oud soloist Rahim Alhaj. Recently, the Khans collaborated with American Folk artist Carrie Newcomer at Lotus Arts Festival in Bloomington.

Married, with two sons, Amaan Ali Khan and Ayaan Ali Khan are well known names in the music scene and are the seventh generation of musicians in the family. ‘Coming Masters’ as the New York Times calls them. Amjad Ali Khan's wife Subhalakshmi Khan has been a great exponent of the Indian classical dance, Bharatnatyam, which, she sacrificed for her family. As a soul, so in his heart, he is a man who has proven his indomitable belief in the integration of two of life's greatest forces, love and music. He is a living example of a man who practices that integration each day of his life, both on stage and off stage.

1. Rägs Pilü and Kirwäni
2. Räg Khammäj-Rägmälä-Dhün

Amjad Ali Khan (Sarod)
Zakir Hussain (Tabla)

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