Anne-Sophie Mutter - Meditation

Posted By MiOd On Thursday, January 30, 2014 0 comments
One of the most charismatic and best-loved violinists of modern times, Germany's Anne-Sophie Mutter began her studies on the piano at the age of five. She shortly added violin lessons with Erna Hornigberger. In 1970 and again in 1974, she won first place in the Jugend Musiziert contest for young musicians. Herbert von Karajan heard her play at the age of 13 and paved the way for her international career. This began in 1977 with appearances at the Salzburg Festival and with her English debut under Daniel Barenboim. The next year, 1978, she made her debut with the Berlin Philharmonic and released her first recording, of the Mozart Third and Fifth Concertos. In 1980, she debuted in America under Zubin Mehta, then made her first Carnegie Hall recital appearance in 1988. In spite of a difficult personal life (she lost her husband in 1995, leaving her with two small children to care for), Mutter has accelerated an already successful career to the level of super-stardom. She is currently one of the most sought after violinists and her recordings are always eagerly awaited best sellers.

Mutter is best known for her rich tone and her impassioned and exciting performances of the classic violin repertory, but she has also been instrumental in commissioning and performing new works for the violin. Among the composers she has worked with are Wolfgang Rihm, Sebastian Currier, Norbert Moret, Witold Lutoslawski, and Krzysztof Penderecki. Both before and, for a time, after Mutter's marriage to septuagenarian conductor André Previn in 2002, the pair performed and recorded together frequently. In September 2006, the couple quietly announced their divorce, and in October 2006 Mutter announced that she would be retiring from the concert stage on her 45th birthday in June 2008.

(01). Vivaldi, Antonio - Concerto No. 3 in F, The Four Seasons, Autumn - Allegro
(02). Vivaldi, Antonio - Concerto No. 3 in F, The Four Seasons, Autumn - Adagio
(03). Vivaldi, Antonio - Concerto No. 3 in F, The Four Seasons, Autumn - Allegro
(04). Mozart, Wolfgang Amadeus - Violin Concerto No. 4 in D - Allegro
(05). Mozart, Wolfgang Amadeus - Violin Concerto No. 4 in D - Andante cantabile
(06). Mozart, Wolfgang Amadeus - Violin Concerto No. 4 in D - Rondeau
(07). Massenet, Jules - Méditation from 'Thaïs'
(08). De Sarasate, Pablo - Zigeunerweisen, Op. 20

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Italia : Sardaigne, Cantu a chiterra (Chant à guitare)

Posted By MiOd On Thursday, January 30, 2014 0 comments
Joute musicale où l'on rivalise de grâce, de souffle et d'audaces vocales, le cantu a chiterra reste largement inconnu en dehors de la Sardaigne : chaque chanteur prenant place à tour de rôle autour d'un guitariste, interprète des textes puisés dans des recueils de poésie (le plus souvent du XIXe siècle et transmis oralement), et exprime endurance, puissance et inventivité mélodique.

01. Cantu in Re
02. Nuoresa
03. Mutos
04. Galluresa
05. Filognana
06. Piaghesa antiga
07. Cantu in Re
08. Mi e La
09. Fa diesis
10. Si bemolle
11. Disisperada

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Shivkumar Sharma - Bhoopali

Posted By MiOd On Thursday, January 30, 2014 0 comments
The Valley Recalls has moved on to altogether different level of performance and complexity, combining the highest standards of classical rigour (Raga Bhoopali) with breath-taking presentation of a thematic form - improvised, less rigorous, and thoroughly

Bhoopali is an ancient and a very popular Indian classical raga that has peace and devotion as its essence. It is usually played in the evening or early nights. This raga is used by the classical as well as popular/film musicians, very frequently.
This is a live recording where Santoor pioneer Shivkumar Sharma is accompanied by the tabla maestro Zakir Hussain. Their combination is something ecstatic. The quality of recording is excellent too. The open-stringed nature of Santoor gives a very magical touch to Rag Bhoopali, especially the crescendo created during the Jod phase and in the fast tempo Tarana played in Ek Taal.

I have heard that musicians always prefer to play the music to live audiences, rather than recording in the confines of a studio. This album is an excellent example of the freedom, space, and the inspiration enjoyed by the musicians in a live concert set-up. The tabla accompaniment is superlative and stands as an example for the rapport that these two great musicians have developed between them.

For those who enjoy elaborate rendition of classical music, this album is a must. There was a time when I had this music loaded into my car for more than six months and it was my daily routine to listen to this music while driving. Every time, it was a refreshing experience and it had a very soothing effect on my mind.

I consider this album as one of the top five classical albums rendered by the great maestro Shivkumar Sharma.

1. Alap Jod & Jhala

2. Gat Composition In Rupak Tal

3. Gat Composition In Ektal

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Nishat Khan - Sentimental Sitar

Posted By MiOd On Wednesday, January 29, 2014 0 comments
Nishat Khan transcends musical barriers with his provocative expression and spellbinding technical mastery. Undeniably the foremost virtuoso of the sitar, he is the torchbearer of seven generations and the 400-year old tradition of India ‘s most renowned musical family. Maestro Khan stands at the threshold of the future of sitar and Indian music with his uniquely invigorating, contemporary approach. The son and disciple of Ustad Imrat Khan, Nishat has been dazzling audiences since the age of seven and his command of the instrument is unparalleled.

1. Raag Chandini Kalyan
2. Raag Jog Kavas
3. Raag Kalavati
4. Dhun Mishra Bhaivri

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Chinese Flower Music - Plum blossom

Posted By MiOd On Wednesday, January 29, 2014 0 comments
4. Chinese Flower Music - Plum blossom
in this album, the upright spirit of the blossom is transformed into the music of sheer texture. the interwoven sounds of nature and various chinese instruments depict the crystal beauty of the plum blossom, blooming under the winter moon

1. The Unworldly Beauty- The Wild Plum Blossom
2. Fairy By The Moonlight- The Vermilion Plum Blossom
3. Queen Of The Blossoms- The Green-Sepaled Plum Blossom
4. Extreme Beauty- The Yellow Plum Blossom
5. Fairy Of Delicacy- The Blossom Of Aged Plum Tree
6. Twins Lying On One Sepal- The Plum Blossom Couple

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Angelique Kidjo - Eve

Posted By MiOd On Tuesday, January 28, 2014 0 comments
On Eve, her highly anticipated Savoy Records debut named for her own mother as well as the mythical mother of all living, the Beninese born, Grammy Award winning singer/songwriter builds on this ever-evolving legacy with a 13-track, three interlude set of melodically rich, rhythmically powerful expressions of female empowerment. These songs become all the more intimate and emotionally urgent with Kidjos dynamic collaborations with traditional women s choirs from Kenya and various cities and villages in Benin. The singer and her newfound native lady friends sing in a wide array of native Beninese languages, including Fon (Kidjo s first language), Yoruba, Goun, and Mina.


Eve is an album of remembrance of African women I grew up with and a testament to the pride and strength that hide behind the smile that masks everyday troubles, says Kidjo, whose accolades include a 20 year discography, thousands of concerts around the world and being named Africa s premier diva (Time Magazine) and the undisputed Queen of African Music (Daily Telegraph). They exuded a positivity and grace in a time of hardship. On this recording I am letting the voices of the women show their beauty to the world, she adds. Eve is all about showcasing the positivity they bring to their villages, cities, culture and the world.

01. M'Baamba (Kenyan Song)
02. Shango Wa
03. Eva [feat. ASA]
04. Interlude: Agbade
05. Bomba [feat. Rostam Batmanglij]
06. Hello [feat. Trio Teriba]
07. Blewu
08. Kamoushou
09. Kulumbu [feat. Dr. John]
10. Interlude: Kletedjan
11. Ebile [feat. Kronos Quartet]
12. Awalole [feat. Orchestre Philharmonique du Luxembourg]
13. Bana [feat. Yvonne Kidjo]
14. Orisha
15. Interlude: Wayi
16. Cauri

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Niyazi Sayın - Kutbü'n-Nâyî

Posted By MiOd On Tuesday, January 28, 2014 0 comments
Track Listings
--------------
1. Sultânî-Yegâh Taksîm
2. Sâz-Kâr Taksîm
3. Sûz-Nâk Taksîm
4. Hüzzâm Taksîm
5. Rûy-ı Irâk Taksîm
6. Ferah-Nâk Taksîm
7. Rast Taksîm
8. Beyâtî Taksîm
9. Hüseynî Taksîm
10. Nihâvend Taksîm
11. Kanada Toronto Ney Solosu

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Rokia Traoré - Wanita

Posted By MiOd On Monday, January 27, 2014 0 comments
Wanita is a mild quantum leap from Traoré's debut, Mouneïssa. The style she cultivated on her debut -- a glorious mix of the singer/songwriter with the rootsy, acoustic instruments of her native Mali -- is refined here, and she approaches everything with more confidence. She's very much a rarity in African terms, a female singer/songwriter, and one whose lyrics are very progressive, dealing with the rights of women in a patriarchal society. But she's representative of a new generation that has brought forth a lot of professional women, for whom she's become a figurehead. She lauds hard work, her people, and the freedom to love. Her own acoustic guitar work might be relatively simple, but the arrangements of her band fill out the sound wonderfully, especially the large, xylophone-like balafon and the n'goni, a kind of lute. By keeping this very Malian, Traoré ensures her music remains quite authentic, and speaks to her own people, rather than any sellout to Western values. At the same time, it's very appealing and rich on its own terms, her lulling voice a far cry from the stridency of many Malian female Wassoulou singers, something Western ears can accept quite readily -- a kind of African Joni Mitchell, but with a more acute social conscience. Hers is a talent that's beginning to find full bloom with this record, fulfilling the promise of her earlier disc, and proving that the ground she broke before is a very fertile furrow indeed. Wanita establishes her at the head of a genre, not merely by virtue of doing it first, but by the sheer talent as a writer and singer which she brings to it.

When Rokia Traore turned to non-Malian vocal styles on Wanita, she didn't opt for an obvious Western approach like fellow West African diva Angelique Kidjo, who steeps her songs in funk. Instead, Traore's multilayered singing has the delicate complexity of Zap Mama alumnus Sally Nyolo's Tribu plus the gentility of chamber music. Instrumentation hews to the traditional arsenal of her country's griot troubadours, though with a modern edge. Rokia contributes acoustic guitar to a solid ensemble of balafon marimba, ngoni ba four-string guitar, djemba hand drum, electric bass, and kora harp from whirlwind Toumani Diabate. "Souba," based none too obviously on an Indian raga, shows her willingness to stretch boundaries in unexpected directions while the title track lingers on lush harmonies seldom heard in African pop. The hushed atmosphere of her performances may lack the raw soulfulness of Mali's best-known female vocalist, Oumou Sangare, but Traore's melodic hooks and quiet acrobatics prove the truth of the old adage that a whisper can be more dramatic than a shout.

01. Kanan Neni
02. Mouso Niyalen
03. Souba
04. Yere Uolo
05. N'Gotolen
06. Wanita
07. Chateau De Sable
08. Yaafa N'Ma
09. Sako Be Ke
10. Mancipera
11. Tchwa

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Chinese Flower Music - Orchid

Posted By MiOd On Monday, January 27, 2014 0 comments
3. Chinese Flower Music - Orchid
Chinese orchids have clear colored flowers and finely organized foliage, possessing a placid and charming quality. In this collection, music is used to convey the characteristics of orchids to listeners. Musical instruments such as the pai-xiao, guzheng, erhu, and pipa are employed to present the lofty realm of truth, good, and beauty that orchids represent.

1.Fragrance of the Country-Fujian Orchids
2.Origin of Fragrance-Spring Orchids
3.Flowers of Nobility-Chiya-suxin Orchids
4.Royal Fragrance-Daming Orchids
5.A Beautiful Lady from Empty Valleys-Winter Orchids
6.Supreme Fragrance in the World-Baosui Orchids

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Real Piano

Posted By MiOd On Monday, January 27, 2014 0 comments

...the music is warm, soothing, and beautiful ...a seamless collection...each track is gem unto itself..

"This is an good piano album. Follow the music along the path of yuour dream. Fourteen gorgeous compositions by stellar artists, some solo piano, others lightly embllished for an hour of joy”

Terence Yallop and the team at Real Music have once again assembled a stellar compilation album, this time featuring pianists from their own roster of artists as well as selections from a few independents. Eleven of the fourteen tracks are from previously-released albums, but the independent artists (most notably George Skaroulis and Frederic Delarue) may be new to many listeners and will be a treat to discover (both are among my favorite artists!). It should probably be noted that none of the tracks are strictly solo piano, but all feature the piano as the primary instrument. The CD includes two tracks each from David London, Paul Machlis, Bernward Koch (both new compositions), and the wonderful Kevin Kern ("The Winding Path" is one of his most beautiful compositions, and sparkles in this collection.); and one each from Omar, Danny Wright (a cover of Yanni's "Whispers in the Dark"), Jim Chappell (it's good to hear from this artist again after a long absence!), George Skaroulis, Mars Lasar, and Frederic Delarue. It always amazes me how Yallop can take such a diverse group of artists and create a seamless collection that showcases the differences from one artist to the next but flows so smoothly and cohesively. It's difficult to pinpoint any special highlights on this album since each track is a gem unto itself and there are no weak tracks at all. As is Real Music's usual focus, all of the music is warm, soothing, and beautiful both in the background and for active listening. Nobody does compilations better than Real Music, and this is one of their best. Recommended!

(01). Horizons - David London
(02). Free as a Bird - Omar
(03). Via Aurelia - Jean-Francois Maljean
(04). Whispers in the Dark - Yanni,Performed by Danny Wright
(05). Bridge of Confiddence - Gandalf
(06). The Winding Path - Kevin Kern
(07). Deep Green Summer - Bernward Koch
(08). Capture the Moment - David London
(09). Mockingbird Days - Jim Chappell
(10). Silk Road Theme - Kitaro,Performed by Danny Wright
(11). A Day With You - Omar
(12). Through the Veil - Kevin Kern
(13). A Moment of Bliss - Frederic Delarue
(14). Childhood Hour - Bernward Koch

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Chinese Flower Music - Chrysanthemum

Posted By MiOd On Sunday, January 26, 2014 0 comments
Chinese Flower Music - Chrysanthemum
Fall-blooming chrysanthemums are compared to the soul of autumn in Chinese poetry. The music of the album aims at presenting the flowers' graceful poise and the fine autumn scenery of the countryside. Common traditional Chinese musical instruments such as the erhu, guqin, xiao, pipa, and guzheng are used to sing the beauty of six kinds of chrysanthemums.

1.Wild Beauty by County Fences - Wild Chrysanthemum
2.Cold and Elegant - Peach-blossom Chrysanthemum
3.A Beauty from a Distance - Cliff-like Chrysanthemum
4.Twin Beauties - Two-colored Chrysanthemum
5.Goddess of the Moon - White Chrysanthemum
6.Nightly Fragrance in the Air -Wintry Chrysanthemum

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Ustad Irshad Hussain Khan - Divine Rhythms on Tabla

Posted By MiOd On Sunday, January 26, 2014 0 comments
Tabla virtuoso Irshad Hussain Khan belongs to the Jaipur Gharana of tabla playing and comes from a traditional family of court musicians from Rajasthan. On this album he presents two dynamic tabla solo recitals. The first piece is an old and rarely played tala (rhythmic cycle) of 14 beats called Adha Chautal. The second piece is in teental (16 beats) the most important rhythm of North India classical music. 60+ min.

1. Adha Chautal
2. Teental

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Japan - Masters of Zen: Ugetsufu by Kuniyoshi Sugawara

Posted By MiOd On Saturday, January 25, 2014 0 comments
This CD features the Japanese shakuhachi player Kuniyoshi Sugawara and pieces by modern Japanese composers, some of which have been written specifically for him. There are two solo pieces, some pieces for shakuhachi, koto, and/or jushichigen (17-stringed koto), and a duet for shakuhachis written by the late koto master and composer Tadao Sawai (1937-1997). Sugawara is an accomplished shakuhachi player who deserves to be known outside Japan. By offering a CD of only modern pieces (some of which are more traditional in style while others are more avant-garde in style), Sugawara demonstrates that many Japanese composers are still interested in writing music for their traditional instruments (although it was for some on this CD their first or second piece) and that their pieces are masterworks of great musical interest. A CD of great value.

[01]. Ugetsufu, Yoshimatsu
[02]. Kaei, Hoki
[03]. Kotoba No Yoru, Chikuma
[04]. Rezan, Sawai
[05]. Kata-Ashi Torii No Eizo, Sato
[06]. Kata-Ashi Torii No Eizo, Sato
[08]. Kata-Ashi Torii No Eizo, Sato
[09]. Nihon Minyo Kumikyoku Dai Ichi-Ban, Fukushima
[10]. Nihon Minyo Kumikyoku Dai Ichi-Ban, Fukushima
[11]. Nihon Minyo Kumikyoku Dai Ichi-Ban, Fukushima
[12]. Nihon Minyo Kumikyoku Dai Ichi-Ban, Fukushima
[13]. Nihon Minyo Kumikyoku Dai Ichi-Ban, Fukushima

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Favourite Qin Pieces of Li Xiang-ting

Posted By MiOd On Saturday, January 25, 2014 0 comments
In 1995, Hong Kong Dragon Music Production Co., Ltd. published this "Favourite Qin Pieces Of Li Xiang-ting seclusion: LiXiangTing Guqin solo" album. In this album, we still see Mr. Li Xiangting as a leading contemporary figure Guqin home. Mr. Lee is still with its collection of the Song Dynasty falling clouds flowing piano, play a convincing and exciting to play the qin song, from the most ancient "Guanglingsan" to Lee in recent years improvisations "house arrest" and "Nostalgia "We seem to have heard" Chinese poetry "before the Beginning of the sound of a wander round, stand outside the Church stop to listen, Daya. "Water" the piece of music, "Lament," the concern for the fate, "Fisherman and the Woodcutter," the detachment strength of character, "Guanglingsan" of righteousness, has slowly come hit me, I am drunk cried a clear heart ...

[01]. Mist and Clouds over Xiao-Xiang River
[02]. Contemplation in the Quiiet Night
[03]. Three Variations of Plum Bllossom
[04]. Tune for a Peaceful Night
[05]. Flowing Water
[06]. The Moaning at Chang Men Palace
[07]. Dialogue Between The Fisherman and the Woodcutter
[08]. Leaves Dancing in tje Autumn Wind
[09]. Lisao
[10]. Secluded Residence
[11]. Guang ling Verse

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Chinese Flower Music - Bamboo Dreams

Posted By MiOd On Saturday, January 25, 2014 0 comments
1. Chinese Flower Music-Bamboo Dreams
When it comes to Chinese music,
we cannot help but notice that the majority of Chinese musical instruments, especially the wind instruments, are made of bamboo.

The music of this album is intimately associated with bamboo and played on a variety of bamboo made musical instruments. Treat yourself to the Bamboo Dreams and experience its exotic Oriental romance!

1.Heart-touching Sound of Bamboo
2.A Leisurely Heart Deep in the Bamboo Grove
3.Bamboo Watching
4.Sprouts of Spring
5.A Pool of Cool Freshness
6.Breezes
7.A Humble Heart
8.Bamboo Singing in the Moonlight

Performers:Composers:YANG Chun-lin, MU Yi & HAO Han|
Performers:ZHAO De-rong, HU Ai-zhen & Jiang Kai

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Korean Traditional Music

Posted By MiOd On Friday, January 24, 2014 0 comments

Kim HeeJo (AKA Kim HuiJo) (1920-2001) a native of Seoul, was one of the most prominent Korean composers of the twentieth century. He is primarily known for his works that incorporate aspects of traditional Korean music and was among the first choral composers in Korea to compose large scale works for the Korean Christian church. The current disc features four large scale works composed by Kim for Korean traditional orchestra.
All indications are Kim was extremely prolific, composing and arranging for both western and Korean instruments
(there are at least four symphonies for Korean Traditional orchestra...) The current program is, based on the few other works I have heard, is fairly representative of Kim's compositional style - a genre known in Korean as Changjak Gugak (창작국악) - "newly composed" or "creative traditional music."
I am in general, a big fan of these multi-culti mashups... it's intriguing to hear how one musical tradition redefines another. The best essays in this type of encounter are those where the transfer from one tradition to another is not too literal - like transcribing Beethoven for kotos and shakuhachis. Kim's choice of musical material keeps pretty close to the Korean idiom, while achieving an "orchestral" texture. No mean feat, since the very nature of Korean instruments make them particularly resistant to harmony or counterpoint. All in all, a charming program of interesting works from a sadly neglected (at least in the west) Korean composer.

1. Songchun-Gok
2. Piri Concerto On A Theme of Maena
3. Kayagum Concerto No.1
4. Fantasy On A Theme of Yombul

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Classical Music of North India - Sitar and Tabla

Posted By MiOd On Wednesday, January 22, 2014 0 comments
Both this studio recording and its companion were made in Tokyo in September 1985. It pairs Manilal Nag with one of the finest tabla players of his generation, Mahaprush Misra (1934-1987), a musician probably best known for his sterling work with the sarod virtuoso Ali Akbar Khan -- especially on the Signature Series. It features raga performances coupled with a concluding tabla track and is a fine testimony to their skills.

Disc 1:
1. Raga: Suha - Kanara (59:26)
Sitar:Sri Manilal Nag
Tabla:Pandit Mahaprush Misra
Tambula:Sachiko Torii
2. Tala: Tintal (14:20)
Sitar:Sri Manilal Nag
Tabla:Pandit Mahaprush Misra
Tambula:Sachiko Torii

This is one of my all time favorite recordings! It is a pity that it is now so difficult to get, it is also a shame that people are charging way to much for used copies. If you are a fan of Sitar or Manilal Nag then you really need to get this CD, it also contains some of the best tabla I have ever heard. You will not be disappointed! Amazon needs to make this available on MP3 so more people can get a copy at a reasonable price; that can also be said of volume 1.

Disc 2:
1. Puriya Dhaneshri (24:23)
Sitar:Sri Manilal Nag
Tabla:Pandit Mahaprush Misra
2. Raga: Ragheshri (24:02)
Sitar:Sri Manilal Nag
Tabla:Pandit Mahaprush Misra
3.Tala: Jhaptal (10:25)
Sitar:Sri Manilal Nag
Tabla:Pandit Mahaprush Misra

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Bombay Lounge

Posted By MiOd On Tuesday, January 21, 2014 0 comments
Track Listings
--------------
01. Saira Khan / The Spirits of Life 5:28
02. Saira Khan / Bombay Gypsy 5:06
03. Ritika Sahni / Punjabi Secrets 5:51
04. Javed Ali / Solid Tune 6:22
05. Saira Khan / Sweet Lounge 5:34
06. Vijaya Shankar / Chants of Rajasthan 4:43
07. Vijaya Shankar / Journey to the Moon 4:35
08. Saira Khan & Vicky Joshi / China Town 4:14
09. Jyotsna Hardikar / Manana 4:53
10. Vijaya Shankar / Moody's Mind 5:39
11. Ritika Sahni / Mast Nazar 6:26

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Sedat Anar - Belâgat

Posted By MiOd On Monday, January 20, 2014 0 comments
Sedat Anarın Belagat adlı bu albümünde ise ; İrana özgü bir enstrüman olan santurun büyülü dünyasıyla tanışıyoruz.
1500 yıllık bir geçmişi olan bu doğu enstrümanını Sedat Anar kendine has teknikleriyle icra ediyor ve bunu da zaman zaman Anadolu motiflerini, zaman zaman da Hint ve İran motiflerini kullanarak gerçekleştiriyor.Santura bu uzun yolculuğunda da Tuncay Korkmaz mızıkasıyla eşlik ediyor.Santur ve mızıkanın buluşmasıyla inanılmaz bir uyum sağlanıyor.Her ne kadar birbirinden uzak ve farklı coğrafyalara ait enstrümanlar olsalar da müziğin dilinin olmadığını bir kez daha kanıtlıyor bize bu ikili.Albüm 10 tane eserden oluşmaktadır .
Bu 10 eserin 8i Sedat Anarın kendi bestelerinden oluşmaktadır.Diğer iki eserlerden birisi çok eski bir İran halk şarkısıdır,diğeri ise söz ve müziği Kemal Dinçe ait bir deyiştir.Albümde zaman zaman santur ve mızıka doğaçlamalarına da rastlıyoruz.Bazı parçalarda da santura; erbane(def),zarp,davul,bas gitar ve elektronikler altyapılar da eşlik ediyor.

1. Zâr ü Efgân
2. Butimar
3. Zelal ve Aşk
4. Aşk Şerbeti
5. Bulutlar
6. Baran Barane
7. Biçare
8. Belâgat
9. Şaşkın Peyrev
10. Selen

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Ahenk, Volume 2 (Turkish Classical Music)

Posted By MiOd On Sunday, January 19, 2014 0 comments
Ahenk, Volume 2 (Turkish Classical Music)
by Derya Turkan & Murat Aydemir
Golden Horn celebrates its newest release by Ahenk Duo, a musical union of Derya Türkan (kemence -three stringed fiddle) and Murat Aydemir (tanbur - long-necked lute).

On this their second album, Ahenk Duo performs works by Tanburi Osman Bey, Tanburi Cemil Bey, Tanburi Refik Fersan, Dede Efendi, Neyzen Salih Dede among others. Album’s program also features solo and joint improvisations. Music presented ranges works from 17th through 20th centuries in makams Arazbar, Ussak, Sedd-i Araban, Mahur and Pesendide. The Duo performs these pieces and improvisations masterfully in this second part of their journey of Turkish and Ottoman classical music.

Back in 1997, Golden Horn produced very first recording of two friends; Derya Türkan and Murat Aydemir. Album was titled “Ahenk” which means "harmony" in Turkish. This title reflected these two musicians' friendship as well as their style and performance of Turkish & Ottoman classical music. At that time, Derya and Murat were in their early twenties. They already had many years of performance experience in prestigious ensembles. Both of them had very sound training in their style of music. They were students of the leading players of Turkish classical music and showed a lot of promise for the future. Over the years, first album’s title gave the duo it is name: "Ahenk Duo". Both musicians perform in other groups, sometimes together, sometimes separately and have their own individual ways of musicianship and musical interests. When they get together to play, as very capable extensions and performers of music that reaches back centuries, they perform on tanbur and kemence, in a style that has become seldom displayed.

This new recording continues where the first album left. Over the years, both musicians lived up to expectations and they are now considered to be leading performers of their respective instruments. Derya recorded other albums; including “Letter from Istanbul” and Murat recorded other albums as well, including “Neva”; both on Golden Horn. Initial volume of Ahenk, over the years, became a reference album for many; not only for those individuals who were getting their first introduction to this tradition, but also for those who had immersed themselves in this music already. Both albums contain compositions from various periods of classical music as well as taksims (improvisations) performed solo and jointly. This joint improvisation style is a development that Murat and Derya have inherited from their teachers, Ihsan Özgen and Necdet Yasar, and continue to perform. Murat also demonstrates this style on another duo recording, this time with the ney player Salih Bilgin on album called “Neva”.

“Ahenk Volume 2” was recorded in Istanbul in Aria Studios which is located in Üsküdar district. From the balcony of this studio, one can view ships and boats sail through the Bosphorus with the reminders of city’s past in the background; a beautiful location to record an album like this. Cengiz Onural, a member of Incesaz -- another group in which Murat and Derya perform -- was the recording engineer. In a recording like this, it was crucial to work with an engineer who is intimately familiar with the artists, instruments and music.

1. Arazbar Pesrevi - Eyyûbî Mehmed Çelebi (-1650?)

2. Müsterek Hüseynî’ye geçis taksimi, Joint improvisation, transiti

3. Ussâk Tanbûr taksimi - Improvisation on tanbur

4. Ussâk Pesrevi - Tanbûrî Osmân Bey (1816-1885)

5. Ussâk Saz semâîsi - Neyzen Sâlih Dede (1823-1888)

6. Sedd-i Arabân Pesrevi - Tanbûrî Refik Fersan (1893-1965)

7. Müsterek Sedd-i Arabân taksim - Joint improvisation in Sedd-I Ar

8. Sedd-i Arabân Saz semâîsi - Tanbûrî Cemîl Bey (1871-1916)

9. Mahûr Kemençe taksimi - Improvisation on kemence

10. Mâhûr Pesrevi - Raûf Yektâ Bey (1871-1935)

11. Müsterek Pesendîde’ye geçis taksimi Joint improvisation, transit

12. Pesendîde Saz semâîsi - III.Selîm Hân (1761-1808)

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Derya Türkan - Minstrel's Era

Posted By MiOd On Sunday, January 19, 2014 0 comments
Derya Turkan, Ugur Isik & Renaud Garcia Fons
Minstrels Era
Instrumental pieces of Ottoman Music were first transcribed by the Europeans living in Istanbul in the first quarter of 17th century. But most of these pieces transcribed by historians like Alberto Bobowski and Dimitrius Cantemir were forgotten and were almost never perfromed in the following centuries. The leading kemence virtuoso of Turkey, Derya Türkan has is performing these pieces together with the distinguished cellist of Turkey Uğur Isik and famous French bass player Renaud Garcia Fons with a contemporary understanding. While kemence is travelling along very high musical borders as a traditional instrument, together with the timbres of cello and upright bass, we are experienceing a brand new musical synthesis. The pieces performed were originally written for the Ottoman Grand Segneour to listen in his imperial lodge in the Seraglio of Constantinople. Composers are subjects of Sultan from various nations and the pieces are reflecting the melodic conception that dominated the 17th century.. The three hundred years old pieces, as a result of masterful melodic movements and modern accompanying attitudes, reach an identity which is clearly concievable and enjoyable today.

1.Sürgün (Exile)

2.Nikriz Pesrev

3.Rast Pesrev

4.Sahara

5.Nihavend Pesrev

6.Buselik Pesrev

7.Nihavend Semai

8.Minstrels Era

9.Mevc-i Derya Pesrev

10.Kürdi Pesrev

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Ustad Irshad Hussain Khan - Divine Rhythms on Tabla

Posted By MiOd On Saturday, January 18, 2014 0 comments

Tabla virtuoso Irshad Hussain Khan belongs to the Jaipur Gharana of tabla playing and comes from a traditional family of court musicians from Rajasthan. On this album he presents two dynamic tabla solo recitals. The first piece is an old and rarely played tala (rhythmic cycle) of 14 beats called Adha Chautal. The second piece is in teental (16 beats) the most important rhythm of North India classical music. 60+ min.

Pan Records is an excellent world music label from the Netherlands. We have a few of their CDs left in our warehouse and are selling them on a first come, first serve basis.

1. Adha Chautal

2. Teental

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Uganda: Aux Sources Du Nil

Posted By MiOd On Saturday, January 18, 2014 0 comments
Ocora scores again with this release of Ugandan music. In researching a programme for the Hong kong public radio station, RTHK Radio 4, I came across this disc and I have programmed several pieces from it. What I am particularly pleased with is the variety of genres, styles, and instruments--the recording includes drumming with chant, a thumb piano solo, an ungodly cacaphony of 8 horns that MUST be heard to be believed, a fantastically cheerful welcome song with a choir and ensemble of thumb pianos, and much more. The recording quality is very good--this is a terrific addition to any world music library.

01. Circumcision Ceremony
02. Madinda Solo
03. Song Accompanied On The Nanga
04. Trio Of Adungu Harps
05. Songs Accompanied On The Sanza
06. Sanza Solo
07. Nnankasa Dance-Music
08. Orchestra Of Agwara Horns
09. Endingidi Solo
10. Baakisimba Wedding Dance - Aboluganda Kwagalana Group
11. Lukeme Orchestra And Song - Aleka Jazz Band Group
12. Lukeme Orchestra And Song - Lukeme Group
13. Song And Dance - Gulu United Arts Group
14. The Orak Ceremony - Pawidi Group

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Imaran - Ihendja

Posted By White Rose On Friday, January 17, 2014 0 comments

Track List
01. Ihendja Ennemi
02. Timiditine Confidente
03. Takmo Séparation
04. Timiritine Flirt
05. Kissan Amertume
06. Ameji Douleur
07. Wityan la Spirale du Temps
08. Aicha
09. Ténére

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Kushal Das - Raga Marwa - Surbahar

Posted By MiOd On Tuesday, January 14, 2014 0 comments
Kushal Das, a north Indian solo sitarist was born to a highly enriched musical family of Calcutta. His grandfather Late Bimal Ch. Das was a renowned Esraj player while his father Shri Sailen Das and uncle Sri Santanu Das are sitarist-s of high repute.
Kushal started his talim from the age of seven. He received intensive and rigorous training in advanced sitar techniques and the art of music making under the affectionate guidance of Prof. Sanjoy Bandopadhyay, the renowned sitar maestro and academician. He also had the proud privilege of having learnt from great musicians like, Pt. Manas Chakraborty, Pt. Ramkrishna Basu and Late Pt. Ajoy Sinha Roy.
With a profound knowledge of musical understanding and raga improvisation Kushal is now considered as one of the foremost torchbearers of the tradition of Indian classical Instrumental Music.
The critics and connoisseurs have acknowledged him as a worthy successor of his idol, the legendary maestro Late Pandit Nikhil Bandyopadhyay.
His concerts are always marked for their aesthetic appeal and insight with a fine command of technical expertise. With maturity as his forte Kushal thus have the predominant virtues of Indian heritage and music.
An “A” grade musician of All India Radio and Television, he is a recipient of Sangeet Visharad from Pracheen Kala Kendra-of Chandigarh and Sur-Mani form Sur Singar Samsad of Mumbai.

1. Alap 20:34
2. Jhor 13:33
3. Jhala 03:40
4. Jhaptal-Gat 16:52
5. Drut Tintal - Gat 09:36
6. Drut Tintal - Jhala 05:49

Surbahar – Kushal Das
Tabla – Biplab Bhattacharya
Tambura – Sudipta Rémy

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Mikea - Taholy

Posted By MiOd On Monday, January 13, 2014 0 comments
Mikea is what is described as an author, composer, and performer. He has chosen to orient himself towards a simple, both personal and universal aesthetic, carried by the trio of guitar, bass and percussion, a trio over which the voice can freely unfold and directly lead the listener to the topic.

1. NINY

2. VONJEO GNOLO MARO

3. BILO

4. NAGNAIA RELINY

5. SAHIRA LAVA

6. AKORY ATAOKO BELINA

7. LONGO RATY

8. DORO ALA

9. TSENA ZOMA

10. TAHOLY

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Ustad Ahmed Jaan Thirakhwa - Master Musicians of India

Posted By MiOd On Sunday, January 12, 2014 0 comments
Ustad Ahmed Jaan Thirakhwa (Tabla):
Master Musicians of India,
From the Archives of Sangeet Natak Akademi
Sangeet Natak Akademi and Saregama India, two venerated institutions that have recorded the

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

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

truly valuable collection.

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

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

traditional system of presenting Tabla solo.

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

Ajrada, Lucknow and Farrukhabad]

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

Laya of presentation.

4. NIKAAS:
Addressing the technique of playing different syllables

[Bols] of Tabla and compositions [Bandishes]

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

formative age and demonstration of some special compositions.

Table : Ustad Ahmed Jaan Thirakhwa
Sarangi : Ahmed Raza

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Irshad & Nishat Khan - Bhimpalasi & Tilak Kamod

Posted By MiOd On Sunday, January 12, 2014 0 comments
Irshad Khan / Nishat Khan, Shafaatullah Khan ‎
– Rag Bhipalasi / Rag Tilak Kamod

Irshad Khan is considered among the world’s best Sitar players and the leading Surbahar (BassSitar) player of his generation and among the finest instrumentalists of the world.

• His individual stamp in both these instruments ascends from the distinctiveness of his technique and mental prowess. is renowned not only for his mastery of these two instruments, but for his unique presentation of the different genres of Indian classical music, and his mastery of the intricate “gayaki-ang”(vocal) and “tantra-ang”(instrumental) styles, makes Irshad Khan one of the most dynamic musicians of today.

• His style is followed and inspired by many formative and professional sitar players of his generation.

• His dedication to the subtleties of the raga is in bringing out its essence in rendering its pure form of feelings and expressions from meditative to playful, serene to heroic, devotional to romantic.

• Being recognized as a child prodigy, today he has emerged to be among the most sought after and versatile Indian musicians of India. Has achieved unparalleled mastery over sitar-surbahar technique and in different genres of Indian music such as Dhrupad, Khyal, Tappa, and Thumree.

• With uncompromising dedication in training both vocally and instrumentally, gained proficiency in classical vocal, hence achieved phenomenal control in combining the intricacies of “gaiki-ang”(vocal) with the “tantra-ang” (instrumental) styles, which has made Irshad Khan one of the world’s most dynamic musicians of today.

1. Irshad Khan – Rag Bhimpalasi
2. Nishat Khan, Shafaatullah Khan – Rag Tilak Kamod

Credits
Sitar – Nishat Khan
Surbahar – Irshad Khan
Tabla – Shafaatullah Khan

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Gaura Vani & As Kindred Spirits - Ten Million Moons

Posted By MiOd On Saturday, January 11, 2014 0 comments
The second release from one of the most sought after kirtan (chant) groups in the world. They transport us to their divine universe with lush, cinematic arrangements, beautiful vocal harmonies, dynamic ethnic rhythms, and rich textured instrumentation. Their first album,
"Nectar Of Devotion", is a cult classic that can be found in the personal collections of yoga's best and brightest teachers and musicians.

Hearing "Ten Million Moons" is at once invigorating and deeply calming. The musicianship is superb but , most importantly, there is real feeling here. The contemporary arrangements of traditional classics and the bits of "fusion" throughout never come across as pretentious or gimmicky (as attempts at fusion often do) . The gospel-style rendition of "Jiv Jago" is a perfect example of this- and it is a living proof that anyone and everyone can participate in kirtan. Thanks!

1. My Body Is A Temple (Krishna Murari)
2. Moods of Kirtan (Siksastakam)
3. Stop and Talk (Hey Natha)
4. Mira's Song (Mharo Pranam)
5. Ten Million Moons (Nitai Pada Kamala)
6. Sleeping Soul (Jiv Jago)
7. Surrender
8. Where Was I Last Night? (Nami Danam Chi Manzil)
9. The Pirate Song (Dina Dayal)
10. Worship The Golden Lord (Bhaja Bauranga)
11. Thunder and Lightning (Radha Krishna Pran)

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Akram Khan - The Tabla Series

Posted By MiOd On Friday, January 10, 2014 0 comments
Track Listings
--------------
01. Vilambeet Teentaal: Peshkar
02. Vilambeet Teentaal: Qaida
03. Vilambeet Teentaal: Quaida
04. Vilambeet Teentaal: Qaida
05. Vilambeet Teentaal: Qaida
06. Vilambeet Teentaal: Qaida
07. Vilambeet Teentaal: Qaida-Rela
08. Vilambeet Teentaal: Qaida
09. Drut Teentaal: Tukra/Chakradar/Gat
10. Drut Teentaal: Chakradar
11. Drut Teentaal: Gat
12. Drut Teentaal: Chakradar
13. Drut Teentaal: Chakradar
14. Drut Teentaal: Rela/Tukra/Chakradar

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Zakir Hussain - Raga Tabla

Posted By MiOd On Friday, January 10, 2014 0 comments
The tradition of Indian percussion has been revolutionalized by tabla player Zakir Hussain. The son of Ustad Allah Rakha, the long time collaborator of Ravi Shankar, Hussain has inherited his father's quest for bringing the music of India to the international stage. His recording credits include albums with George Harrison, Joe Henderson, Van Morrison, Jack Bruce, Tito Puente, Pharoah Saunders, Billy Cobham, the Hong Kong Symphony and the New Orleans Symphony. His work with Mickey Hart of The Grateful Dead have included performances and albums with the Diga Rhythm Band and Planet Drum. Hussain joined with British guitarist John McLaughlin and Indian violinist L. Shankar to form the east-meets-west supergroup, Shakti, in 1975. Although the group disbanded in 1978, they reunited to tour as Remember Shakti in 1998. Hussain has been equally successful as a bandleader. During the 1980s, he toured with Zakir Hussain's Rhythm Experience. His debut solo album, Making Music, released in 1987, was called "one of the most inspired East-West fusion albums ever recorded". In 1992, Hussain launched a record label, Monument Records, that focused on Indian music. A lengthy list of awards have been bestowed upon Hussain throughout his career. In 1988, he became the youngest percussionist to be awarded the title "Padma Shri" by the Indian government. Two years later, he recieved the Indo-Ameican award in tribute to his contributions to furthering relations between the United States and India. Planet Drum, an album co-produced with Hart in 1992, received a Grammy for "best world music album", a NARM Indie Best Seller award and won the Downbeat Critics Poll for "Best world music album". Still a youngster when he began to attract attention with his virtuosic playing, Hussain began his musical career at the age of seven and was touring by the age of twelve. In 1970, he made his American debut as accompanist for Ravi Shankar. Three years later, he became the leader of the Tal Vadya Rhythm Band. The group subsequently evolved into the Diga Rhythm Band. In 1976, the band collaborated on a self-titled album with Mickey Hart. Hussain has performed on the soundtracks of numerous films including Apocalypse Now!, In Custody and Little Buddha. At the 1983 Cannes Film Festival, he was nominated for an award as composer and music director of the film, Heat And Dust. ~ Craig Harris, Rovi

(01). Chaturshri
(02). Taalmela
(03). Dhyan
(04). Kalpana
(05). Khand Jati

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Japon - musique citadine de l'ere edo

Posted By MiOd On Monday, January 06, 2014 0 comments
Ensemble Hijiri-Kaï
Japon - musique citadine de l'ere edo

1. Godanno-shirabe (Pièce à cinq sections)
2. Rembo-nagashi (Quête spirituelle par l’aumone)
3. Echigo-jishi (Danse du Lion de la province d’Echigo)
4. Midare (Hors-règle)
5. Yuki (La Neige)
6. Yûgure (Crépuscule)
7. Koto sangen nijûsôkyoku

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Nikhil Banerjee - Afternoon Ragas

Posted By MiOd On Saturday, January 04, 2014 1 comments
“My approach to music is very deep. I do not compromise with anybody or anything else in the world. I do not care. I want to really go beyond this materialistic world...not for the sake of enjoyment, entertainment, no. A musician must lift up the souls of the listeners, and take them towards Space.” --Nikhil Banerjee

Padmabhushan Nikhil Banerjee (1931-1986) was undoubtedly one of the finest sitarists of his time. His music earned deep respect among India’s classical music connoisseurs as well as gaining him a devoted international following. He was the disciple of the two greatest forces in 20th Century Indian classical instrumental music, Padmavibhushan Allauddin Khan and his son Ustad Ali Akbar Khan. Though he recorded a number of LP’s, few were of live concerts, in which his leisurely, majestic raga development was unsurpassed. Mr. Banerjee disliked being recorded, feeling that the process distracted and somewhat compromised the inner meditative quality of his music, so high-fidelity live recordings are rare. Raga Records is releasing a series of concert recordings to help preserve Mr. Banerjee’s legacy.

Legendary tabla player Kanai Dutta began to study as a child under Satish Das. Later he was a student of the noted Calcutta teacher Jnan Ghosh for over ten years. He first travelled to the West with Ravi Shankar in 1955. He recorded a number of LPs with Mr. Banerjee for EMI India.

Bhimpalasri: Late afternoon; mood of devotion, pathos, joy. “You can make the animals cry with this rag...” Multani: Late afternoon. “Take out pathos effect of morning and put in devotion and heroic...” “...as sun is going down and down, komal ri and tivra ma start coming out...” (Quotes from Ali Akbar Khan classes.)

MY MAESTRO AS I SAW HIM
by Nikhil Banerjee

‘Gurukul’ method of training is perhaps the most unique feature of our music and its heritage. It may appear rather old fashioned if not primitive to those students who sit around modern electronic wonder gadgets like tape or video recorders and pick up their lessons. But truth is what it is. Gurukul system presupposes that the students have to be in constant company and guidance of their master whom they serve in every way. As in the case of religion, it is only when the master is satisfied with the earnestness and sincerity of the student, then he imparts his power and the wealth of all the feelings and realizations of his own Sadhana or practice. Between the teacher and the taught the principle of give and take is only this. The student can only offer his devotion and service, and the teacher can let him have knowledge and truth. We can find easily how a system as such can effect the total development of a student both physical and mental under the strict vigilance of the teacher who knows how to let the flower blossom. Sad to say, for many many years this principle used to operate in a limited sense and the great Ustads kept up a very secretive approach. They would not let the student see the truth unless there was any blood relation between them. Baba Allauddin Khan Sahib was great in going against this current, and courageously proving that our music is not a hidden magic but essentially a matter of practice aiming at self-realization. He was not a musician by family tradition. His life is quite a classic story of endless tests and trials through which he found his way towards knowledge and enlightenment. It is probably this background which bred such a strong antipathy towards anything mean and narrow in the sphere of teaching. He was a teacher incarnate with the purest vibration. Any student, if really deserving, had from him the shower of his blessings and by the sheer touch of his genius felt quite transformed. Our much respected Sri Timirbaran, Ustad Ali Akbar Khan, our most revered Annapurnadidi, Pandit Ravi Shankar, Sri Pannalal Ghosh are some of the brightest luminaries that Baba produced, and who else but he could do it.
Many people raised one common question that how we could learn sitar from an Ustad whose medium of expression was sarod. His biography records many interesting accounts of his training in veena, sursringar, rabab, surbahar and several other instruments. This opened up endless possibilities of those instruments and enabled him to assimilate and introduce a style of playing much bigger in scope and dimension compared to which the old recordings or other sitar playing sound limited. In course of teaching he said to me one day, “I have decided to teach you sitar after the style of Nawab Kutubudaulla Bahadur of Lucknow.” He had such an exhaustive idea about the ‘baj’ or style of playing of every instrument that he could neatly distinguish between them and combine them as well for the best conceivable effect.
A man is, in point of fact, inseparable from his ideals. To my mind Baba Allauddin Khan Sahib was more of an institution than only a musician. While staying at Maihar Baba gave as a life-style very much like that of an Ashram or hermitage. As a person he was simple, unassuming and completely devoid of egoism. He lived a life with the minimum of necessities and always helped himself to the best of his physical abilities. He washed his own clothes every day. He had a strong aversion towards any kind of luxury which, he believed, could only make a man materialistic and pleasure-loving and not idealistic and sensitive. Maihar, as we all know, is a place of extreme climate and it becomes unbearably hot during the summer because of the limestone factories that surround it. Once, his son Ustad Ali Akbar Khan Sahib bought an air-cooler and took it to Maihar with the expectation that it might give him some relief. But after a few days it was rejected with scorn. Till the day he was unable to move, he would go to the market to buy daily necessities and not let the students go there and waste their valuable moments of practice. He was great in practicing austerity in his own life and had therefore the right to impose it on us. He was a disciplinarian and would never allow the slightest deviation from his ideals of simple living, strict observance of Bramhacharya during our stay at Maihar, a total withdrawal of the mind from all kinds of superficialities, directing all the energy to practice of music and concentration. In going to enforce all this he had to keep up a certain hardness which was, in reality, a show. Stories of Baba’s severe scoldings, beating with the bow of violin and throwing of tabla hammer are so common that people are sometimes terribly mistaken to assume that he was a kind of an old village schoolmaster lacking in any sophistication, with only the ability to be rather ridiculously stern. But this image of himself he deliberately projected in order not to allow any liberty to the disciple. He always had the tension that soft treatment on his part would only spoil them. One day I heard him speaking out rather candidly, “Don’t you see that I am a grandsire? Don’t I feel like taking them (meaning his grandsons) in my arms—patting and loving them. But I am afraid it may spoil them.” Here was the inner voice which could be heard seldom or never. Beneath the veil of toughness was the soft and tender soul bubbling with humanity. We used to watch with wonder how in different corners of his premises he arranged to set up wooden pieces of shelter-racks to let the birds build up their nests. At the time of his meals these birds would gather around him and he enjoyed their innocent company. Whenever any Sadhu or saint was around, Baba would give him God-like treatment, offering food and clothing. He used to clean with his own hand the left-overs of their food and never let us touch them.
I cannot resist the temptation to narrate a couple of episodes which reveal Baba’s humanity. There was one woman who was mentally deranged and stayed near Baba’s house. In the evening she would frequently visit Baba while he was engaged either in playing or teaching us. We even noticed that various herbal medicines were externally applied on her head to cool down her nervous system. This lady would keep her head on Baba’s lap and while listening to music fell asleep. The stern teacher never felt disturbed but rather compassionately said “Ah, what a pity that she suffers so much! Let her have some rest at least!” Other than those who witnessed this scene, how can anybody recognize what he actually was!
Once in the market at Maihar he watched a person sitting out rather dejected in a corner with a number of dholaks to sell but not heeded by anyone. He was touched so much so that he took up one dholak and started playing. The result was obviously a crowd around him. Many of them were throwing coins and a few dholaks (folk drums) were sold out within a short time. Baba saw that some money were collected. He gave it all to the dholak-seller and went home happy.
About religion Baba was very broad-minded. When he used to have his daily prayer or Namaz he would ask me to go into my room and have my ‘Gayatri’ Yapa. Some of the habits and practices he suggested got so firmly riveted into my mind as ‘mantras’ or sermons. He would say, “Whenever you are giving a performance, meditate on your Guru first and then you will see that he takes you over and carries you through. Whenever you play a Raga, begin with worshipping and welcoming it. Imagine it to be deity. Bow down and pray that it should have mercy on you and it should become alive through your medium. Never approach a raga with a feeling of pride or vanity in your heart. Music grows out of the purest feelings of your soul and hence the mind of the musician, if only purified, can produce the vibration.” Baba’s behavior on the stage sometimes became rather erratic. But this was only the result of a certain tension and apprehension that he might fail to establish the raga. I saw him many times uttering Namaz and even crying out “Ma, Ma” to Goddess Saraswati. This appeared strange to people. But I had the most glorious experience to hear the same person playing sursringar to himself in Maihar with all the serenity and calm of mind. I still remember that after a couple of minutes it seemed too much for me. The emotional appeal was so tremendous that my entire being was gone to pieces, senses suspended and it was a trance all over. Anyone who heard him there could realize how great a Naad (Sound) Yogi he was.
There was a very old temple on top of a hill at Maihar known as the temple of Saradamai. Pilgrims came there from far and near and surprisingly enough they would come to see Baba straight from the temple. To the poor common people of Madhya Pradesh who knew nothing about music, Baba Allauddin Khan Sahib was sort of a Sadhu—a noble soul and they used to call him “Baba” in that sense. People of Maihar loved and honored him like anything excepting the Muslim community, who did not quite approve of his liberal views on religion. After his death they at first refused to carry him for burial. There was a storm of controversy. But at the end we saw that the burial procession was being attended by the Hindus and Muslims alike and even the chief priest of the temple of Saradamai joined. It was a marvelous spectacle! Baba can be compared to Sant Kabir whom both the Hindus and Muslims claimed to have belonged to their community. I would rather say that like Sant Kabir he was far above these social distinctions. He was a great Naad Yogi.

Tracklist
Bhimpalasri
1. Alap
2. Slow Rupak
3. Fast Tintal
4. Jhalla

Multani
5. Alap
6. Medum Tintal
7. Fast Tintal
8. Jhalla

Recorded at Aula Museum voor Volkenkunde, Rotterdam 0n 17/5/70.

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Dhol Foundation - Drums & Roses

Posted By MiOd On Saturday, January 04, 2014 0 comments
The Dhol Foundation's founder, Johnny Kalsi, started out as the lead percussionist and dhol player with the bhangra band Alaap, and later toured with other World Music bands. It is these influences that are apparent in Drums & Roses, his band's third album, written and produced by Kalsi, himself.
The 12 track album is a mixture of instrumentals, which utilise bamboo flutes, guitars, the tabla and even a piano, and songs with guest singers from the UK and abroad. The album begins with a seductive Sabiha Khan on first track When You Loved Me. Sung in Hindi, her sultry vocals, combined with lyrics of lost love, are poignant.

As expected, the dhol is apparent in most of the tracks, but even the untrained ear will pick up on the variety of instruments in Gra Gan Chrioch (which translates in Gaelic to 'love with no end'). The results are both unique and outstanding. But by track four (Johnny's Drum) the band creates a startling jump when things drop straight into bhangra, which only serves to remind you of the founding music that this collection is built on.

In fact, if you're not familiar with TDF's work, then this is the sort of track you would expect to hear more of. However, it's the aforementioned global inspiration that gives Drums & Roses a far more superior sound than that of an ordinary British bhangra album. Interestingly, despite most of the tracks being upbeat, the album is essentially a mellow effort. Yet it's far from dull. It has the sort of calming effect that would de-stress even during rush hour.

The Dhol Foundation launched an academy in 1989, which now has approximately 400 students across Britain. If the music being taught there is anything like that displayed in the album, then we can be sure of an even more vibrant desi scene in the future. --Shamaila Khan

1. When You Loved Me
2. Without...
3. Gra Gan Chrioch
4. Johnny's Drum
5. Drums & Roses
6. Sex & Violins
7. You Turned
8. Angels Karma
9. Dust Maker
10. Nach Mundeya
11. Bad Boys TDF
12. Ishtar (Drums of Love & War)

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Vijay Ghate - The Tabla Series

Posted By MiOd On Saturday, January 04, 2014 0 comments
helping the flourishing of great musical traditions. Sense producer Derek Roberts and executive producer Alpesh Patel had a goal to bring the great tabla maestros of the day to the record company studios and to record them with a fidelity and consideration to their art not previously given. The results speak for themselves!

The Artist
Vijay Ghate is considered to be one of the most outstanding tabla players in the modern era of North Indian music. Born in Jabalpur, Madhya Pradesh, Vijay showed an early inclination for rhythm which was fostered by his family. He moved to Mumbai to study with Pandit Suresh Talwalkar, an icon amongst tabla players of India, and one the most progressive and profound thinkers on tabla playing. Vijay has been performing since the age of sixteen and has toured worldwide with most of India's prominent musicians. As an accompanist he is a favourite with many of India's leading players including Hariprasad Chaurasia, Shivkumar Sharma, Kala Ramnath and Shahid Parvez. He is equally comfortable as a soloist as well as an accompanist to instrumentalists, vocalists and Kathak dancers, having a huge stock of repertoire, and a capacity to improvise and to play spontaneously according to the situation. As a soloist, he brings to the stage a distinctive vibrant energy which enhances both his creativity and technical acumen. For his solo repertoire Vijay draws on compositions and inspiration from all of the traditional six gharanas (playing styles) in his performance.

Tabla Solo
The solo is performed in teentaal, a popular sixteen beat rhythmic cycle. Throughout, the tempo is skilfully regulated by Vocalist Gayatri Shankar and Milind Kulkarni on Harmonium, singing and playing a repeated lilting melody line known as lehara (or nagma). The use of a vocalist to keep the lehara is a rare phenomenon first introduced by Suresh Talwalkar, serving to heighten the musicality of the tabla solo experience. The vocalist is given the opportunity to improvise freely around the melody giving the tabla solo breathing space, at the same time helping to enhance the mood of the soloist. The word "lehara" is a derivative of the word 'lahar', meaning current of a river or a stream. The lehara also helps in highlighting the most emphatic beat in the cycle known as 'sam' (literally "equal" or "together"), which occupies the first beat of a taal.

The Tabla is the most popular and widely used drum of North India. Its colourful range
of tonal qualities combined with its capacity to express remarkable rhythmic
permutations make it a unique percussion instrument which in recent times has
inspired and fascinated audiences worldwide.

The pair of drums consist of a high-pitched, precisely tuned dahina (also called dayan
or tabla), and a low-pitched, less precisely tuned drum, the bayan. The dahina is
responsible for many of the resonant ringing sounds (or bols). The bayan provides the
bass and is recognizable for its swooping bass sound, which provides colourful
embellishment. The bayan is often said to be where the soul of the instrument lies.

Tabla
The Tabla is the most popular and widely used drum of North India. Its colourful range
of tonal qualities combined with its capacity to express remarkable rhythmic
permutations make it a unique percussion instrument which in recent times has
inspired and fascinated audiences worldwide.

The pair of drums consist of a high-pitched, precisely tuned dahina (also called dayan
or tabla), and a low-pitched, less precisely tuned drum, the bayan. The dahina is
responsible for many of the resonant ringing sounds (or bols). The bayan provides the
bass and is recognizable for its swooping bass sound, which provides colourful
embellishment. The bayan is often said to be where the soul of the instrument lies.

Most frequently the tabla is used to accompany classical instrumental, vocal and dance performances, but as all tabla players will remind you there also exists a strong tradition of tabla solo playing. The history of tabla is shrouded in mystery and mythology; however it is most commonly thought to have developed in the area of Delhi in the mid eighteenth century. Initially, much of the inspiration for its repertoire was borrowed and adapted from other Indian drums including pakhawaj and dholak. However, over the period since then, tabla players have built up a huge repertoire of material specific to the dynamics of the tabla. This vast range of compositions has been made richer by the evolution of a number of distinct regional performance styles, known as gharanas, of which there are six recognised by the tabla community, namely, Delhi, Ajrara, Farukhabad, Lucknow, Benares and Punjab. These styles have played a
major role in the development of tabla playing with regard to technique and repertoire.

The tabla player uses a vocabulary of semi-onomatopoeic syllables to represent the strokes on the instrument known as 'bols' (from the Hindi verb bolna, 'to speak'), a system which has been used to orally communicate compositions through the ages. Bols, making up popular phrases such as 'dhage tina gina' and 'ketetake terekete', are recited by the player before playing in a practice known as Pardhant; a kind of Indian version of rap. While in training a student is typically taught to speak the bols of the composition before actually playing it on the drums. Bols structured in a specific manner and arranged in sub-divisions are called thekas. The specific arrangement of these bols makes up the composition of the taal. In theory, a taal can consist of any amounts of beats from two upwards, but the most common taals consists of between 4 and 16 beats. Teentaal, made up of sixteen beats is the most popular taal, with three accents on the 1st, 5th and 13th beats respectively.

The solo tabla repertoire consists of a variety of compositional forms, many of which are featured on this recording. The forms can be divided into two broad categories. Firstly, compositions of the' theme and variation' type e.g. Peshkar, Kayida and Rela where a rhythmic theme is expanded and permutated using a variety of improvisatory techniques. Usually featured in the first half of the solo, these themes are pre-composed, but designed in a way to allow maximum potential for improvisation, testing the performer's creativity to the limit. Peshkar, the traditional starting point for a tabla solo recital, is an introductory improvisatory form beginning in a slow tempo, concentrating initially on a few select tabla syllables such as na/ta, ge, dha, dhin and tin. Peshkar gradually expands and unfolds introducing the listener to a wider range of phrases and sounds, playing a similar role in tabla solo to that of 'alap' in Indian vocal music, where the soloist progressively acclimatises to the music and the environment in which he or she is performing. Kayida is the main feature of most tabla solo recitals because of its potential for elaboration. It is a composed theme followed by a sequence of improvised variations known as palta played according to set rules. Rela is a fast exciting composition type consisting of a drum roll like effect produced by continuous repetition of just one or two sound syllables. The word Rela is said to have derived from 'rail gadi', which means train. The latter part of the recital most commonly consists of fixed compositions such as Tukra, Gat and Chakradaar, many of which have been inherited from great masters over generations and are therefore highly prized by tabla players.

Tabla solo in Teentaal
Tracks

01. (13.30)
02. (1.57)
03. (3.41)
04. (1.57)
05. (4.46)
06. (12.35)
07. (1.11)
08. (0.58)
09. (0.27)
10. (2.16)
11. (0.26)
12. (3.17)
13. (0.48)
14. (2.01)

The recording has been divided into tracks to aid listeners enjoyment

This tabla solo recording is a reflection of the commitment by Sense world music towards

Vijay Ghate - Tabla
Gayatri Shankar - Vocals
Milind Kulkarni - Harmonium

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Shiv Kumar Sharma: Raga Gavati - Santoor

Posted By MiOd On Friday, January 03, 2014 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)

Raga Gavati - alap, jor, jhala, gats

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Aly Keïta - Akwaba Iniséné

Posted By MiOd On Friday, January 03, 2014 0 comments
Aly Keïta, the Ivory Coast balafon player was born in 1969 in Abidjan. From an early age, he was initiated in the playing of this musical ancestor of the xylophone and the marimba, by his father, himself a balafon player.
In other words, in the Keïta family the balafon is a serious matter.

Aly’s balafon is first and foremost a work of art. In some ways, Aly is the “king” of musical tuning: he has customized his string and wood instrument by adding different sized calabash resonators, making it sound like no other balafon on earth.

In his compositions, Aly speaks about everyday life, orphans and mothers, and men’s shame… The musical translation is that of a virtuoso of mallets. Aly becomes part of his instrument, caressing it with tenderness, striking it with force and at great speed. He is a magician, a sorcerer who expresses the joy of life through his art.

01 - Hommage
02 - Maloya
03 - Akan
04 - Made In Cfpm
05 - Ziglibithy
06 - Himizo
07 - Abidjan Folie
08 - Dondonry
09 - Korodouga
10 - Forêt Sacrée
11 - Kènèya
12 - Samory
13 - Akwaba Inisènè

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Nishat Khan - Classical Instrumental

Posted By MiOd On Thursday, January 02, 2014 0 comments
-In August 2005 Nishat received a Congressional award for his contribution to music and culture from the US Congress

-Nishat performed at the Smithsonian Institution in May 2005, featured in the Washington Post (review).

-In August 2004, he performed alongside B.B. King, Eric Clapton, Pat Metheny, John McLaughlin, and Carlos Santana at the Crossroads Guitar Festival in Texas.

-In March 2004 he was featured in “Discovering Music,” a program recorded for the BBC Radio 3 (listen). He also performed for the WDR radio at the Philharmonic Hall in Cologne, Germany.

-Ustad Nishat Khan was recently received in Zagreb by the President of Croatia, where he performed with his Gregorian chant ensemble at the Operahaus Lisinski.

-Ustad Nishat Khan is professor of sitar at the University of California, Los Angeles (UCLA).

With Pat Metheny and John McLaughlin

1. Raga Jhinjhoti- Alap, Jod and Jhala
2. Raga Jhinjhoti- Gat Vilambit and Drut in Teentaal
3. Raga Pilu- Dhun in Dadra Taal
4. Raga Bihari- Gat in Sitarkhani

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