Ono Gagaku Kaï - Japon. Gagaku

Posted By MiOd On Monday, December 30, 2013 0 comments
Japan: Gagaku, a collection of high-quality gagaku works courtesy of the Ono Gagaku Kai Society, one of the better private organizations dedicated to the preservation of an old art (the society dates back to the end of the 19th century, but the art is one of the older surviving musics known to man). Two of the three major divisions of gagaku are represented here, as kangen and bugaku forms are displayed to their fullest (instrumental and dance forms, as vocal/uta-mono is excluded from the album). The album opens with the standard piece of gagaku, "Etenraku." This gives the group some room to stretch out on the tuning-up period a bit and then move into the full instrumental glory of the work. A dance piece stemming from the Rg Veda follows, with a vaguely related longer one from western Asia following it. "Gakkaen" stands as one of the oldest pieces of music, recorded to be in use as early as 702 A.D., and is an interesting instrumental take on an old dance movement. "Bairo" is another work stemming from the Vedic culture, surrounding a prince Vairo-dhaka. The album closes with a dance work of Korean provenance, making even heavier use of the sho than the majority of the tracks (which is saying something in a gagaku ensemble). For newcomers to the rather otherworldly sound of gagaku, the recording of the Kyoto Imperial Court Orchestra on Lyrichord might prove a better introduction, given their virtuosity and encompassing of the full range. Japan: Gagaku is a fine album nonetheless, with able musicians providing a wealth of musical goodness in an ancient tradition.

1. Etenraku
2. Batô
3. Genjôraku
4. Gakkaen
5. Bairo
6. Nasori

320 kbps including Covers

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Maroc. Musique classique Andalou-Maghrébine

Posted By MiOd On Monday, December 30, 2013 0 comments
Orchestre De Fez ‎
– Maroc Musique Classique Andalou
- Maghrebine
Given the long and complex nature of Moroccan classical music, or the Andalou-Mahgrebine, the compilers of this volume on the state of the tradition since 822, have centered themselves on one form of music, the nawbat, which is ostensibly a suite of songs in five movements with differing time signatures. Each movement comprises a series of poems (each one being a san'a of two, five, or seven lines) sung over different melodies. A single movement of the nawbat may contain over 40 san'a! There are purely instrumental passages as well, which serve as preludes or interludes, and in some cases even etudes. The center of each nawba is a melodic mode, which influences from the start all other melodies, harmonic restrictions, and architectures, etc. Modes can be introduced that differ, but they must contain the root of the original within them. Other rules governing the nawbat are occasions and the hours of the day when they are to be performed. In antiquity, there were 24 full nawbat. There remain only four complete ones and seven fragmentary. The full nawbat are rarely performed, as several hours is required to complete the cycle. What this disc features is a fragmentary nawbat as conceived by Morocco's authority and producer of such performances al-Haj'abd al-Krim al-Rayis, entitled "min wahi al-rabab." The poems tell stories of love, passion, and devotion to the prophet Mohammed and the desire for Divine Union. Interestingly, unlike in other Moslem societies, physical love is not left out of the cycle and in the singer's voices along with the oud, tar, violin, viola, cello, qanun. Rabab and other instruments, the singers' voices are intoxicated with their texts in the face of the music, and become enrapt, their voices cracking and groaning in pleasure and devotion as they whir and whirl around their instrumental counterparts. Though there are no translations in the booklet of the poems, it's just as well; the poetry and wondrous mystery is in the sound itself.

1. Nûba - Al-Hijâz Al-Kabîr - Rais / Orchestre De Fez
2. Nûba - Al-'Istihlâl - Rais / Orchestre De Fez

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

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Shivkumar Sharma ‎– Classical Melodies On The Santoor

Posted By MiOd On Monday, December 30, 2013 0 comments
Shivkumar Sharma ‎– Classical Melodies On The Santoor [LP]
Shivkumar Sharma (born 13th January 1938) is an Indian classical musician, working in the Hindustani classical music tradition. He is a master of the santoor, a folk instrument from the valley of Kashmir. It is a type of hammered dulcimer whose strings are struck with a pair of light carved wooden mallets. Before him the santoor was regarded as only an accompanying instrument.

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

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

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

A. Raga Malkauns
B1. Raga Hansadhwani
B2. Mishra Khamaj

Credits
Santoor – Shivkumar Sharma*
Tabla – Manikrao Popatkar

Flac (EAC Rip): 780 MB | MP3 - 320 kbs: 100 MB | Covers

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AFTERNOON TEA MUSIC FOR JOY

Posted By MiOd On Thursday, December 26, 2013 0 comments
Track Listings
--------------
01. Break Out/土岐麻子
02. Horse with no name/Arcoiris
03. Faith/i-dep
04. コトバニノッテ/JAZZIDA GRANDE
05. Renacer/万波麻希
06. Mannequin/antennasia
07. ウルむ太陽/Asa festoon
08. Iron Acton/miya
09. I'll never fallin' love again/『みちしたの音楽』
10. Forest/Kay Lyra
11. Night and Day/与世山澄子
12. Praise Song/Hiroshi Minami Trio

VBR kbps including Covers

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AFTERNOON TEA MUSIC FOR RELAXATION

Posted By MiOd On Thursday, December 26, 2013 0 comments
Track Listings
--------------
01. THE TIDE IS HIGH/ 首里フジコ
02. Close to You/ Chie
03. 風を集めて/ Vice versa
04. 私のお気に入り/ 土岐麻子
05. OVER THE RAINBOW/ Lotus Blossom
06. Manic Monday/ 山本のりこ
07. I'm Not In Love/ 新井仁
08. Both Sides,Now/ Ann Sally
09. ACROSS THE UNIVERSE/ Sugar Mama
10. 春の歌/ トリステレオ
11. Tinsagu nu hana/ Soul Bossa Trio feat.照屋実穂
12. YOUR SONG/ 竹越
13. Sail Along Silvery Moon/ 『みちしたの音楽』

VBR kbps including Covers

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AFTERNOON TEA MUSIC FOR HAPPINESS

Posted By MiOd On Wednesday, December 25, 2013 0 comments
Compilation album on the theme of the `marriage` give the Afternoon Tea × UDAGAWA CAFE. I collect only Happy Song Toki Asako, Sally Ann, ASP, Shuri Fujiko, by artists of Soul Bossa Trio other

01. Lovely day / Akane
02. Butterfly / Ithamara Koorax
03. Afternoon / greentea
Magic tricks / Toki Asako of 4. Weekend
05. I FEEL FOR YOU / Noriko Yamamoto
06. Coffee / Vice Versa
07. Don't get around much anymore / Soul Bossa Trio feat. Shuri Fujiko
08. Hawaiian Wedding Song / LAULA
09. Prothalamion / Miho Teruya
10. Smile / ASP
11. Please, please, please, / Ohm Guru
12. Smile / Ann Sally

VBR kbps including Front Cover

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AFTERNOON TEA MUSIC FOR CELEBRATION

Posted By MiOd On Wednesday, December 25, 2013 0 comments
Clementine Toki Asako · Asa festoon · Kaji Hideki · vice versa · Kanokaori ... other great artists wide participation! Was of the connection for the Sotheby's and afternoon tea ever to commemorate the 25th anniversary of "AfternoonTea" The theme of this I record music only "Congratulations, Happy, positive" of the artists. "Just right as a small gift to celebrate birthday or someone" is a CD that can be used like that.

01. Believer / Kanokaori
02. Aqui / Kinoshitatokiwa
03. Vacances / Asa festoon
04. Pina colada / Clementine
05. Rain Drops / Three Berry icecream
06. Daily / vice versa great
07. Will / Acoustic dub messengers
08. DINDI / Miho Teruya
09. Purple sunshine / Suzuki future
10. LA LA MEANS I LOVE YOU / Lia
11. September / Toki Asako
12. Beautiful Song / Kaji Hideki

VBR kbps including Front Cover

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The Rough Guide To The Music Of Russian Gypsies

Posted By MiOd On Tuesday, December 24, 2013 0 comments
On the basis of this compilation, the violin is definitely the instrument of the Russian Gypsies. There's virtuosic violin, emotional violin, and even easy listening violin behind the voices. But whichever way you turn, there's violin. To be fair, much of it is superb, like the tracks by Loyko that bookend the disc, or the jaw-droppingly wonderful "Moldova" by Alexeji Dulkevich. That's a piece worthy of Paganini himself, the kind that makes you stop everything to listen. Of course, good as the majority of this stuff is, there are a few that are merely average and a couple of duds, like Trio Rita with "Kalina," a song with all the emotional depth of a Celine Dion rendition. A second CD features the excellent Kolpakov Duo.

Disc: 1
01. LOYKO: Sare Patrya
02. TALISMAN: Moonlight
03. ALEXEJI DULKEVICH: Moldova
04. KOLPAKOV TRIO: Grastoro
05. OLEG PONOMAREV: Deda
06. VYACHESLAV VASIL'EV: Sir Barvales...
07. L.P. MIKHAY AND T. MIKHAILOVA: Opai, Dad
08. L.P. MIKHAY AND T. MIKHAILOVA: Britiyano
09. M. BUZILEV: Vanka
10. NIKOLAI ERDENKO: Gori Lubov Ziganski
11. IGOR KRYKUNOV: Ney Smushai
12. NIKOLAY VASILYEV (ILO): Feldy
13. GELEM: Khohoro
14. RUSSKA ROMA: Khop Khop
15. TRIO RITA: Kalina
16. LEONSIA ERDENKO: Lumba
17. ARBAT: Ke Chourlaki
18. LOYKO: Two Angels

Disc: 2
01. Suite of Gypsy Tunes
02. Dui Dui
03. Grushen'ka
04. The Frost Outside
05. Memory
06. The Blue Skies Of Russia
07. Transparent Waltz
08. The Gypsy Vengerka
09. So That You Don't Suffer
10. I Walk On The White Snow
11. Still The Same Guitar

VBR kbps including Covers

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Krishna Prema Das - Reflections

Posted By MiOd On Tuesday, December 24, 2013 0 comments
A mixture of World, Fusion, Soft Rock, sometimes breaking into a stylized pop, but always orchestrated with a certain delicacy in a way to maintain the original mood of the song.

1. Surprise 2:48
2. Prayer To The Sakhīs 6:00
3. The Nectarean Glories Of Vraja-Dhāma 8:29
4. Hare Kṛṣṇa Mahā-Mantra 8:34
5. The Glories Of Śri Gaurāṅga 7:15
6. Prayer To The Vaiṣṇava 8:07
7. Vibhāvari Śeṣa

Flac tracks (EAC Rip): 280 MB | MP3 - 320 kbs: 130 MB | Front Cover

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The Lyrical Tradition of Dhrupad - Hori Dhamar

Posted By MiOd On Monday, December 23, 2013 0 comments
[07]. Hori Dhamar, 1999

Sung during the spring festival, Hori Dhamar is one of the main forms of Dhrupad. This record allows you to discover all the facets of Hori through newly released and uncut recordings of different Dhrupad schools.

THE MUSICIANS
Born in Bettiah (Bihar) in 1957, Indra Kishore Mishra belongs to an important family of Dhrupad singers. Educated in the traditional way (Guru Shishy parampara), he has received from his forefathers more than two thousand six hundred compositions in dhrupad, dhrupad, hori. His family is the last known to sing the dhrupad of the Gauhar and Kandahar vanis Residing in one of the most segregated areas of Northern India and living a peaceful life away from modern urban strife, he has kept his tradition alive.

Born in 1966 at Jaora (M. P.) in a family of musicians, Uday Bhawalkar has studied classical singing since he was 8 years old. After the cursus of the music school of Uijain, he received the Allauddin Khan Sangeet Academi Grant and became the student of Fariduddin Dagar in Bhopal. Since 1985 and until his death, the great master Zia Mohiuddin Dagar (rudraveens) has taught him the dhrupad of the Dagarvani.

Born in 1953 in Katihar (Bihar), Dr Ritwik Sanyal belongs to a family of musicians. His mother, a student of Ustad Zia Mohiuddin Dagar and Ustad Fariduddin Dagar. first taught him how to sing when he was twelve years old. He then studied with her Ustads who perfected his musical education until Ustad Zia Mohiuddin Dagar passed away. He is one of the last poets able to compose in this difficult form.

Girish Karia was born in Bombay (Maharashtra) in 1956. In his young age he started learning the enormous musical and poetical repertoire of the Haveli Dhrupad, under the guidance of Kanhaia Lal Munshi.
Haveli Dhrupad is sung in special temples, built in the shape of a small palace (haveli). Girish Karia sings for only one audience, the idol of the temple, Shri Nathji.
A travelling musician, he sings in local temples of this branch of Hinduism all across India.

1. Rag Shuddh Lalit - Alap - Hori Dhamar
2. Rag Shuddh Lalit - Hori Dhamar
3. Rag Saraswati - Alap
4. Rag Saraswati - Hori Dhamar
5. Rag Chayanat - Alap
6. Rag Chayanat - Hori Dhamar
7. Rag Kafi - Alap - Hori Dhamar

320 kbps including full scans

HERE

The Lyrical Tradition of Dhrupad - Uday Bhawalkar

Posted By MiOd On Monday, December 23, 2013 0 comments
[06]. Uday Bhawalkar - Dagarvani, 1998

This is an extremely compelling performance, with powerful command and a wide range of nuance. It was quite eye-opening to me, and shows some of the ideas of Uday Bhawalkar's teacher Z.M. Dagar, yet in an overall style beginning to take on its own originality. Although not a Dagar per se, Bhawalkar (taught by Z. Fariduddin Dagar after Z.M. Dagar's death) is extremely impressive here.
Uday Bhawalkar (b.1966) certainly makes one feel confident in the future of dhrupad, as he is obviously blessed with great talent.

Born in 1966 at Jaora (M. P.) in family of musicians, Uday Bhawalkar has studied classical singing since he was 8 years old. After the cursus of the music school of Ujjain, he received the Allauddin Khan Sangeet Academi Grant and became the student of Fariduddin Dagar in Bhopal. Since 1985 and until his death, the great master Zia Mohiuddin Dagar (rudraveena) has taught him the dhrupad of the Dagarvani. In 1987 he received the National Grant for Dhrupad, then the Gold Medal of Dhrupad from the hands of Aminuddin Dagar (The Dagar Brothers). He gave his first concert in Bhopal in 1985. He has toured a lot in India in very famous festivals ("Tansen Samaroh" of Gwalior, "Dhrupad Samaroh" of Bhopal, "Amir Khan Samaroh" of Indore...) and in Europe ("Masters of the Raga" in Holland "Otono Music Festival" in Spain, "Sangeet Parampara Festival" in Berlin). In 1988 he became an artist of All India radio.

Manik Munde (pakhwaj), born in 1960, has studied pakhwaj from a very great master : Pt Amarnath Mishra from Benares. He is a known instrumentist in India.

1. Rag Gurjari Todi - Alap
2. Rag Gurjari Todi - Jor
3. Rag Gurjari Todi - Jhala
4. Rag Gurjari Todi - Dhrupad - Sul Tal
5. Rag Gurjari Todi - Dhrupad - Tivra Tal

Uday Bhawalkar - vocals
Manik Munde - pakhawaj

320 kbps including full scans

HERE

Ensemble Yonin No Kaï Japon :Sankyoku

Posted By MiOd On Monday, December 23, 2013 0 comments
Sankyoku - Ensemble Yonin no Kaï
This ensemble of four musicians playing traditional music was created in 1957, when each of its four members was awarded a gold medal in Moscow at the international Competition of Traditional Instruments (three of them won awards for pieces of traditional repertoire up to the 19th century, and all four of them for contemporary pieces). Recently, two of its members have changed. Since then, The Yonin no Kai Ensemble have given many concerts, both in Japan and abroad. As evident from their discography, these artists have made an exceptional contribution to Japanese music, ancient as well as contemporary: they have recorded, so far, as much as fifteen albums with traditional music, and some ten albums with contemporary compositions.

Sankyoku : Ensemble Yonin no Kai (Ocora) est peut-etre le meilleur disque de musique traditionnelle japonaise ; l'ensemble ne s'est jamais produit en France, et ce n'est pas du Satsuma Biwa, je le precise (koto, shamisen,shakuhachi)

Titres
1| Hachi dan
2| Koku
3| Shin-kinuta
4| Zangetsu
5| Iwashimizu

Musiciens
Kôzan KITAHARA Shakuhachi,
Sumiko GOTO Koto, Shamisen, Vocals/voix,
Mitoko TAKAHATA Koto.

320 kbps including Covers

HERE

Ensemble Yonin No Kaï ‎– Japon: Jiuta

Posted By MiOd On Monday, December 23, 2013 0 comments
This ensemble of four musicians playing traditional music was created in 1957, when each of its four members was awarded a gold medal in Moscow at the international Competition of Traditional Instruments (three of them won awards for pieces of traditional repertoire up to the 19th century, and all four of them for contemporary pieces). Recently, two of its members have changed. Since then, The Yonin no Kai Ensemble have given many concerts, both in Japan and abroad. As evident from their discography, these artists have made an exceptional contribution to Japanese music, ancient as well as contemporary: they have recorded, so far, as much as fifteen albums with traditional music, and some ten albums with contemporary compositions.

1. Yaegoromo
Koto – Mitoko Takahata
Shakuhachi – Kôzan Kitahara
Shamisen – Sumiko Goto
Vocals, Koto [Bass] – Setsuko Kakui

2. Shin-Kinuta
Koto – Mitoko Takahata
Shamisen – Sumiko Goto

3. Akikaze No Kyoku
Vocals, Koto – Sumiko Goto

4. Kôgetsu Chô
Shakuhachi – Kôzan Kitahara

320 kbps including Covers

HERE

Estonie - Airs anciens

Posted By MiOd On Sunday, December 22, 2013 0 comments
Track Listings
--------------
01. Vana Eesti Tants - Torupill/Johannes Taul
02. Saajalugu - Torupill/Johannes Taul
03. Kas Maletad Kevadet Oites? - Aleksander Parkja
04. Kaera-Jaan - Melanie Sepp/Vassili Sepp
05. Trallilugu/Savikua Polka - Johannes Taul
06. Karjaselaul Sarvel/Loomad On Paha Peale Lainud/Karjuse Ohtulaul/Vana Russell Sarvelugu/Sarvelugu - Johannes Taul
07. Kus On Kurva Kodu/Kevadvalss - Ants Taul
08. Papiljoni-Polka/Emajoe Peal - Juhan Paaskivi
09. Minu Pruut Oli Pikk Ja Peenike - August Laanesaar/Kalev Laanesaar
10. Halliste Pillilugu/Saaja Lugu/Hiiu Valss - Johannes Taul/Ants Taul
11. Minu Sunnimaa/Narbunud Oied - Heino Sona
12. Janese Polka/Huppepolka - Torupill/Johannes Taul
13. Heale Sobrale/Koolikaaslased/Helise, Kannel - Erni Kasesalu
14. Puhas Poissmees - Juhan Kubu
15. Valss/Vahtra Polka - Karl Kikas
16. Tukk/Pala/Lutusarveviis/Sarve Kutse/Karjase Sarvelugu - Johannes Taul
17. Pilliviis/Veere, Veere, Vokiratas - Ants Taul
18. Eha Valss - Johannes Taul/Ants Taul/Erni Kasesalu
19. Polka - Torupill/Johannes Taul
20. Neli Eesti Roopillilugu - Ants Taul
21. Polka/Padespan/Jooksupolka - Karl Sarni
22. Eesti Valss - Ants Taul/Olaf Napritson/Johannes Taul
23. Tee Luuda - Johannes Taul/Ants Taul/Sulev Orgse
24. Toolemineki Tukk - Jukk Akkermann
25. Karjapasuna Tuututusi - Nikita Vassil
26. Raditants - Jaagup Kilstrom

320 kbps including Front Cover

HERE

Honduras: Songs of the Black Caribs

Posted By MiOd On Sunday, December 22, 2013 0 comments
Honduras: Songs of the Black Caribs is of prime interest to ethnomusicologists interested in noting the traditions of the Garifuna people. But with the rise of punta rock -- a descendant of Garifuna music -- on the world music scene, this makes for a fascinating roots record. It's a society, in Caribbean Central America, that was never assimilated by conquering whites, made up of escaped slaves. While they existed as essentially a separate society, keeping the African side of their nature very firmly alive, change and progress is seeing them become more integrated in 21st century society. It's notable that there's a separation of musical roles within the society -- women sing and dance, while the men play percussion instruments, the distinctive conch-shell horn, and occasionally sing. And much of the music concerns the same type of ancestor-oriented music found in religions that survived the West African diaspora. The Wabaruagan Ensemble do a wonderful job with this ritual and trance music, and the notes put everything in an honest, understandable perspective.

01. Dügü
02. Punta [1]
03. Abaimahaní
04. Fedu Hunguhungu
05. Punta [2]
06. Arumahaní
07. Gunchei
08. Koropatia
09. Oremu Egi [1]
10. Oremu Egi [2]
11. Parranda
12. Cabo de Año

320 kbps including Front Cover

HERE

Java - Palais Royal de Yogyakarta Vol.[1&2]

Posted By MiOd On Sunday, December 22, 2013 0 comments
Java - Palais Royal de Yogyakarta, Vol. 1 - Les Danses de Cour

When music lovers talk of Gamelan music, they generally refer to Balinese Gamelan music, some important types of which came from Java to Bali around 14th or 15th century after Islam had taken root in Java. In the Western world, Balinese Gamelan music is more popular and more known than Javanese Gamelan. Although Balinese music has obvious similarities with Javanese, it as well evolved quite differently from it.

The word "gamelan" is a Javanese word meaning "orchestra," referring to the instruments that make up the ensemble. Although we find similar types of music and ensemble all around Southeast Asia, as in Thailand and Cambodia, for example, gamelan music as is known today is particular to four nearby islands: Java, Madura, Bali, and Lombok. There are a large number of different types of gamelan ensembles, as much in terms of instruments used as in sizes, as much in styles of music performed as for occasions when they are performed, as well for whom they perform. These ensembles can range from few portable instruments, played by three or four musicians, to a large ensemble with as many as twenty-five musicians and between ten to fifteen singers. Large gamelan are own by wealthy patrons, shadow play puppeteers or particular institution such as banks, schools or government offices. For their part, musicians own smaller and more portable ensembles. Javanese Gamelan music has been performed for and enjoyed by people of all walks of life, from beggars to kings, although the sizes and types of ensembles, as well as the styles of music differs depending from which social class the audience is and on the occasions. (Bruno Deschênes, details: http://pages.infinit.net/musis/matsu_take_eng/3_AMG_Java_Bali.html)

A series devoted to the Yogyakarta style is available on the Ocora label. These are older recordings, and feature musicians who grew up in the court atmosphere. Many of the newer recordings (as per above) use conservatory-trained musicians because of the changing economics of the kratons.

This is a very nice recording of Yogyakarta gamelan in the 'loud' style (mainly bronze). This is not to say the pieces are loud: they form exactly the kind of rippling, smoothly flowing sound for which the Javanese gamelan is famous. The complexity is just somewhat less daunting, consisting of the skeleton melodic line carried by the sarons. The bonang, bonang panerus & peking form patterns on top of it, the piece is supported by the gongs & kenong and led by the kendang.

1. Pembuka: Gending Prabu Mataram 7:09
2. Gending Gangsaran, Gending Roneng Tawan, Gending Bima Kurda, & Gending Gangsaran 19:07
3. Serimpi Lobong: Bawa Citramengeng, Gending Lobong & Gending Glebag, Ladrang Sri Kundur

Tracks 1 & 3 played on the gamelan Kangjéng Kyahi Sirat Madu, Madu Kentir (The Venerable Torrent of Honey, Venerable Madness of Honey).
Track 2 on Kangjéng Kyahi Guntur Sari (The Venerable Thunder of Flowers).
Recorded in Java between 1971 and 1973.

Java - Palais Royal de Yogyakarta, Vol. 2 - La Musique Instrumentale

Track Listings
--------------
1. Geding Dirada Meta
2. Geding Lingtang Karakainan
3. Geding Taliwangsa
4. Geding Tunjung Anom

192 kbps including Covers

Vol.1
Vol.2

Madagascar - Pays Antanosy. Sarandra

Posted By MiOd On Sunday, December 22, 2013 0 comments
Madagascar - Pays Antanosy. Sarandra, 2007
Track Listings
--------------
01. Saribara
02. Matavy resaky
03. Kapindra
04. Solo de luth mandaly
05. Sarozaka
06. Sarandra en solo
07. Solomahavelo
08. Sarandra en solo
09. Matavy resaky
10. Kapindra
11. Lera ñandro
12. Tsimidiniky
13. Sarandran-jejo
14. E lahy ê
15. Lokanga
16. Beko: Betrolahy
17. Sarandra en solo
18. Sarandra en trio
19. Lera ñandro
20. Lera ñandro

320 kbps including full booklet scans

HERE

The Lyrical Tradition of Dhrupad - Girish Karia

Posted By MiOd On Sunday, December 22, 2013 0 comments
[05]. Girish Karia - Nathdwara Haveli Dhrupad, 1997

For the first time, one of India's most secret music has been recorded: Dhrupad from the forbidden temple of Sri Nathji in Nathdwara.
This Dhrupad in its most unadorned form is the illustration of the origin of this music, before it became a court music.

Girish Karia was born in Bombay (Maharashtra) in 1956. In his young age he started learning the enormous musical and poetical repertoire of the Haveli Dhrupad, under the guidance of Kanhaia Lal Munshi.
Haveli Dhrupad is sung in special temples, built in the shape of a small palace (haveli). Girish Karia sings for only one audience, the idol of the temple, Shri Nathji.
A travelling musician, he sings in local temples of this branch of hinduism all across India. The Tonic (SA) of the singer is between B and C.

Mohan Bai Jamariya (pakhawaj), born in 1959 in Porbandar (Gujerat), studied packawaj with one of the great masters of this instrument : Pandit Purushottam Das of the Nathdwara School.

Swamiji (sarangi), born in 1929 in Kholapur, has studied with Gulam Gosh.

Kuman Das (harmonium), born in 1930 in Bombay, has studied with Chiddalaji.

01. Rag Bhairav - Manla Charan
02. Rag Bhairav - Stuti - Adital
03. Rag Vibhas - Dhrupad - Vilambit Chautal
04. Rag Asavari - Dhamar
05. Rag Bilawal - Dhamar
06. Rag Malkauns - Charchari Tal
07. Rag Sarang - Dhrupad - Vilambit Chautal
08. Rag Gauri - Adi Tal
09. Rag Kedar - Ras - Madhyalay Chau Tal
10. Rag Hindol - Hori - Charchari Tal
11. Rag Malav - Ras - Adital
12. Rag Shuddh Kalyan - Dhamar
13. Rag Adana - Dhrupad - Vilambit Chautal

Girish Karia - vocals
Swamiji - sarangi
Mohan Bai Jamanya - pakhawaj
Kuman Das - harmonium

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The Lyrical Tradition of Dhrupad - Dr Ritwik Sanyal

Posted By MiOd On Sunday, December 22, 2013 0 comments
[04]. Dr Ritwik Sanyal - Dagarvani, 1995

Born in 1953 in katihar (Bihar), Ritwik Sanyal belongs to a family of musicians. His mother, a student of Ustad Zia Mohiuddin Dagar and Ustad Fariduddin Dagar, first taught him how to sing when he was twelve years old. He then studied with her Ustads who perfected his musical education until Ustad Zia Mohiuddin Dagar passed away.
In 1976 Ritwik Sanyal was declared best dhrupad singer in the "All India Dhrupad Conference" of Benares.
A ph. D. in Music and philosophy from Benares Hindu University, he now teaches dhrupad in this famous institution. Thanks to his deep knowledge of dhrupad poems and his musical experience, he is one of the guardins of tradition. He is one of the last poets able to compose in this difficult form.
Ritwik Sanyal has given more than 250 concerts in India and abroad.
His pitch (SA) is between C and C sharp.

Shrikant Mishra (packawaj), born in 1952, has studied pakhawaj with a very great master : Pandit Amarnath Mishra of Benares. He is one of the masters of this difficult art.

1. Rag Bilaskhani Todi - Alap
2. Rag Bilaskhani Todi - Dhrupad - Chautal
3. Rag Hanskinkini - Alap
4. Rag Hanskinkini - Dhrupad - Sultal

Shrikant Mishra - pakhawaj

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The Lyrical Tradition of Dhrupad - Indra Kishore Mishra

Posted By MiOd On Saturday, December 21, 2013 0 comments
[03]. Indra Kishore Mishra - Nauhar & Khandar Vani, 1995

Born in Bettiah (Bihar) in 1957, Indra Kishore Mishra belongs to an important family of Dhrupad singers, Educated in the traditional way (guru Shishya parampara), he has received from his forefathers more than two thousand six hundred compositions in dhrupad, dhamar, hor.
His family is the last known to sing the dhrupad of the Nauhar and Kandahar vanis.
His ancestors, court singers to the Moghul emperors, left Delhi at the end of the 18th century, when most of the dhrupadyas left the capital, just as the Mallick family went to Oudh.
Residing in one of the most segregated areas of Northern India and living a peaceful life away from modern urban strife, he has kept his tradition alive. Indra Kishore Mishra has accepted to be recorded for the first time to give the world some of the musical treasures he keeps alive.

Shrikant Mishra (packawaj), born in 1952, has studied packawaj with a great master : Pandit Amarnath Mishra of Benares. He is now himself a master of this difficult art.

Rag Bageshri
1. Rag Bageshri - Alap
2. Rag Bageshri - Dhrupad - Chautal
3. Rag Bageshri - Dhrupad - Jhaptal
4. Rag Bageshri - Dhrupad - Sultal
5. Rag Bageshri - Tarana - Adi Tal
6. Rag Pancham - Alap
7. Rag Pancham - Chaturang - Tal Tivra

Shrikant Mishra - pakhawaj

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The Lyrical Tradition of Dhrupad - Uday Bhawalkar - Dagarvani

Posted By MiOd On Friday, December 20, 2013 0 comments
[02]. Uday Bhawalkar - Dagarvani, 1995

Born in 1966 at Jaora (M. P.) in a family of musicians, Uday Bhawalkar has studied classical singing since he was 8 years old, after the cursus of the music school of Ujjain, he received the Allauddin Khan Sangeet Academi grant and became the student of Fariduddin Dagar in Bhopal. Since 1985 and until his death, the great master Zia Mohiuddin Dagar (rudraveena) has taught him the dhrupad of the Dagarvani. In 1987 he received the National Grant for Dhrupad, then the Gold Medal of Dhrupad from the hands of Aminuddin Dagar (The Dagar Brothers). He gave his first concert in Bhopal in 1985. He has toured a lot in India in very famous festivals ("Tansen Samaroh" of Gwalior, "Dhrupad Samaroh" of Bhopal, "Amir Khan Samaroh" of Indore...) and in Europe (Masters of the Raga in Holland, Otono Music Festival in Spain , Sangeet Parampara Festival of Berlin). In 1988 he became an artist of the All India Radio. Manik Munde (pakhawaj), born in 1960, has studied packawaj from a very great master : Pt Amarnath Mishra from Benares. He is a known accompanist in India.

1. Rag Vibhas - Alap
2. Rag Vibhas - Chautal
3. Rag Suha - Alap
4. Rag Suha - Jhaptal

Manik Munde - pakhawaj

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The Lyrical Tradition of Dhrupad - Pandit Vidur Mallick

Posted By MiOd On Friday, December 20, 2013 0 comments
[01]. Pandit Vidur Mallick, 1994

Born in 1936 in Amta (Bihar), Pandit Vidur Mallick has inherited from his family one of the oldest tradition of Indian classical music , dhrupad. His family has been for centuries the depository of the Darbangha style and this is where he has learnt the music in the ancestral way, through the guru shishye parampara. Court musician of the maharaja of Darbhanga, he is today the head of his family. He is also a professor in one of the most famous schools of music : the VrajaKala Gurukul of Vrindavan, where he teaches all those who wish to learn dhrupad. Well known in India, he has started an international carreer in 1983, and performs regulary in Europe with the help of Unesco, Applauded during the "India festival" in Germany, he has been repeatedly invited there as a Master of Indian art. Since 1991 he has toured every year all over the world. Anand Kumar Mallick (pakhawaj), is one of the sons of Pandit Vidur Mallick. A young artist, he is becoming one of the virtuosos of pakhavaj. THE MUSIC Dhrupad and dhamar belong to the classical tradition of Hindu religious music, and take very sophisticated musical and poetical forms. The Darbhanga school, according to legend, was born in the 18th century when two brothers (whose pious occupation was to sing in a temple) made the rains pour down when asked to do so by the Maharaia of Darbangha : for that miracle the maharaja rewarded them with land and the title of Mallick (land owner). Consisting of an alap (first improvised movement) followed by one or several compositions (accompanied by the pakhawaj drum), dhrupad pours out precisely the notes and intervals that shape the rag. Compositions are set on a fixed rhythm structure (tal) of 12, 14, or 10 beats. Soloist and drumer develop the composition, playing with rythm and notes, in simultaneous and different ways. They both end on a musical phrase typical of the composition. The rag ends on the sam, the starting and finishing point of the rythmic cycle. The tonic in this recording is C sharp, The tonic in this recording is C sharp, The accompaniment consists of two tampuras (tuned in SA SA SA PA), and a packawa, traditional drum with two sides. A disk of ferric oxide stuck on one side allows the emission of an harmonic (C sharp). 1-2-3-4 RAG BAIRAGI BHAIRAV (dhrupad & dhamar) Very unusual rag of the beginning of the day (just before midday). This variety of rag Bhairav is based on the following ascending and descending scales : SA REK MA NIK SA I SA NIK PA MA REK SA II The note DHA is forbidden and the GA is sometimes suggested. Two notes are systematically enhanced, MA and SA. They are played in important phrases, typical of the rag: SA REK- MA--PA MA--NIK, NIK PA MA PA SA II (The alap (1) is an improvised part, in which slow, medium and fast movements can be distinguished. During the slow alap Pandit Vidur Mallick develops the rag on the central. low then high octaves. using vocal techniques such as meends (glissandos). On those meends are sung syllabes like Ha Re Na Ne Tum (parts of the mantra Hari Om Narayan...). In the medium and fast alap, those techniques are mixed with violent undulations around the notes (gamak). The first poem (2) is a dhrupad, structured by a 12 beat tal, This poem is dedicated to Ram, and enumerates his attributes and qualities. After a quick presentation of the poem, followed by a tihai (a musical phrase repeated thrice and ending on the sam) Pandit Vidur Mallick improvises, alternating presentation of the poem, dislocation of its words following a rhythmical canvas (bolbanav) and tihai. The second poem (3) is a dhamar using a 14 beat tal (dhamar tal) sung on a medium lay (speed), Following the same poetical theme on a different composition, Pandit Vidur Mallick offers here a more rythmical improvisation. On his bolbanavs, the packavaj player improvises too, and he plays tihai and rhythm phrases following the music of the singer. The third poem (4) is a dhrupad using a 10 beat tal called sultal, sung on a fast lay (speed), A short poem manages to expose the incredible virtuosity of the singer. First the divides the matras (poetical meters) used in a complete cycle to slow down then he progressively accelerates. He finishes with some extraordinary bolbanavs. It is easier to understand the fast rhythm used if you listen to the singer on the sam and the two talis of the theka. 5 RAG NAND (dhamar) Traditionally sung around midnight, Nand is a very old rag. This rag (a zig-zag rag) is based on the following ascending and descending scales, On this strange rag, Pandit Vidur Mallick offers, after a short alap, a beautiful and melodically interesting improvisation. 6 RAG SAHANA KANRA (dhamar) Magnificent rag of the middle of the night, this rag is an old mix of two nights rags: sahana or shahana, and kanra. It is based on these ascending on these ascending and descending scales: SA MA PA GHAK MA DHA NI SA I SA DHA NIK PA MA PA GHAK MA RE SA II Two notes are used a lot : PA and SA. Some signifiant phrases of the rag : SA NIK PA I MA PA SA --II, The poem is sung in dhamar tal. This poem is dedicated to the Holi festivities, the festival of spring and colors. During a inspired alap, Pandit Vidur mallick develops all the melodic caracteristics of this rag. The poem is then offered with joy by the musicians, The agitation at the vivid memory of this playful occasion can be clearly felt. 7 RAG BHAIRAVI Morning rag, This poem, sung on jhaptal, is one of the favourites of Pandit Vidur Mallick and frequently ends his concerts. bhairavi is a famous rag which can be performed at any time of the day. It follows the scales: SA REK GHAK MA PA DHAK NIK SA I SA NIK DHAK PA MA GHAK REK SA II, The key phrase of the rag is easily recognized : SA GHAK MA PA DHAK PA I MA GAK REK --SA II, The natural RE is used when ascending in phrases like RE GAK REK -- but the komal RE remains the important note and the one which closes the phrases. The poem is an hymn to Bhavani (Durga), under her guise of Mahishasur Mardini (who killed the buffalo-demon).

Rag Bhairagi Bhairav
1. Rag Beiragi Bhaira - Alap
2. Rag Beiragi Bhaira - Dhrupad
3. Rag Beiragi Bhaira - Dhamar
4. Rag Beiragi Bhaira - Sulfatal
5. Rag Nand - Dhamar
6. Rag Shahana Kanra - Dhamar
7. Rag Bhairavi - Jhaptal

Anand Kumar Mallick - pakhawaj

320 kbps including full scans

HERE

Golden Afrique Vol.2

Posted By MiOd On Friday, December 20, 2013 0 comments
The compilers of this double CD set are containing a voyage into musical nostalgia which, in the previous Golden Afrique release, left them in francophone West Africa during the 1970s.

Here they arrive in the Gongo - rumba region - where music and dance had proven to be even more of a life-enchansing necessity than in other parts of the continent. In many ways, music has benn an essential element in the cultural and political, as well as social aspects of life in the Congo. It became much more than just an accompaniment to daily life in the 1950s, when electric guitars and rudimentary recording studios were introduced to the ex-Belgian Congo by enterprising euro-entrepreneurs.

The highly regarded guitar-picking styles, the irresistible rhythms, sublime harmonies and a feeling of barely suppressed euphoria have made Congolese rumba one of the world's greatest genres of dance music. In the West and other African countries outside of the Congo, the music has been known for some years as soukous, but back home it was always called rumba. As the Grand Master Franco Luambo Makiadi often stated, rumba music originally travelled from Congo to Cuba in the hearts and memoriesof the slaves who were trasported there. Centuries later, when Africa started hearing the post-World War 2 son and dance music from Cuba it attracted listeners from all parts who recognised something essentially African within it. Not surprisingly, musicians in many corners of Africa re-appropriated "their" music, and none more successfully than the Congolese. Spiced up with amplified guitars and soul-band-style horn sections, the rhythm-driven music imprinted its identity on Africa during the mid to late 1950s and came to maturity in the following decades. At that time, the guitar was revealed as the essential African instrument. (The instrument had been introduced to the continent in the 16th century by Portuguese travellers, and musicians in leopoldville had used it to mimic the sound of the traditional likembe or sanza.)

Rumba was, even then, a catch-all description which embraced other Latin or Afro-Caribbean rhythms including son, merengue, Pachanga, cha cha cha, beguine and bolero. These were alternated and/or amalgamated with indigenous popular dance beats such as maringa, agbwaya and soukous, and periodically other traditional dances were revived as pop curiosities which sometimes became massive crazes. There were also many influences from other parts of Africa, notably bighlife, palm wine, gombe and other west African rhythms and guitar styles which made a markt in the Congo during the early 1950s. And elements of widely differing international musics were also picked up from radio programmes and records including French chanson, German and Polish polka, American swing and Jazz, and later on, British "beat" groups, among others. Congolese rumba was almost immediately taken up in other African coun tries, thanks to pan-African radio broadcasts and a network of enlightened (in a commercial, if not cultural sense) distributors who relicensed the works of major artistes in all corners of the continent. The influence of Congolese rumba has thus been spread from the farthest corner of West Africa to the Indian Ocean islands off the east coast. It is the only African music to have appealed to so many cultures, transcending the barriers of languages, nationality, social class, age and ethnicity to become a pan-African phenomenon.

Disc: 1
01. Coopération - Franco, Sam Mangwana
02. Doublé-Doublé - Nyboma
03. Africa Mokili Mobimba - African Jazz, Joseph Kabasele
04. Indépendance Cha Cha Cha - African Jazz, Joseph Kabasele
05. Siluwangi Wapi Accordeon - Camille Feruzi, Franco, OK Jazz Band
06. Marabenta (Vamos Para O Campo) - Sam Mangwana
07. Machette - Les Bantous de la Capitale
08. Lina - Franco, OK Jazz Band
09. Tcha Tcha Tcha de Mi Amor - Franco, OK Jazz Band
10. Exhibition Dechaud - Docteur Nico, Orchestra African Fiesta
11. Pauline - Docteur Nico, Orchestra African Fiesta
12. Bawayo - Tiers Monde Coop
Disc: 2
01. Pele Odija - Mose Se 'Fan Fan'
02. Mambo Ry-Co - Ry-Co Jazz
03. Cha Cha Cha Bay - Camille Feruzi
04. Bibi Yangu - Vibes
05. Ndaya - M'Pongo Love
06. Bika Nzanga - Vibes
07. Como Bacalao - Sam Mangwana, Tabu Ley Rochereau
08. Mazé - Tabu Ley Rochereau
09. Ekedy - Manu Dibango
10. Mu Nzila N'Sona - K.P. Flammy
11. Mami Yo (Kuruze Ya Campus) - Nyboma
12. Aon-Aon - Tabu Ley Rochereau
13. Kahagwe - Camille Feruzi
14. Yaka Mama - Lucie Eyenga
15. Basi Banso Tapale - Manuel D'Oliveira

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Golden Afrique Vol.1

Posted By MiOd On Thursday, December 19, 2013 0 comments
It was the most exciting period of recent African history. From the late 1950s onwards, one African country after another gained independence.

Independence had its own literature and its own soundtrack. It was the dawning of the golden age of African pop music. In the 1970s and early 1980s, local traditions, modern western styles and instruments combined to create an exciting new sound that expressed the euphoria and pride of a newfound freedom. The Golden Afrique series dives into this vast musical ocean of and comes up with its finest, rarest pearls.

The series opens with music from Guinea , Mali , Guinea-Bissao , Gambia , Ivory Coast , Chad and Senegal – many of the tracks are available on CD for the very first time. Youssou N’Dour takes his first tentative steps, creating the mbalax sound that will later spread around the world, Salif Keita raises his golden voice, Baobab de Dakar and Bembeya Jazz National from Conakry take the big band sound to new heights, the Super Eagles of Gambia sing of African unity, the Amazones de Guinea form the first all-woman big band line-up, Miriam Makeba sings in her own language from her Guinean exile, Super Mama Djombo have to fly from Guinea to Moscow to make their groundbreaking recordings, Maitre Gazonga from Chad has a huge hit and disappears...

From Afrocuban styles to local rhythms, soul and blues influences, Golden Afrique is an exhilarating journey through the musical history of Africa , full of sheer joy and totally danceable.

In the 1970s and early 1980s, the popular music scene in Africa exploded with new ideas of merging ancient culture with contemporary ideas and tools. This first volume in the series includes artists from Guinea , Mali , Guinea-Bissao , Gambia , Ivory Coast , Chad and Senegal – many of the tracks are available on CD for the very first time. Artists include Youssou N’Dour, Salif Keita, Baobab de Dakar, Bembeya Jazz National, Super Eagles, Amazones de Guinea, Miriam Makeba, Super Mama Djombo, Maitre Gazonga along with a host of artists you may never have heard of before.

CD 1
*01. Maitre Gazonga: Les jaloux saboteurs 8:27
*02. Bébé Manga: Amie 7:05
*03. Amadou Balaké: Taximen 7:41
*04. Ernesto DjéDjé: Ziboté 5:47
*05. De mi amor: Lonlon Nyeku 5:51
*06. Sory Bamba du Mali: Dis-moi la vérité 6:09
*07. Ousmane Kouyaté: Beni Haminanko 8:48
*08. Ambassadeurs du Motel: Bolola Sanou 4:55
*09. Rail Band: Rail Band 6:28
*10. Ambassadeurs International: N’toman 8:30

CD 2
*01. Super Mama Djombo: Dissan Na M’bera 5:12
*02. No.1 de Dakar: Yaye Boye 5:12
*03. Étoile de Dakar: Mane Kouma Xol 4:49
*04. Étoile de Dakar: Thiely 4:07
*05. Orchestra Baobab: Autorail 6:58
*06. Idy Diop: Yaye Boye 4.55
*07. Guelewar Band of Banjul : Warteef Jiggeen 6:49
*08. Super Eagles: Aliou Gori-Mami 2:36
*09. Super Eagles: Gambia/Zambia 3:28
*10. Balla et ses balladins: Paulette 7:39
*11. Miriam Makeba: Malouyame 3:35
*12. Orchestre de la Paillotte: Kadia Blues 4:43
*13. Amazones de Guinee: Samba 4:53
*14. Bembeya Jazz National: Tentemba 8:49

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Kocani Orkestar - The Ravished Bride

Posted By MiOd On Wednesday, December 18, 2013 0 comments
If you are looking for a Big Night in ie, around your sound system, wander no further than the Kocani Orkestar. I've not sampled their earlier fare, but it could surely not outdo this high octane set of performances. Sex comes in many forms and its more exhilerating serenades are to found on,The Ravished Bride. Fans of Beirut or the film scores for Kosturica's gypsy films will thrill to the kocani Orkestar. Book a ticket and turn up the volume and hear the beating of your heart!

The Balkan brass band tradition may have resulted in dancers throwing all restraint to the wind and cavorting wildly into the night, but it actually came about through the intermingling of two forms of strict military discipline, one from the East and the other from the West. The former is the ancient Ottoman mehter military band, and the latter the familiar Western brass band, complete with tubas, trumpets, and saxophones. This Macedonian brass band, who proudly proclaimed themselves as A Gypsy Brass Band on their debut album, comes from a tradition that has been providing live music for various important social rituals as well as pure entertainment since the late 1800s, at the very least. Named after the town of their origin, the Kocani Orkestar began as a local group, then picked up a following outside the region due to a triumphant performance in Emir Kosturica's film Cingene Damani. This led to tours in Western Europe, Canada, and Turkey, as well as throughout the Balkans. They began releasing a new CD every few years, including one on a Turkish label. The group's music includes influences from the Macedonian tradition as well as Turkey, Serbia, and the Romany world, with roots that stretch all the way back to India.

The group's leader is Naat Veliov, a trumpeter, composer, and arranger born in 1957 to a family of trumpet players in Kocani. The father, grandfather, and son (a bandmember) all play trumpet, and Veliov is a strong believer of keeping the band membership open to family members and friendly neighbors.

In their native land, the group plays for a variety of social celebrations, and there tends to be one for each step of life. The Kocani Orkestar might begin a day by playing a gig outside a hospital to welcome a newborn baby; a week or so later the same child may be the source of another gig, this time a naming ceremony with the local community shelling out the fee. If the child is Muslim, a third gig might be in the offing when the circumcision ceremony takes place. The group is also on call for all manner of wedding events, funeral processions, burials, and special banquets and intimate coffeehouse, or kafic, gigs. ~ Eugene Chadbourne, Rovi

01.Sokeres (What Are You Doing?)
02.Romani Caj (Gypsy Girl)
03.Atlantis
04.La Llorona
05.Papigo
06.Mangelma Stoposto (I Love You 100%)
07.Gelum Ko Bijav (I Went to a Wedding)
08.Kalino Mome (A Girl Named Kalino)
09.Hajde Te Kelas (Let's Dance)
10.Sahara Dreams
11.Kodraka (In the Field)
12.Divanosko (The Smooth Talker)
13.But Katili (How I Feel About My Girlfriend's Ex)

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Arabian Travels

Posted By MiOd On Tuesday, December 17, 2013 0 comments
Arabian Travels documents the extraordinary power and far-reaching influence of music from the Near and Middle East and North Africa, the music of the Islamic Diaspora. A host of different ethnic groups inhabit the Arab world, whose shared musical culture is earmarked by several easily recognized characteristics. The flowing, highly ornamented melody lines based on skilled improvisation, the linking of smaller melodic kernels to form a larger arrangement like the patterned tiles decorating the wall of a mosque, the use of sound to effect spiritual transport and an atmosphere of immanence. These are some of the distinguishing features of Arabian music, along with the distinctive sounds of instruments such as the oud (the Arab mandolin) and the spiky report of the taut-skinned darbuka drum.

As this compilation will show, the allure of this mysterious music radiates beyond the borders of Arabic nations. Musicians in the West, especially those involved with various forms of electronic and dance music, have noted the close association between music and trance states in Arabian culture. Conversely, artists from the Arab world - who have always been adept at assimilating outside influences - have begun to integrate contemporary technology within their own music, blending electronic timbres with centuries-old melodies and instruments. Regardless of the point of origin though, the sounds you will discover on this disc are at once eclectic and distinctively Arabian.

Arabian Travels emphasizes Arabian music, a style that synergizes surprisingly well with electronica, resulting in a sedate, hallucinogenic aura. Most of the songs here emphasize mood over dancing, making this volume more of a listening piece than something to party to. Some of the featured performers include Fifth Sun, Banco de Gaia, Dzihan, Kamien, Karsh Kale, Hassan Hakmoun, and several others.

(01) [Fifth Sun] Kamtarie
(02) [Banco De Gaia] Sakarya
(03) [Dzihan & Kamien] Just You & I
(04) [Karsh Kale ft. Hassan Hakmoun & Ustad Sultan Khan] Indus Railway
(05) [Dahmane El Harrachi] Ya Rayah (Sonar Remix)
(06) [Arabic Breakbeats] Blue Turban
(07) [Dissidenten] Telephone Arab (Bucovina Dub - Remixed by Shantel)
(08) [Ekova] Sabura (Desert Delight Remix Reconstructed by Max Pashm)
(09) [Acid Queen ft. Egyptian Musical Club] Sema
(10) [Euphoria] 1001 Dreams (Arabian Travels Remix by Garry Hughes)

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Bustan Abraham - Live Concerts

Posted By MiOd On Tuesday, December 17, 2013 0 comments

80 magical and captivating minutes from the best live performances of Bustan Abraham from around the world (1992-2002). This album is the first time that recordings of live concerts of one of the leading groups on the world music scene have been made possible. Take a seat and enjoy Bustan Abraham...Live!

[01]. Bustan (Paris)
[02]. Suite for Deyzi (Hong Kong)
[03]. Fountainhead (Paris)
[04]. Jazz Kar-Kurd (California)
[05]. Caravan
[06]. Toy Vivo
[07]. Journey (Hong Kong)
[08]. Solaris
[09]. Hamsin
[10]. Gypsy Soul

Taiseer Elias-oud, violin
Amir Milstein-flute
Avshalom Farjun-qanoun
Emmanuel Mann -bass
Zohar Fresco-percussion
Miguel Herstein-classical guitar and banjo
Nassim Dakwar-violin
Yehuda Siliki-baglama

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Ustad Vilayat Khan - Live At The Royal Festival Hall

Posted By MiOd On Tuesday, December 17, 2013 0 comments
Performance of Ustad Vilayat Khan & eldest son Shujaat Hussain, Indian classical music SITAR and SURBAHAR. Ustad Sabir Khan on tabla. Live at The Royal Festival hall, London, November 1993. Featuring the Ragas Shahana and Bageshri. Shujaat Husain Khan, who has performed with his father and teacher many times, has emerged as a musician in his own right.
Vilayat Khan, one of the greatest Hindustani musicians of the 20th century, was born in Gouripur in East Bengal (later Bangladesh) in August 1922. (Various other dates are strewn throughout the literature but that is the date that he confirmed in 1993.) His grandfather, Imdad Khan (1848-1920) and his father Enayat Khan (1894-1938) -- Vilayat Khan gives the spelling Inayat Khan -- were famed musicians in their lifetimes and Vilayat and his younger brother Imrat Khan inherited their musicality. Their gharana is known as the Imdadkhani gharana after their grandfather.

He studied initially with his father. On his father's death in 1938 his training became the responsibility of his mother, Bashiran Begum, his grandmother, Bande Hussain Khan, and his maternal uncle, Wahid Khan. Around the same period Vilayat Khan began recording 78s. Peculiarly it is reported that he had to cope with odious comparisons with his father. Gradually he developed a style which, while acknowledging his kinsfolk's contribution, spoke with his own distinctive voice. His most outstanding contribution to his gharana's tradition is the evolution of what is known as a vocal style or gayaki ang on sitar. To some degree this is a term of convenience. Other contemporary musicians were striving to develop instrumental styles which more closely resembled the human voice -- it was after all the goal of all instrumentalists to mimic as far as possible the human voice -- and Vilayat Khan did not have a monopoly in this endeavor whatever some commentators claimed. That is not to detract from his achievement which was considerable and caused a sensation.

Vilayat Khan's strides in compensating for the sitar's shortcomings were immense. His career was marked by a regally consistent musical quality. An outspoken critic of low standards, he maintained levels of personal integrity that on occasion earned him the disfavor of the establishment. Little of his work was in any context other than the strictly classical one although he worked with Satyajit Ray on the soundtrack to the film Jalsaghar and the Ismail Merchant/James Ivory film The Guru. He might be summed up as a keeper -- not a quencher -- of the flame.

Ustad Shujaat Khan stands at the head of a long line of master musicians and is today's leading proponent of the Imdadkhani gharana (tradition) of sitar playing. Seventh in a continuous thread of distinguished instrumentalists, Ustad Shujaat Khan's legacy includes many of the most venerable figures in Indian classical music: great-great grandfather Ustad Sahabdad Khan, great-grandfather Imdad Khan, grandfather Inayat Khan, and father Vilayat Khan. From Ustad Sahabdad Khan's important addition of the tarab (sympathetic strings) to the sitar, to Vilayat Khan's development of the gayaki ang (vocal playing style) and brilliant melding of technical, melodic, compositional, improvisational, and rhythmic artistry, Ustad Shujaat Khan's family legacy is undeniably impressive.

In line with the ancient concept of khandan, whereby a father's status is passed down to the first born male, Ustad Shujaat Khan was groomed for success by his father and guru, Vilayat Khan. At the age of three, Ustad Shujaat Khan began playing on a custom made mini-sitar under the expert tutelage of his father. By the age of six the child prodigy was giving highly successful public concerts. Since that time, Ustad Shujaat Khan has gone on to perform in the world's most important venues, Royal Albert Hall and Carnegie Hall among them. In accordance with the Imdadkhani Gharana founded by his great-grandfather and the gayaki ang innovated by his father, Ustad Shujaat Khan is celebrated for his elegant use of meend (glissando), lyrical sensibility, mastery of technique, and euphonious tone. Ustad Shujaat Khan was a visiting professor in the Ethnomusicology Department at UCLA.

Disc: 1
1. "Raga Shahana" - Alap Jor

Disc: 2
1. "Raga Shahana" Vilambit Gat in Teental
2. "Raga Bageshree" - Drut Bandish in Teental

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Calcutta Chronicles Indian Slide Guitar Odyssey

Posted By MiOd On Monday, December 16, 2013 0 comments

Debashish Bhattacharya is an old hand at combining spirituality with outside-the-box adventuring and impish humor. For his ninth album released in the West, Calcutta Chronicles: Indian Slide Guitar Odyssey, he eschews outside collaborations but nonetheless pursues a multi-cultural agenda. The opening track, "Sufi Bhakti" merges two devotional paths, revealing each while slighting neither. Played upon anandi, a small slide ukulele invented by Bhattacharya, and flanked by Indian harp, tabla drums and a one stringed ektara, the piece has an Islamic flavor punctuated by pauses like polite bows. The title of "Gypsy Anandi" seems to refer less to Roma musical traditions than to their nomadic tendencies. The track, while constructed over a foundation of Indian raga, also encompasses Hawaiian and Afro-Andalucian influences. But on "Kolkata To Kanyakumari," a tribute to the philosopher Swami Vivekenanda (with whom Bhattacharya shares a birthday), he's back in the ancestral fold, combining aspects of North Indian and sacred Carnactic themes. As usual, Bhattacharya's flawless technique, astonishing as it is, takes a backseat to his inspired improvisations. Each tune unfolds in an urgent yet unrushed manner, revealing skeins of drone-laced song energized by ardent emotion and refined by uncountable generations of soul-deep musical intellect. --Christina Roden

Calcutta Chronicles: Indian Slide-Guitar Odyssey is a musical journey through the centuries of guitar playing in India. Using three unique guitars that BBC award winner Pandit Debashish Bhattacharya designed himself, each beautiful raga explores influences ranging from Gypsy to Sufi with deep sensitivity and free-flowing movement between past and present, tradition and innovation.

(01) Sufi Bhakti
(02) Amrit Anand
(03) Nivedan
(04) Ganga Kinare
(05) Gypsy Anandi
(06) Rasika
(07) Avishkaar
(08) Kolkata To Kanyakumari

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The Songs Of The Distant Sands - The Langas & The Manganiars

Posted By MiOd On Monday, December 16, 2013 0 comments

The Songs of The Distant Sands: Folk Music Of Rajasthan (Live At The Queen Elizabeth Hall, London On 21st July 1995)
Genre: Rajshthani Folk Music, Indian Folk, Indian Raga, World Music

1. Roop Nagar Sau Raj - A Bridegroom Song
2. Maharo Jalalo Bilalo - Awaiting Beloved
3. Satara Solo - Double Flute - Rag Kalyan
4. Dhan Dhan Halaria Ri Ma - A Child Birth Song
5. Banaro - A Bridegroom Song
6. Satara & Sarangi Duet - Rag Bhairavi
7. Gangajal Ghodalio - A Reception Song
8. Kesaria Ne Kahijo - A Bridegroom Song
9. Gorbandh - A Song Describing Camel Decoration

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Strings Tradition - Strings Tradition

Posted By MiOd On Sunday, December 15, 2013 0 comments
Strings Tradition - ST Album Feat. Mamadou Diabate, Shujaat Khan, Lalgudi Krishnan

mesmerising confluence of kora, sitar and violin

1. Nyanafi
(Mamadou Diabate)
2. Bird's First Flight
(Lagudi GJR Krishnan)
3. Himalayan Rain
(Ustad Shujaat Husain Khan)
4. Sigui Dyarra
(Mamadou Diabate)

Flac (EAC Rip): 380 MB | MP3 - 320 kbs: 180 MB | Scans

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Laos - Molams and Mokhenes

Posted By MiOd On Sunday, December 15, 2013 0 comments

There was a request for this particular release of the famous Inedit label. Although I have a substantial collection of ethnic music, it’s significantly smaller than my classical one, and so is my knowledge of it. Already the sound of the traditional Laotion instrument on focus here, the mouth organ or khene, left me rather puzzled. Hown on earth can these bamboo pipes produce the very sounds you’ll hear on this album? I suppose it is all about the expertise with which the reeds were made, as a professional instrument builder once told me.

As for the music, the first track, Lom Phat Paï (traditionally played for the king by three khene players), was also a surprise; it was as if I was listening to a Terry Riley or Steve Reich composition. Laotion minimalism from bygone ages, so to say, and it makes you wonder from what sources the Americans drew for their inspiration. Admittedly, I’m speculating, but one never knows.

PROVINCES DU NORD
[01]. Lom Phat Paï [0:02:19.25]
[02]. Khap Thoum Luang Prahang [0:03:08.35]
[03]. Khap Samneua [0:02:29.65]
[04]. Khap Xieng Khouang I [0:02:44.73]
[05]. Khap Xieng Khouang II [0:02:05.67]

PLAINE DE VIENTIANE, VALLEE DE MEKONG
[06]. Lam Pheune [0:02:39.25]
[07]. Khap Ngeum [0:06:59.30]
[08]. Lam Kone, Lam Long, Lam Teuil [0:07:33.63]
[09]. Lam Deune [0:02:49.57]
[10]. Lam Teuil [0:00:57.53]

PROVINCES DU SUD
[11]. Lam Mahaixai [0:03:11.23]
[12]. Pheune Soy [0:01:11.28]
[13]. Lam Pouthay [0:02:45.06]
[14]. Lam Tangvay [0:02:43.45]
[15]. Lam Khonesavane [0:03:04.50]
[16]. Lam Som [0:05:37.73]
[17]. Lam Siphandone [0:04:55.51]
[18]. Lam Saravane [0:04:12.05]

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Gayatri & Maha Mritynjay

Posted By MiOd On Saturday, December 14, 2013 0 comments
Track Listings
--------------
1. Gayatri

2. Maha Mritynjay

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

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Debashish Bhattacharya - Raga Bhimpalasi

Posted By MiOd On Saturday, December 14, 2013 0 comments
joined by Samir Chatterjee on tabla, Hindustani slide guitarist's imaginative renderings & extensions are shown on the performance of "Raga Bhimpalasi" in 3 parts, usually played in the afternoon, evoking peace & the grandeur of creation

Debashish Bhattacharya's imaginative renderings and innovative extensions of playing technique and instrument design reveal the kind of provocative re-thinking that has always been at the vanguard of Indian classical music. Raga Bhimpalasi is played in the afternoon, evoking a contemplative sense of peace and the majestic grandeur of creation.

This is one of the best Hindustani recordings of all time. I hope you will not let the guitar factor get in the way of your giving this cd a chance. Make no mistake about it, in the hands of Debashish Bhattacharya his acoustic slide guitar is as "valid" and "authentic" a Hindustani instrument as a sarod or a sitar. Plus he has altered the guitar by adding drone and sympathetic strings so it does indeed have a very "Indian tone" to it. Gorgeous tone actually.

If you never have 70 uninterrupted minutes to dedicate to a cd then actually Debashish's Raga Saraswati cd may be a better choice for you because it has three shorter performances rather than the one long one contained on this cd. Plus, in terms of "performance quality" you aren't sacrificing anything by buying Saraswati. It's an epic recording as well. I give the slight nod to the Bhimpalasi cd because the 48-minute alap, jor, and jhala on this cd is so magnificent, and it so perfectly displays the profound emotional impact and creativity that stands at the heart of a great Hindustani improvisation that I just have to choose this one. Plus the gats are volcanic as well! The Saraswati cd is also amazing, the performances are just more compact so none of the alap's get to stretch out and go quite as deeply as this one does. My advice: Buy them both!

In terms of just sheer improvisational ability and emotional power, Debashish is right up there with Viliyat Khan, Ali Akbar Khan, etc....

If you've never heard of him before, don't worry. Whether you're just a guitar fan who is curious to hear something new or you're a knowledgeable longtime fan of Hindustani music this cd will blow your mind. Debashish and Samir Chatterjee (the tabla player) created one of the pearls of recorded music.

Raga Bhimpalasi is a beautiful raga and they create one of its best-ever versions.

1. Raga Bhimpalasi - Alap, Jor & Jhala
2. Raga Bhimpalasi - Vilambit Gat in Rupak Tal
3. Raga Bhimpalasi - Madhya & Drut Gat in Tintal

Personnel:
Debashish Bhattacharya (guitar, slide guitar);
Hallie Goodman (tanpura);
Samir Chatterjee (tabla).

FLAC (EAC Rip): 390 MB | MP3 - 320 kbs: 185 MB | Booklet Scans

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Japon - Musique Citadine de l'Ere Edo

Posted By MiOd On Friday, December 13, 2013 0 comments
Japan: Urban Music of the Edo Period (1603-1868)
(Musique citadine japonaise de l'ère Edo)
Track Listings
--------------
1. Godanno-Shirabe - Hijiri-Kaï Ensemble

2. Rembo-Nagashi - Hijiri-Kaï Ensemble

3. Echigo-Jishi - Hijiri-Kaï Ensemble

4. Midare - Hijiri-Kaï Ensemble

5. Yuki - Hijiri-Kaï Ensemble

6. Yûgure - Hijiri-Kaï Ensemble

7. Koto Sangen nijûsôkyoku - Hijiri-Kaï Ensemble

FLAC (EAC Rip): 290 MB | MP3 - 320 kbs: 130 MB | Covers

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Mali, Le Hodu peul (The Fulani Hoddu)

Posted By MiOd On Wednesday, December 11, 2013 0 comments
Track Listings
--------------
01. N'doondo/Garbaare - Toka Abagouro Sarré

02. Durgama - Dinda Hamma Sarré

03. N'dyarou - Dinda Hamma Sarré

04. Segalare - Nassourou Sarré

05. N'doondo - Dinda Hamma Sarré

06. Biide Koolé - Nassourou Sarré

07. N'dyarou - Bara Sambarou Sarré

08. Ewli - Bara Sambarou Sarré

09. Gambari - Bara Sambarou Sarré

10. Bawdi - Toka Abagouro Sarré

Flac tracks (EAC Rip): 290 MB | MP3 - 320 kbs: 180 MB | Front Cover

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Shivkumar Sharma - Maestros Choice 1

Posted By MiOd On Wednesday, December 11, 2013 0 comments
Shivkumar Sharma (born 13th January 1938) is an Indian classical musician, working in the Hindustani classical music tradition. He is a master of the santoor, a folk instrument from the valley of Kashmir. It is a type of hammered dulcimer whose strings are struck with a pair of light carved wooden mallets. Before him the santoor was regarded as only an accompanying instrument.

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

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

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

1. Raga Bhopal Todi

2. Raga Kirvani

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Hariprasad Chaurasia - Nada

Posted By MiOd On Tuesday, December 10, 2013 0 comments
Hriprasad Chaurasia is without any doubt the greatest living master of the North Indian bamboo flute - the Bansuri - and one of India's most important musicians.
The flute served through history as a folk instrument and only recently developrd into a classical instrument. Hariprasd Chaurasia, a rare combination of clasical discipline and modern innovation, significantly expands the possibilities of expression on the Bansuri flute. He developed a unique sound and style of playing that, combined with astonishing virtuosity, have become a model for imitation and admiration both in India and throughout the world. To listen to Chaurasia is pure meditation, like hearing the soundless sound, the music of silence.
This recording documents two unforgettable performances in Jerusalem.
NADA - THE SOUND BY MEANS OF WHICH THE GOD BRAHMA CREATED THE WORLD. IN HINDU MIYTHOLOGY IT IS SAID "NADA BRAHMA"

1. Raga Suddha Sarang
2. Raga Bageshri

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Anoushka Shankar - Anourag

Posted By MiOd On Monday, December 09, 2013 0 comments
On Anourag, Anoushka Shankar's follow-up to her North American debut, she shows how much she has matured under the tutelage of her father, sitar master Ravi Shankar. The elder Shankar adapted six ragas for his daughter to play on this album, and the selection of music suits her very well. Sitar can take a lifetime to master, but she shows that she is well on her way, especially on the album's final track, "Pancham Se Gara," where she duets with her famous father.

1. Shuddha Sarang
2. Puriya Dhanashri
3. Hamsadhwani Tabla Duet
4. Yaman Kalyan
5. Swarna Jayanti
6. Pancham Se Gara

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Kasbah Rockers

Posted By MiOd On Monday, December 09, 2013 0 comments
Bassist and producer Bill Laswell has always been a globe-hopper with a particular affection for North Africa, and here he shows up as a featured guest on the latest project from Pat Jabbar, a Franco-Swiss-Russian musician from Hamburg by way of Basel. This generously packed album is almost completely excellent from beginning to end: it features an exciting blend of traditional North African instruments and singing; hip-hop and reggae beats; multilingual rapping (in French and Arabic); drum loops and samples; and Laswell's sweet, fat, singing basslines. Nowhere do these elements come together more effectively than on the utterly slamming "Al Rafel," which showcases the tag-team rapping of the Marrakesh duo HS (brothers Hamza and Anass) and is built on a brilliantly simple hip-hop beat and embroidered with trashy synthesizers and multi-layered percussion instruments. "Bledstyle" features one of the very few interesting and enjoyable bass solos ever committed to tape, "Shta" juxtaposes a slowly grinding beat with choral vocals and strings, and on "Kasbah Rockers" singer Kamal builds the energy to a fever pitch over a bed of mixed acoustic and electronic instruments and a madly propulsive dance rhythm. A couple of weak tracks (notably the rather tedious reggae excursion "Shems") notwithstanding, this is a fantastic album overall.

01. Hikayati
02. Bred Atay
03. Falludjah Car
04. Shta
05. Al Rafel
06. Bledstyle
07. Mafi Tika
08. Fikou
09. Hellou Al Biban
10. Hashouma
11. Shems
12. Rassoul Al Houda
13. Jebel
14. Kasbah Rockers (vocal mix)
15. Ayna
16. Kafaka Mina Raks (vocal mix)

Flac (EAC Rip): 510 MB | MP3 - 320 kbs: 180 MB | Front Cover

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