Biélorussie. Musiques traditionnelles

Posted By MiOd On Friday, February 28, 2014 0 comments
Bielorussie : musiques traditionnelles (Belarus : traditional music (1960-1980))
Ensembles vocaux principalement féminins pour des chants des saisons et de noces, mais aussi pièces instrumentales de danses (violon, cymbalum, accordéon et tambour) composent ce portrait musical des diverses régions de la Biélorussie.

01. Beau printemps, qu'as-tu apporté ? - Lovely Spring, What Have You Brought?

02. Mardi gras est arrivé - Mardi Gras is Here Again

03. Le jour de la Saint Ivan - Saint Ivan's Day

04. Liavonikha

05. Le vent souffle - The Wind Blows

06. Moissonnez, les moissonneuses, moissonnez ! - Reap, Harvesters, Reap!

07. Polka

08. Les blés mûrissent - The Wheat Is Ripening

09. Le canard bleu a flotté - The Blue Duck Floated Away

10. Polka

11. Les noces de Tsiarechka - The Wedding of Tsiarechka

12. Lamentations de la fiancée orpheline - Lamentations of the Orphan Girl

13. Mélodie nuptiale - Nuptial Melody

14. Oh ! Comme le pin est sonore - Oh! How Resonant Is the Pine

15. La petite torche n'est pas chaude - The Little Torch Is not Hot

16. Le four est fait de pierre - The Stove Is Made of Stone

17. Yourotchka

18. Ouvre, ma mère, une nouvelle cour - Open up, Mother, my New Courtyard

19. Valse - Waltz

20. Barynia

21. Je me suis préparée pour le baptême - I Am Ready for Baptism

22. Attelez la vache bigarrée - Yoke up the Motley Cow

23. Prymaki et Herbe soyeuse - Prymaki and Silken Grass

24. Oh ! Ma mère cerisier - Oh! My Mother Cherry-Tree

25. Comme c'est bien pour celui qui ne connaît pas les soirées - Easy for Him, He Doesn't Know What Goes on in the Evening

26. Polka

27. Filles d'autrui - The Girls of Others

28. Oh ! Brouillard, petit brouillard - Oh! Mist, Little Mist

29. Valse - Waltz

30. Prymaki

31. Polka

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

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Tanzania - Tanzanie : Chants Wagogo

Posted By MiOd On Thursday, February 27, 2014 0 comments
Track Listings
--------------
01. Gago Ga Kwimba (Nhumba) 2:40
02. Inamwaluko (Cipande) 3:15
03. Ishirini Na Tano (Makumbi) 1:57
04. Ane Msau Gwe (Mhana) 4:51
05. Chalo Gwe (Msaigwa) 4:51
06. Mawanza Ga Wadodo (Masumbi) 8:45
07. Mahindi Ga Kulonga (Msaigwa) 4:21
08. Cikuwuza Gwe (Msunyhuno) 3:35
09. Cimandi Cha Milolo (Makumbi) 0:56
10. Danieli (Msaigwa) 2:54
11. Ngadugwe (Makumbi) 2:06
12. Hembuli (Kunhembula Mwana) 2:45
13. Mhinza Janet (Masumbi) 4:28
14. Pendo (Msunyhuno) 2:34
15. Kolongo (Makumbi) 1:25
16. Mnyamluzi (Makumbi) 1:06
17. Hamba Kwa Baba (Makumbi) 1:04
18. Nange (Makumbi) 1:44
19. Nyanghanga (Masumbi) 4:52
20. Msao (Msunyhuno, Adultes) 1:39
21. Msao (Msunyhuno, Enfants) 2:51
22. Inamazengo (Cipande)

Flac (EAC Rip): 330 MB | MP3 - 320 kbs: 130 MB | Front Cover

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Namibia: Songs of the Ju'hoansi Bushmen

Posted By MiOd On Wednesday, February 26, 2014 0 comments
Recorded after the Namibian war for independence from the South African government, this collection of tribal and traditional songs of the northern Kalahari Bushmen from the villages of Xahoba and Auru reveals just how closely music and song are linked to community life and accompany all rituals. This is a people who, despite being farmers and living an agrarian life, are still hunters and gatherers. Music is an extension of practical language. Unlike Pygmy music, the music of the Namibia Bushmen is not polyphonic. Songs are based in one part and materialized simultaneously with variants of low, medium, and high. It may sound rather elementary, and indeed it is, but it is far from boring. Each singer participates in the shaping of each song -- to varying degrees, but all are important parts of the whole. The songs included here, all of them in chant form, are for initiations of boys and girls into the tribe as adults, for healing, and for conversation (in which gossip is exchanged). Examples of collective singing and healing songs (both as forms of entertainment) as well as singing games are also included. As is typical of an Ocora release, extensive notes have been included to help the listener place this music in a friendly context. No matter how familiarizing that process may be, it won't prepare listeners for what they will hear. The Namibia Bushmen are truly an otherworldly group of singers. Awesome.

01. The Bat-Eared Fox ('U)
02. The Bat-Eared Fox ('U)
03. The Eland (Nang Tzi)
04. The Honey (Zo Tzi)
05. The Lion (Nhai Tzi)
06. Conversation
07. Songs With Rattle (Tcoq 'Ungo Tzisi)
08. Songs With Rattle (Tcoq 'Ungo Tzisi)
09. The Child (Da 'Ama Tzi)
10. The Wind (Maq Tzi)
11. The Mamba (Naigo Tzi)
12. The Rhinoceros Horns (Hai Hu Tzi)
13. The Zaqn Tree (Zaqn Tzi)
14. The Melon (Tamah Tzi)
15. The Rope (Nharu Tzi)
16. The Porcupine ('Om Tzi)
17. The Cooking (Ho Tzi)
18. The Young Eland (Nang Tzema Tzi)
19. The Oryx (Go 'E Tzi)
20. The Child (Da 'Ama Tzi)
21. Exhausted (N Amm Tzi)

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Kinshi Tsuruta - Satsuma Biwa

Posted By MiOd On Wednesday, February 26, 2014 0 comments
"Banquet De Printemps" et "Yoshitsune" en été enregistrés le 25 juin 1985 au Studio 106 de la Maison de Radio France.
"Dan No Ura" a été enregistré en 1972 au Musée Guimet.

Kinshi Tsuruta (鶴田 錦史, Tsuruta Kinshi, 1911–1995) was an eminent Japanese musician of the 20th century. She specialized in the ancient pear-shaped plucked lute called biwa, and also sang. She developed her own form of the Satsuma biwa, which she called the Tsuruta biwa.

Tsuruta-san achieved international attention for her New York City premiere performance, in November 1967, of Tōru Takemitsu’s November Steps with the New York Philharmonic, under the direction of Seiji Ozawa (with shakuhachi player Katsuya Yokoyama).

1. Banquet De Printemps
2. Yoshitsune
3. Dan No Ura

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Monastère Tibétain De Labrang ‎– Amdo

Posted By MiOd On Tuesday, February 25, 2014 0 comments
Ritual, ceremonial and theatre music recorded in august 1995 in the buddhist monastery of Labrang situated in Amdo, northern province of Tibet.

01. Conques Dung-Dkar Et Grandes Trompes Dung-Chen 5:26
02. Skyags-'gro Sems-Bskyed 0:58
03. Dpal-ldan Sku Bzhi-Ma 2:22
04. Rgyal-Ba Ma-Lus-Ma... 2:48
05. Rje-Btsun Bla-Ma 0:19
06. Chos-Can Rgyal-Po Tsong-Kha-Pa... 0:42
07. Mdo-Dar Grub-Chen Brgyad-Bcu 3:51
08. Bayar 4:18
09. Cang-Spos 5:05
10. Bla-Ma Gdan-'Dren 4:29
11. Sri-Hi 4:24
12. Dga'-ldan Khang-Gser... 3:26
13. Bla-Ma Mkhyen 3:13
14. Ri-Bo Gser-Can Ka-La Ya-'Gro 2:25
15. E-Ma Ri-Khrod... 2:09
16. Lha-Can 'Dzug-Bstan Thugs-La Rje-Ga 1:50
17. Mtha-Yas Las-Can 3:48
18. Bri-Sang-Ro Tshe-Ris Mtsho-Mo 2:06
19. Bla-Ma Mchong-Gsum-Ma 6:02
20. Conque

Flac (EAC Rip): 330 MB | MP3 - 320 kbs: 180 MB | Covers

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Ouganda. Aux sources du Nil

Posted By MiOd On Tuesday, February 25, 2014 0 comments
This album is a testament to the stylistic diversity of Ugandan music. A diversity due both to the cultural mix of bantu, sudanic and nilotic and to the constant immigration from neighbouring countries

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

Flac (EAC Rip): 280 MB | MP3 - 320 kbs: 180 MB | Front Cover

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Maroc. Hādra des Gnaoua d’Essaouira

Posted By MiOd On Monday, February 24, 2014 0 comments
Track Listings
--------------
1. Procession: Aâda (Le'fu)

2. Invocation: Rebbi Mulay

3. Sacrifice: Nabi Ya Babi Llah

4. Kouyou

5. Mlouk: Ftih Rahba, Ouverture De La Place

6. Mlouk: Mimouna

7. Mlouk: Gnaoui

8. Final

FLAC (EAC Rip): 430 MB | MP3 - 320 kbs: 180 MB | Front Cover

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Jali Nyama Suso - Gambie - L'Art De La Kora

Posted By MiOd On Monday, February 24, 2014 0 comments
Jali Nyama Suso (born circa 1925; died 1991) was a kora player from Gambia. He had a program on “Radio Gambia” for 20 years. He had his first album in 1971 while he was teaching at the University of Washington. In the 1980s he toured in England, France, Germany, and Sweden.

He also worked on the soundtrack for Roots (TV miniseries). Long before any of that he had been known in his native country. He did not fully live the tradition of a wandering musicians because he lost his leg at age 16, but by the mid-1960s became popular on radio. He attained enough respect to do an arrangement for their national anthem. In 1991 he died of tuberculosis after several years of illness.

1. Jimbasengo 5:05
2. Kuruntu Kelefa Et Kelefabaa 9:36
3. Kura
Performer [Kontingo] – Abdulai Samba
Vocals – Jali Kano Sumano
4. Alifa Yaya 10:39
5. Fanta
Guitar [Dobro] – Ansumana Diabaté
6. Yundum Nko 5:00
7. Cheddo 8:27
8. Tabara

Kora – Jali Nyama Suso


FLAC (EAC Rip): 340 MB | MP3 - 320 kbs: 160 MB | Front Cover

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Italie: Sicile, Musiques Populaires Musiciens Traditionnels

Posted By MiOd On Sunday, February 23, 2014 0 comments
Chants de métiers, musiques et chants liés aux cycles de l'homme ou associés aux contextes rituels, accompagnés de guitares, mandolines, violons, accordéons, guimbardes, tambourins, cornemuses et flûtes en roseau. Un témoignage musical d'une culture ancienne, marquée par les diverses civilisations qui se sont succédées en Sicile.

01 - TammurinataMp3
02 - QuatrigghiaMp3
03 - A figghia svinturataMp3
04 - JollaMp3
05 - A liggenna dû friscalettuMp3
06 - MarranzanataMp3
07 - BbaccillunisaMp3
08 - CarritteraMp3
09 - TarantellaMp3
10 - MazurkaMp3
11 - SunataMp3
12 - Si Ddiu pisci finu mi facissiMp3
13 - SpagnolaMp3
14 - CiuminisanaMp3
15 - CiaramiddataMp3
16 - BballittuMp3
17 - SantaluciotaMp3
18 - Stanotti cci passai malanuttataMp3
19 - ValzerMp3
20 - Carrittera - SturnelluMp3
21 - SturnelliMp3
22 - PasturaliMp3
23 - Tatarata

Flac (EAC Rip): 360 MB | MP3 - 320 kbs: 170 MB | Front Cover

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Japan: Urban Music of the Edo Period

Posted By MiOd On Sunday, February 23, 2014 0 comments
Japan: Urban Music of the Edo Period (1603-1868)
(Musique citadine japonaise de l'ère Edo)

1. Godanno-Shirabe

2. Rembo-Nagashi

3. Echigo-Jishi

4. Midare

5. Yuki

6. Yûgure

7. Koto Sangen nijûsôkyoku

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Musique Du Theatre Cai Luong

Posted By MiOd On Saturday, February 22, 2014 0 comments
Track Listings
--------------
01. Ly Con Sao - Da Khuc
02. Vong Co - Trang Thu Da Khuc - Quieu Quân
03. Xang Xu Liu
04. Suong Chieu - Tu Anh
05. Nang Tinh Xua
06. Luu Thuy Doan - Binh Ban Van - Kim Tiên Huês
07. Manh Lê Quân
08. Vong Kim Lang - Phi Vân Diêp Khuc - Doan Khuc Lâm Giang
09. Nam Xuân - Nam Ai - Nam Dao
10. Liêu Thuân Nuong - Phong Ba Dinh
11. Ly Muoi Thuong
12. Ly Qua Keu
13. Qua Cau Gio Bay
14. Ru Con Mien Nam
15. Ngoi Tua Man Thuyen
16. Ly Ngua O
17. Trong Com
18. Hat Ru Mien Nam

Flac (EAC Rip): 360 MB | MP3 - 320 kbs: 160 MB | Front Cover

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Albanie, Pays Labë, plaintes et chants d'amour

Posted By MiOd On Saturday, February 22, 2014 0 comments
Albanie, Pays Labë, plaintes et chants d'amour
(Albania, Labë Country, Complaints and Love Songs)

01.Atje Te Ura Ne Lume

02.Janines C'i Pane Syte

03.Atje Poshte N'ato Ledhe

04.Vito, Ta Kam Silloine

05.Pse S'ha Buke E Pse S'pi Vere

06.Moj Bonjakja Pa Mama

07.Rashe E Pashe Nje Enderre

08.U Plake Mike, U Plake

09.Marsi I Atij Viti

10.Bie Deti Dallget

11.Atje Te Lisi Ne Brinje

12.Ate Diten E Merkure

13.Po Vjen Lumi Trubull-O

14.N'ato Penxhere T'ergjendta

15.Kam Qene Sevdalli Per Kenge

16.Dim Himariote Dale!

17.Kur Merrje Uje Ne Krua

18.Hape Porten Moj Evrope

19.Laberi Dyzete Keshtjella!

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Mongolie. Chamanes et Lamas

Posted By MiOd On Friday, February 21, 2014 0 comments
Mongolia: Shamans and Lamas (Mongolie: Chamanes et Lamas)

with traditional music you cannot judge but only comment. however this cd seems to be a form of music that could only be appreciated live. the first track is a woman beating a drum and chanting sporadically. the second track is a man beating a drum and chanting sporadically. the third is a little more dynamic but still does not convey itself in a cd format. its interesting, especially perhaps if you study Mongolian or Mongolian ritual. However, as a sample of the world's traditional music you'd be better off looking for a video.

Tracklist
1. Mme Balžir – Voyage Chamanique

2. M. Tseren – Voyage Chamanique

3. Erdeni Zuu Monastery Monks – Office Du Tchogtchin Qural

4. Gandan Monastery Monks – Office Du Qailangiyn Qural

Flac (EAC Rip): 360 MB | MP3 - 320 kbs: 130 MB | Front Cover

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Antandroy ‎– Madagascar: Pays Antandroy

Posted By MiOd On Friday, February 21, 2014 0 comments
Track Listings
--------------
1. Gorodo
Drums [Langoro], Percussion [Kantsa], Performer [Rimotsy] – Groupe Sanamena
Lute [Kabosy] – Mahasoa
Whistle – Remanindry

2. Vontsarotse
Ensemble – Groupe Sanamena
Vocals, Viol [Lokanga], Drums [Langoro], Percussion [Kantsa], Performer [Rimotsy] – Remanindry

3. Revoro
Drums [Langoro], Percussion [Kantsa], Performer [Rimotsy] – Groupe Sanamena
Lute [Kabosy] – Mahasoa

4. Lomalilal
Ensemble – Groupe Sanamena
Vocals, Viol [Lokanga], Drums [Langoro], Percussion [Kantsa], Performer [Rimotsy] – Remanindry

5. Retsivery
Ensemble – Groupe Sanamena

6. Zahay Mangala-bohinko Azy E La
Ensemble – Groupe Sanamena
Vocals, Viol [Lokanga], Drums [Langoro], Percussion [Kantsa], Performer [Rimotsy] – Remanindry

7. Kidiboky Am-bava
Ensemble – Groupe Sanamena

8. Andriamisara
Percussion [Kantsa] – Mahasoa
Vocals, Zither [Marovany] – Tindrianto

9. Kidiboky
Ensemble – Groupe Sanamena

10. Doany
Percussion [Kantsa] – Mahasoa
Vocals, Zither [Marovany] – Sambiasy

Flac (EAC Rip): 380 MB | MP3 - 320 kbs: 140 MB | Front Cover

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Amdo. Monastère tibétain de Labrang

Posted By MiOd On Thursday, February 20, 2014 0 comments
Ritual, ceremonial and theatre music recorded in august 1995 in the buddhist monastery of Labrang situated in Amdo, northern province of Tibet.

01. Conques Dung-Dkar Et Grandes Trompes Dung-Chen 5:26
02. Skyags-'gro Sems-Bskyed 0:58
03. Dpal-ldan Sku Bzhi-Ma 2:22
04. Rgyal-Ba Ma-Lus-Ma... 2:48
05. Rje-Btsun Bla-Ma 0:19
06. Chos-Can Rgyal-Po Tsong-Kha-Pa... 0:42
07. Mdo-Dar Grub-Chen Brgyad-Bcu 3:51
08. Bayar 4:18
09. Cang-Spos 5:05
10. Bla-Ma Gdan-'Dren 4:29
11. Sri-Hi 4:24
12. Dga'-ldan Khang-Gser... 3:26
13. Bla-Ma Mkhyen 3:13
14. Ri-Bo Gser-Can Ka-La Ya-'Gro 2:25
15. E-Ma Ri-Khrod... 2:09
16. Lha-Can 'Dzug-Bstan Thugs-La Rje-Ga 1:50
17. Mtha-Yas Las-Can 3:48
18. Bri-Sang-Ro Tshe-Ris Mtsho-Mo 2:06
19. Bla-Ma Mchong-Gsum-Ma 6:02
20. Conque

Performer [Main Performers] – Gong-Que-Jia-Cuo, Jiu-Mei-Jia-Cuo, Suo-Nan-Mu
Recorded By – Tian Miao

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Haydée Alba - Tango Argentin

Posted By MiOd On Thursday, February 20, 2014 0 comments
Born in Buenos Aires, Argentina, Haydee Alba began classical singing early with Sofia Bandin and Guillermo Parmigiani. She learned music at the same time, and in 1978, she studied acting with Adelaida Hernandez Castagnino, among others.

Especially drawn to the popular music of her home country, she traveled extensively in Argentina in order to steep herself in traditional music and lyrics. She studied the tango with Roberto Selles, Jose Gobello, and Hector Negro, and she developed her repertoire with Leon Benaros, Virgilio and Homero Exposito.

Haydee Alba began her career singing in many theatres in Buenos Aires. At the same time, she became well known in Argentina through the programme of traditional music which she created and presented on the national radio station.

In 1986, Paris audiences discovered Haydee Alba when she performed for three months at “Les Trottoirs de Buenos Aires.”

From then on, Haydee Alba was launched on an international career throughout Europe (England, Germany, Finland, Sweden, Spain, Italy, Poland etc…), Switzerland and Canada. Among many Parisian venues, she performed at the Centre Pompidou, the Maison de l’Amerique Latine, the Theatre Dejazet, the amphitheatre of the Bastille Opera, Theatre Kalliste a Ajaccio, among others.

Many listens to Tango music expecting dance rythms. This album however not only capture the essence of Tango, but it also shows the deep meaning and vocal passion of Tango music. Ms. Alba vocal style is deeply rooted in Argentinian dialect and express the most passion in the music. My favorites are "Volver" and acapella "Nostalgia"

Stunning and evocative performances that reveal the passion and depth of Tango. Close your eyes and you could be there amongst the docks of Buenos Aires, listening to a lover's lament echoing amongst the cobblestones and the darkness.

1. Adiós, Pampa Mía!
2. Caminito
3. Volver
4. Uno
5. Por la Vuelta
6. A Media Luz
7. Barrio Reo
8. La Pastora
9. Amargura
10. Al Compas del Corazon

Flac tracks (EAC Rip): 280 MB | MP3 - 320 kbs: 130 MB | Booklet Scans

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Vanessa Mae: The Classical Collection - Part 1 ( 3-CD Set )

Posted By MiOd On Wednesday, February 19, 2014 0 comments
Vanessa-Mae Vanakorn Nicholson (born October 27, 1978 in Singapore, currently lives in United Kingdom), known on stage as Vanessa-Mae (in Chinese: 陳美, Chén Měi) is an internationally known British pop and classical musician, especially noted for her violin skills. Her music style is self-described as “violin techno-acoustic fusion” as several of her albums prominently feature the techno style.

Vanessa-Mae was born in Singapore to a Thai father (Varaprong Vanakorn) and a Chinese mother (Pamela Tan). After her parents separated, her mother married Englishman Graham Nicholson, and the family moved to England when Vanessa-Mae was four years old. She grew up in London and is a British citizen.

Vanessa-Mae began playing piano at the age of three and violin at five. She was relatively famous in the United Kingdom throughout her childhood making regular appearances on television (for example on “Blue Peter”) mostly involving classical music and conservative style. According to Guinness World Records, she is the youngest soloist to record both the Ludwig van Beethoven and Pyotr Ilyich Tchaikovsky violin concertos, a feat she accomplished at the age of thirteen. During this time she attended the Francis Holland School in central London

Disc: 1
01. Violin Concerto in C, Op.48 - Kabalevsky
02. Russian Dance (Swan Lake) - Tchaikovsky
03. Violin Concerto in D, Op.35 - Tchaikovsky
04. Russian Dance (Swan Lake)
05. Violin Concerto In D Op.35: I. Allegro Moderato
06. Violin Concerto In D Op.35: II. Canzonetta (Andante)
07. Violin Concerto In D Op.35: III. Finale (Allegro Vivacissimo)

Disc: 2
01. Schِn Rosmarin - Kreisler
02. Liebeslied - Kreisler
03. Liebesfreud - Kreisler
04. Violin Concerto in D - Casadesus
05. Violin Concerto in D, Op.61 - Beethoven
06. Violin Concerto In D 'Adelaide' (In The Style Of Mozart) KAnh.294a1: III. Allegro
07. Violin Concerto In D Op.61: I. Allegro Ma Non Troppo
08. Violin Concerto In D Op.61: II. Larghetto
09. Violin Concerto In D Op.61: III. Rondo (Allegro)

Disc: 3
01. Salut d'amour
02. Lullaby
03. Air on the G String
04. My Favourite Things
05. The Pink Panther
06. Les Parapluies de Cherbourg
07. One Moment in Time
08. Yellow Submarine
09. Frère Jacques
10. La Campanella
11. Chinese Folk Tune
12. Tambourin chinois
13. Figaro
14. Summertime
15. Carmen Fantasy
16. Faust Fantasy

Flac (EAC Rip): 810 MB | MP3 - 320 kbs: 410 MB | Booklet Scans

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Govi - Guitar Odissey

Posted By MiOd On Tuesday, February 18, 2014 0 comments
Govi sets the spirits soaring and the hips swaying on Guitar Odyssey, an intoxicating blend of guitars sweetened with breezy South American pan pipes and sensual rhythms. With a treasure chest full of tracks encompassing the high spirited 'Sails of Joy,' the soulful rhumba of 'Treasure Bay,' and the romantic tenderness of 'Your Lingering Touch,' Govi's virtuosity is showcased on Guitar Odyssey, a truly joyful adventure.

After a long stressful day at work and combating the wilds of the freeways, I come home and insert this in the CD player, dim the lights and just relax. (Guitar Oddesy will soothe the savage beast within and more). Govi's CD is a combination of a romantic instrumental opera, some of it is fire & passion, then again some of it is from a place you knew long ago. All of it leaves me yearning for more...

1. Sails Of Joy
2. Magellan's Beat
3. Turquoise Galleon
4. Lover's Moon
5. Beach Fire Dancers
6. Dolphin Escort
7. Treasure Bay
8. Your Lingering Touch
9. Rhumba De La Noche

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Govi - Andalusian Nights

Posted By MiOd On Tuesday, February 18, 2014 0 comments
Another review that I should have submitted years ago. "Andalusian Nights" is the third consecutive upbeat Govi CD, following "Passion & Grace" and "Guitar Odyssey". I spent two months in 1973 touring Spain; camping and spending nights in pensiones (sic) with college friends. The songs from this CD take me back on a return trip that we promised to take, but never did. I liked this Govi CD, with his trademark feel good/lively sound, when I purchased it upon original release but did not fully appreciate the music until just a couple of years ago; not a clunker track on the entire CD. Cuts #2,3 (great fiddle playing),and 5 will bring out your best on even a bad day and the rest of the CD is introspective music that I never tire of hearing. My experience with Govi's music is that people of all ages including my mother (81 years old), her friends, my friends, and young people all appreciate the sound of this talented artist.

1. Persuasion
2. Andalusian Nights
3. Gypsy Magic
4. Serenade D'Amor
5. High Spirits
6. Rumba Tumba
7. Carry Me Away
8. Glimpse Of Spain
9. Simplicity Of The Heart

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Brij Bhushan Kabra & Zakir Hussain LP

Posted By MiOd On Monday, February 17, 2014 0 comments
Brij Bhushan Kabra (born 1937) is an Indian musician who popularized the guitar as an instrument in Indian classical music.
Kabra was born 1937 to Goverdhanlal Kabra in Jodhpur where he spent his youth. He was interested in sports and listened to Indian classical music, but did not intend to become a musician and trained as a geologist. During a visit to Kolkata he discovered the Hawaiian lap slide guitar and convinced his father to allow him to learn it by promising to only play classical music. Kabra then lived in Ahmedabad, Gujarat, learnt the instrument by imitating records, and later studied under Ali Akbar Khan. He modified the guitar by adding sympathetic and drone strings.
Kabra became the first Indian musician to play raga on the guitar, performed publicly, and recorded the successful album Call of the Valley (1967) with Shivkumar Sharma and Hariprasad Chaurasia.

The guitar was seldom used in Indian classical music and his guitar playing gained popularity in the 1970s hippie culture. Kabra recorded solo albums and concentrated on teaching since the 1990s, but continued to perform. He was awarded the Rajasthan Sangeet Natak Akademi Award for 1983–84, was made a fellow of the Rajasthan Sangeet Natak Akademi for 1995–96, and received the national Sangeet Natak Akademi Award for 2005.

Brij Bhushan Kabra - sitar
with
Zakir Hussain - Tabla

Side One:
Raga Bageshwari

Side TWO:
Raga Bihag hori

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Angelique Kidjo - Oremi

Posted By MiOd On Saturday, February 15, 2014 0 comments
Afro-pop star Angelique Kidjo's last album of the 1990s was her best yet. Titled Oremi, which means "friends," her fifth album was a tour de force with many great collaborations, including hip-hop star Kelly Price ("Open Your Eyes"), Robbie Neville, Cassandra Wilson (the duet "Never Know"), and Branford Marsalis. The first CD in a proposed "American" trilogy, Oremi explores the connections between African music and R&B. The album begins with a reinterpretation of Jimi Hendrix's "Voodoo Child," perhaps the best cover of his material ever. Oremi, however, is not simply a stylistic album; higher consciousness and political sentiments are here too, especially with the impassioned plea in "Babalao" to care for the world's youth. This album is Angelique Kidjo's strongest, most inspired one, but her mainstream stylistic choices opened her up to criticism for being too "pop" and not "African" enough. Such comments are truly unfounded. Oremi is sexy, thrilling, and powerful. One of the best albums in the genre. A good place to start for someone beginning to listen to world music.

01. Introduction 0:38
02. Voodoo Child (Slight Return) 3:49
03. Never Know 4:43
04. Babalao 4:31
05. Loloye 3:52
06. Itche Koutche 5:57
07. Open Your Eyes
Featuring [Duet] – Kelly Price
08. Yaki Yaki 3:41
09. Give It Up 4:21
10. Oremi 3:52
11. Orubaba 4:17
12. No Worry

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Nishat Khan - Sitar Recital

Posted By MiOd On Friday, February 14, 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. 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. The explosive passion of his music envelops the mind and the soul in blissful harmony. Khan's virtuosity has been compared to such luminaries as Jimi Hendrix (Chicago Sun Times) and J.S. Bach (Washington Times) because of the ingenious and deeply personal interpretation of his rich musical heritage.

Exemplifying the humanity and universality of music, Nishat Khan has mastered not only the North Indian classical idiom but also realms as diverse as Gregorian chant, Western classical music, abstract jazz, and Flamenco. His sensitive phrasing and remarkable intuition for other musical traditions illustrate the freedom and versatility that has led to collaborations with the world's leading performers and composers such as John McLaughlin, Philip Glass, Paco Pena, Evelyn Glennie, and Django Bates.
In 2011 Nishat composed his first Bollywood film score, "Yeh Saali Zindagi", for the acclaimed director Sudhir Mishra. It met with enormous success and the soundtrack album was released commercially on T-Series.

He has performed at major venues internationally, including Carnegie Hall and the Lincoln Center in New York , and the Royal Albert Hall in London. In January 2004, the President of Croatia received Maestro Khan in Zagreb, where he performed "Meeting of Angels" with Gregorian chant. Later that year, he was invited to perform alongside Eric Clapton, Carlos Santana, Jeff Beck, John McLaughlin and others at the Crossroads Festival in Dallas, Texas. In Summer 2007 he toured across India in a fiery fusion with violinist Vanessa Mae. In 2008 he toured Europe with his pioneering project, "Spirit & Passion" featuring Flamenco guitar great Paco Pena, and later that year performed a solo concert at the BBC Proms in the Royal Albert Hall, London.

In April 2002, Nishat Khan received an award for his inspiration and dedication to humanity from a foundation linked to the United Nations (past recipients included Sting and Nelson Mandela). In August 2002, he was invited to perform at the Japanese Parliament DIET in Tokyo where his concert marked the 50th Anniversary of Indo-Japanese diplomatic relations. He received an award for his dedication and musical excellence from the Pacific Asia Museum in Los Angeles in October 2004. In 2005 he was honored with a U.S. Congressional Award for Contribution to Culture and Community. Nishat Khan is dedicated to preserving and teaching his family's musical tradition; he has taught at UCLA and many other prestigious universities, and he routinely conducts master classes internationally.
In 2013, Nishat Khan was commissioned by the BBC to write and perform at the Royal Albert Hall in London his own sitar concerto, ”The Gate of the Moon”, with the BBC National Orchestra of Wales and David Atherton, as part of the BBC Proms.

In November 2013, Nishat opened the International Film Festival of India in Goa, with a grand duet performance with the legendary Kathak dancer maestro, Birju Maharaj.

1. Raga Behag
2. Raga Bhatiyar
3. Dhun
4. Raga Sohini

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Rāg Bhīmpalāsī / Rāg Tilak Kamod

Posted By MiOd On Friday, February 14, 2014 0 comments
Nishat Khan, Irshad Khan, Shafaatullah Khan –
Rāg Bhīmpalāsī / Rāg Tilak Kamod (1990)

-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. Rāg Bhīmpalāsī (surbahār) 41:59
2. Rāg Tilak Kamod (sitār) 36:28

Recorded at Wyastone Leys 19-20 October 1989.

Nishat Khan – Sitār
Irshad Khan – Surbahār
Shafaatullah Khan – Tablā

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Ross Daly & Chemirani Trio - Archives at Theatre de la Ville

Posted By MiOd On Friday, February 14, 2014 0 comments
Ross Daly, the master of cretan lyra, performs here with the Trio Chemirani and four other musicians. A unique concert with musical roots in Crete, Greece and Transcaucasia.

Born in England in 1952, of Irish origin, Ross Daly began his travels at a very early age. His first instrument was the cello which he began when his family lived in America, which was followed by studies of classical guitar which began in Japan. He later encountered Indian music, which immediately drew his interest. He subsequently studied the Indian sitar, the Afghan rabab, the Turkish saz and oud.
In 1975 he moved to Crete where he studied the lyra with its great master Kostas Moudakis.
«I did not chose Crete, I have more of an impression that the lyra ‘chose’ me. When I arrived, the lyra was not taught in music schools. I followed the teaching of its greatest living virtuoso for sixteen years. I have always believed that, in the case of traditional instruments, you must first learn the instrument and its repertoire in the traditional manner before you start to work as an innovator».
In 1982 Ross Daly founded the group Labyrinth, which initially was dedicated to experimental work on Cretan music. Labyrinth gradually developed into a musical workshop which involved a large number of diverse participants and, in 1987 it moved to Athens, where its interests broadened considerably to include a wide variety of different musical traditions from the Balkans, the Middle East and Asia. Ross Daly’s music has its roots in the music of Greece, Turkey, Transcaucasia, the Middle East and North India. He performs numerous concerts all over the world, playing with musicians coming from all corners of the world.

He played for the third time at the Theatre de la Ville, Paris in 2003, with Chemirani Trio. Djamchid Chemirani, the father, was born in Iran in 1942. He moved to France at the age of nineteen. He was initiated to the zarb by the Iranian great master Hossein Teherani. Djamchid Chemirani is considered one of the best players of the zarb.
His sons Keyvan and Bijan, who learnt the zarb from their father, first developed their own musical projects. Only recently have they decided to perform as a trio.

Ross Daly lyra, rabab, saz, tarhu
Djamchid Chemiran zarb
Keyvan Chemirani zarb, bender, udu
Bijan Chemirani zarb, daf, bender
Stelios Petrakis lyra, saz, kopuz, laouto
Pericles Papapetropoulos saz, laouto
Kelly Thoma lyra
Angelina Tkatcheva tsimbal (santur)

1. Earpigon, Jurjuna, Houdetsanes kontylies, Pentozalis
2. Synavgeia
3. Abacus
4. Makrinitsa

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Subhankar Banerjee - The Tabla Series

Posted By MiOd On Thursday, February 13, 2014 0 comments
Subhankar Banerjee - The Tabla Series

Subhankar Banerjee- Tabla
Ramesh Misra - Sarangi

The Artist

Subhankar Bannerjee

At the age of five this musical wonder kid was placed under the tutelage of Shri Swapan Shiva, celebrated artiste and teacher of the Farukhabad Tabla Gharana. Since then he has been dedicating himself to the study of tabla, successfully absorbing material from maestros belonging to other Gharanas and traditions of tabla playing.
He received awards in his early age from celebrities like Satyajit Ray, Pandit Ravi Shankar and the President of India in 1987. Training in vocal music from his childhood made him a competent singer as well as a sensitive and sympathetic tabla accompanist. In addition to being a reputed soloist, Subhankar is one of the most popular accompanists for many of the prominent musical celebrities of India including Pt. Hariprasad Chaurasia, Pt. Ravi Shankar and Pt. Shivkumar Sharma. Over the last twenty years he has maintained a highly demanding schedule, annually clocking up thousands of miles and reaching all corners of the globe. Amongst his most celebrated performances have been those at the Fiftieth Anniversary celebrations of Pakistan and the Nobel Peace Prize Awards in Oslo.

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. It is said that the heart and soul of the tabla is expressed through the Bayan.
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 recognized 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 communicate compositions orally through the ages. Bols making up popular phrases such as ‘dhati dhage tina gina’ and ‘dhati dhatere 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.
The solo tabla repertoire consists of a great 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 are Peshkar, Qaida 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. The latter part of the recital most commonly consists of fixed compositions such as Tukra, Gat and Chakradar, many of which have been inherited from great masters from generation to generation and are therefore highly prized by tabla players.

The Music

The first solo is set to a sixteen beat rhythmic cycle called Teentaal, known in Indian music as ‘the mother of all taals’. This is the most popular framework for improvisation used by tabla players, because of its great scope for elaboration. Throughout the solo, the tempo of the sixteen beat cycle is regulated by the sonorous Sarangi, which plays a repeated lilting melody line known as lehara (or nagma). The word "lehara" is a derivative of the word ‘lahar’, meaning current of a river or a stream. Sarangi is the traditional instrument used for this purpose serving to create the appropriate mood within the soloist. 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. Sarangi maestro Pt. Ramesh Misra represents the 21st generation in a family of musicians. He is a recipient of the most prestigious Sangeet Natak Academy Award in India. He learnt Sarangi from his father and later from two uncles, late Pt. Hanuman Prasad Misra and late Pt. Gopal Misra in Benares. Ramesh's high aesthetic and artistic sensibilities along with his inner soft nature brought him recognition both at home and abroad as an eminent soloist as well as an adept accompanist.


Teentaal (16 beats)

1. Peshkar (10.56)
The traditional starting point for a tabla solo recital is Peshkar, 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. The 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 acclimatizes to the music and the environment in which he or she is performing. Subhankar’s solo begins with a Peshkar interspersed with spontaneous tehais (phrases played three times designed to conclude on the first beat of the cycle) in the middle and end of almost every cycle. The Peshkar also allows the soloist to improvise in multiple speeds (jatis) with particular emphasis on triplets (tisra jati) in this case. The solo gradually progresses in speed and intensity into the faster Peshkar Qayida composition made famous by Ustad Habibuddin Khan, the doyen of the Ajrara gharana of tabla, building up into a crescendo before ending with a tehai.

2. Qayida (4.24)
Composed by Subhankar’s ‘grand guru’ Ustad Keramatullah Khan, this is a very uncommon combination centred on the popular tabla syllable “tete”. Qaida is an extended composition type unique to the tabla repertoire which introduces a main theme and then proceeds to develop variations (paltas) while also continuing to restate the main theme (rhythm and variation). In this case the qayida has been elaborated on in detail and ends with a tehai to conclude the sequence.

3. Qayida (3.45)
A tisra jati (division of three) composition of Ustad Keramatullah Khan, rarely played, emphasizing the phrases ‘dhati ghe ge tak’, ‘dheneghene’ and ‘dhene terekete’.

4. Qayida (3.17)
Composed by Ustad Keramatullah Khan, featuring a unique and unusual combination of phrases like ‘ghena kata ghene’ and ‘dhine dhina ghene’.

5. Laggi-Lari (4.45)
An effective and lucid sounding rhythmic groove. Laggi often displace rhythm to other parts of the beat, creating variations in accents and stresses. Lari (lit.‘beads’) is a fluent, flowing style of playing related to Rela. This style of composition and the presentation is very traditional.


Ada Chautaal (14 beats)

6. Peshkar (6.24)
Here, the Peshkar is again interspersed with exciting, improvised tehai phrases at the end of the first and the second half of some of the cycles as it progresses.

7. Qayida (3.35)
Based around the non-resonant tabla syllable ‘tete’. Influenced by a traditional composition from the Delhi tradition of playing. First played in slow speed then articulated at double speed with improvisation.

8. Qayida (4.59)
Farukhabad gharana Qayida in tisra jati (triplets) featuring the combination of syllables ‘kredhe tete’ and ‘dhere dhere’ with improvisation.

9. Qayida (3.03)
A traditional style Qayida composed by Ustad Keramatullah Khan featuring the phrase ‘dhine dhina ghene’ with improvisation.

10. Rela (4.59)
The word Rela is said to have derived in India from ‘rail gadi’, which means train, but technically it means a drum roll like effect produced by continuous repetition of one sound syllable, in this case ‘dheneghene’.

11. Tukra (2.08)
These compositions are recited before playing in a tradition known as Pardhant.
The first tukra, Subhankar’s own composition, starts with the phrase ‘kredhin na’, and is followed by a second tukra of Ustad Keramatullah Khan beginning with the phrase ‘dhet terekete dhet’. Tukra (lit. ‘piece’) is a short composition played in faster tempo usually featuring a variety of tabla syllables and always ending with a tehai. The final tukra in the sequence is a unique composition by Ustad Keramatullah Khan.

12. Rela (2.58)
Rela featuring the phrase ‘dhere dhere’, concluding with a composition of Ustad Amir Hussain Khan.

Drut Teentaal (16 beats)

13. Paran (1.30)
Paran is a composition form traditionally played on Pakhawaj, the ancient barrel-shaped percussion instrument employing open handed and forceful strokes. The first is from the Farukhabad tradition followed by a Paran from the Lucknow gharana. Reciting the compositions is one of the main features of a tabla solo performance since it expresses the inner emotion of the tabla language.

14. Rela (2.48)
Two relas are played featuring the resonant phrase ‘dheneghene’. The first one is a composition of Ustad Ahmed Jan Thirakawa with ‘takgheran’ and ‘dheneghene’, whereas second one, a composition of Ustad Amir Hussain Khan, uses phrases ‘ghege terekete dheneghene’ with ‘dhara ghene’.

15. Chakradar/Anaghat/Rela/Tukra (7.24)
Chakradar (lit. wheel, circle) involves a threefold repetition of a composition which itself contains a tehai. This Chakradar composed by Subhankar Banerjee has two definite characteristics. Firstly the Chakradar is called ‘bedam’ because the second and third patterns start immediately after the earlier one almost breathlessly. Secondly it is called ‘Farmaishi’ because the first dha of the first tehai of the Chakradar will be on the first Sam, with the second dha on the second Sam, and the third dha precisely on the third and final Sam.
The next Bedam Chakradar composed by Subhankar ends with ‘dha na na na na na na’ and ‘ghe ghe ghe ghe ghe ghe ghe’. The following Anaghat is composed in such a way so that it starts and ends with a stroke ‘Kran’, before the Sam (first beat) and ends ¼ beat before the Sam. This is followed by a Rela featuring ‘dhere dhere’. ‘dhigedhina terekete dhina’, a popular composition associated with the Benares gharana but played by players from all styles.This is followed by three tukras composed by Subhankar. Tukra combines a wide range of colourful tabla syllables with skilful varieties of dynamics in a short space of time. This sequence is completed with a rarely heard rela composed by Ustad Wazid Hussain Khan.

16. Laggi (4.31)
A composition type associated with light classical accompaniment of romantic vocal forms such as thumri, typically played with a lilting movement in fast speed. Laggi, while structurally simple, requires a lot of practice to play well and creates a lively and exciting finale to a tabla solo

Notes: John Ball

John Ball is a freelance musician, music teacher and writer specializing in Indian Music.

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Ustad Ahmed Jaan Thirakhwa - Master Musicians of India

Posted By MiOd On Thursday, February 13, 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
Edited By : Shri Govind

Chakraborty

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Tinariwen - Amassakoul

Posted By MiOd On Wednesday, February 12, 2014 0 comments
It's a long way from the Mississippi Delta to the Sahara Desert. But somehow the snaking blues lines and hypnotic guitar figures of bluesman like John Lee Hooker resonated with the members of Tinariwen, who set aside traditional Touareg instruments two decades ago to play electric guitar. The follow-up to 2000's spellbinding Radio Tisdas, Amassakoul again features galloping rhythms, desert wails and, of course, electric guitar--up to four guitars snarl, burr and howl to create the spacious interlocking desert blues groove that is this group’s calling card. Eerie call-and-response vocals draw listeners in as well, conjuring up visions of a night around the campfire in the open desert air. This album also reveals that Tinariwen is more flexible than would be originally thought--the blues riffs are more varied and the music is augmented with more complicated arrangements and better production values. Another stunning effort, Amassakoul finds the band honing its art and spreading its wings musically to great effect.

1. Amassakoul 'n' Ténéré
2. Oualahila Ar Tesninam
3. Chatma
4. Arawan
5. Chet Boghassa
6. Amidinin
7. Ténéré Daféo Nikchan
8. Aldhechen Manin
9. Alkhar Dessouf
10. Eh Massina Sintadoben
11. Assoul

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Chinese Flower Music - Waves of Pine

Posted By MiOd On Wednesday, February 12, 2014 0 comments
6. Chinese Flower Music-Waves of Pine
An unconventional new age fusion from an excellent team of Chinese musicians and a beautiful inspiration of pines create this album of elegant surprise. Traditional instruments such as ancient guqin (Chinese long zither), liuqin (plucked-string), Chinese flute and xuan (ceramic-made), inspired by the enchanting lines and waves of pines, interweave and bring to you a new vogue of Eastern naturalistic joy. When you listen to these waves of pines, you will be transformed to a blissful state of peace and relaxing intoxication.

1. Tea under a Pine
2. Waves of Pine
3. In Deep Clouds
4. Friends of Winter
5. The Dance between Wind and Pines
6. In and out of a Dream
7. Ghostly Shadows
8. A Pine upon a Mirror

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Chinese Flower Music - Waterlily

Posted By MiOd On Tuesday, February 11, 2014 0 comments
5. Chinese Flower Music - Waterlily
Based on Chinese literature the waterlily was compared to a man of noble character. To capture its spirit Shi Zhi-you the composer of this album fully delineates the unconquerable beauties of varied waterlilies with the Chinese musical instruments. Sounds of birds, insects and water are also employed in the compositions to add a feel of genuine and natural beauty.

1. Dancing Fairy - The White Waterliily of East Lake
2. Guest of the Moon - The Yellow Waterlily
3. Longlasting Glamour - The Ancient Waterlily
4. Image of Majesty - The Buddha-seated Waterlily
5. Beauty from Water - The Red Waterlily of West Lake
6. Intertwining Shadow - The Twin Waterlily

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Pandit Shiv Kumar Sharma: Raga Gavati - Santoor

Posted By MiOd On Tuesday, February 11, 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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Mikea - Taholy

Posted By MiOd On Tuesday, February 11, 2014 0 comments
MIKEA HAS CHOSEN TO ORIENT HIMSELF TOWARDS A SIMPLE? BOTH PERSONAL AND UNIVERSAL AESTHETIC , CARRIED BY THE TRIO OF GUITAR? BASS AND PERCUSSIONOVER WHICH THE VOICE DIRECTLY LEADS TO THE TOPIC.

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.

01. NINY
02. VONJEO GNOLO MARO
03. BILO
04. NAGNAIA RELINY
05. SAHIRA LAVA
06. AKORY ATAOKO BELINA
07. LONGO RATY
08. DORO ALA
09. TSENA ZOMA
10. TAHOLY

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Opéra Volume 2, Collection du millénaire

Posted By MiOd On Tuesday, February 11, 2014 0 comments
Opéra Volume 2, Collection du millénaire ..................................
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CD1. Ouvertures Célèbres
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01. Verdi: La force du destin - Ouverture
02. Verdi: Les Vêpres siciliennes - Ouverture
03. Rossini: Le Barbier de Séville - Ouverture
04. Rossini: L'Italienne à Alger - Ouverture
05. Bellini: Norma - Ouverture
06. Bizet: Carmen - Ouverture
07. Ambroise Thomas: Mignon - Ouverture
08. Boïeldieu: Le Calife de Bagdad - Ouverture
09. Boïeldieu: La dame blanche - Ouverture
10. Auber: Fra Diavolo - Ouverture
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Orchestre National de l'Opéra de Monte-Carlo
Direction: Louis Frémaux
ADD 1964
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CD2. Les grands Chœurs d'opéras
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01. Verdi: Nabucco - Gli arredi festivi
Chœur et Orchestre du Théâtre de la Scala, Direction: Claudio Abbado / ADD 1975
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02. Verdi: Nabucco - Va, pensiero, sull'ali dorate
Chœur et Orchestre du Théâtre de la Scala, Direction: Claudio Abbado / ADD 1975
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03. Beethoven: Fidelio - O welche lust (Chœur des prisonniers)
Eberhard Büchner 1er prisonnier, Günter Leib 2ème prisonnier, Enregistrement VEB Deutche Schallplatten, Berlin DDR
Chœur de la Radio de Leipzig, Chœur du Staatsoper de Dresde, Orchestre de la Staatskapelle de Dresde, Direction: Karl Böhm / ADD 1969
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04. Verdi: Otello - Fuoco di gioia (Chœur du feu)
Chœur et Orchestre du Théâtre de la Scala, Direction: Claudio Abbado / ADD 1975
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05. Verdi: Aida - Gloria all'Egitto (Chœur et marche triomphale)
Chœur et Orchestre du Théâtre de la Scala, Direction: Claudio Abbado / ADD 1975
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06. Verdi: Don Carlos - Spuntato ecco il di d'esultanza
Chœur et Orchestre du Théâtre de la Scala, Direction: Claudio Abbado / ADD 1975
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07. Verdi: Le trouvère - Vedi! Le fosche notturne spoglie (Chœur des bohémiens)
Chœur et Orchestre du Théâtre de la Scala, Direction: Claudio Abbado / ADD 1975
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08. Verdi: La traviata - Di Madride noi siam mattadori (Chœur du matador)
Avec Franco Ricciardi, Giuliana Tavolaccini, Sivio Maionica et Virgilio Carbonari
Chœur et Orchestre du Théâtre de la Scala, Direction: Antonino Votto / ADD 1963
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09. Verdi: Macbeth - Che faceste? Dite su! (Chœur des sorcières)
Chœur et Orchestre du Théâtre de la Scala, Direction: Claudio Abbado / ADD 1976
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10. Bizet: Carmen - Avec la garde montante (Chœur des gamins)
Avec Plácido Domingo, Robert Lloyd et Stuart Harling
George Watson's College Boy's Chorus, The Ambrosian Singers, Orchestre Symphonique de Londre, Direction: Claudio Abbado / ADD 1978
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11. Bizet: Carmen - Les voici! Voici le quadrille
George Watson's College Boy's Chorus, The Ambrosian Singers, Orchestre Symphonique de Londre, Direction: Claudio Abbado / ADD 1978
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12. Leoncavallo: Paillasse - Andiam! Andiam!
Chœur et Orchestre du Théâtre de la Scala, Direction: Herbert von Karajan / ADD 1966
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13. Mascagni: Cavalleria rusticana - Gli aranci olezzano (Chœur de Pâques)
Chœur et Orchestre du Théâtre de la Scala, Direction: Herbert von Karajan / ADD 1966
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14. Mascagni: Cavalleria rusticana - Beato voi, compar Alfio - Regina coeli laetare
Avec Maria Gracia Allegri, Giangiaccomo Guelfi et Fiorenza Cossotto
Chœur et Orchestre du Théâtre de la Scala, Direction: Herbert von Karajan / ADD 1966
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CD3. Les grands airs de ténor
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01. Verdi: La traviata - Lunge da lei ... De' miei lieti bollenti spiriti (Alfredo)
Luciano Pavarotti, Orchestre du Metropolitan Opera de New York, Direction: James Levine / DDD 1992
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02. Puccini: La bohème - Che gelida manina (Rodolfo)
Jerry Hadley, Orchestre National de l'Académie Sainte Cécile de Rome, Direction: Leonard Bernstein / DDD 1988
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03. Puccini: Tosca - E lucevan le stelle (Cavaradoss)
José Carreras, Orchestre Philharmonique de Berlin, Direction: Herbert von Karajan / ADD 1980
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04. Puccini: Turandot - Nessun dorma (Calaf)
Plácido Domingo, Orchestre Philharmonique de Vienne, Direction: Herbert von Karajan / DDD 1982
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05. Donizetti: L'élixir d'amour - Una furtiva lagrima (Nemorino)
Luciano Pavarotti, Orchestre du Metropolitan Opera de New York, Direction: James Levine / DDD 1992
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06. Bizet: Carmen - La fleur que tu m'avais jetée (Don José)
José Carreras, Orchestre Philharmonique de Berlin, Direction: Herbert von Karajan / DDD 1983
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07. Wagner: Lohengrin - In fernem land (Lohengrin)
Jess Thomas, Orchestre Philharmonique de Berlin, Direction: Walther Born / ADD 1963
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08. Mozart: L'enlèvement Au Sérail - Wenn der Freude Tränen fliessen (Belmonte)
Fritz Wunderlich, Orchestre de l'Opéra de'Etat de Bavière, Direction: Eugen Jochum / ADD 1966
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09. Mozart: La flûte enchantée - Dies Bildnis ist bezaubernd schön (Tamino)
Fritz Wunderlich, Orchestre Philharmonique de Berlin, Direction: Karl Böhm / ADD 1964
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10. Verdi: Rigoletto - La donna è mobile (Il Duca)
Carlo Bergonzi / Avec Dietrich Fischer-Dieskau (Rigoletto) & Ivo Vinco (Sparafucile), Orchestre du Teatro all Scala Milano, Direction: Rafael Kubelik / ADD 1964
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11. Berlioz: La damnation de Faust - Nature immense, impénétrable et fière (Faust)
Stuart Burrows, Orchestre Symphonique de Boston, Direction: Seiji Ozawa / ADD 1974
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12. Verdi: Aida - Se quel guerrier io fossi ... Celeste Aida (Radames)
Plácido Domingo, Orchestre du Teatro all Scala Milano, Direction: Claudio Abbado / DDD 1982
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13. Leoncavallo: Paillasse - Recitar ... Vesti la giubba (Canio)
Carlo Bergonzi, Orchestre du Teatro all Scala Milano, Direction: Herbert von Karajan / ADD 1966
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14. Tchaikovsky: Eugène Onéguine - Kuda, Kuda (Lenski)
Neil Shicoff, Orchestre de la Staatskapelle de Dresde, Direction: James Levine / DDD 1988

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Fairuz - Wala Kif

Posted By MiOd On Monday, February 10, 2014 0 comments
Fairuz is a remarkably popular Lebanese musician who has managed to sustain Lebanese cultural motifs and aspirations while blending her performances with sounds as diverse as Mozart and Latin American rumbas, flamenco and Balkan folk music. Fairuz, who is Christian, has recorded both hymns and pro-Palestinian sings. The curious can hear her sing on Al-Gomma al-Hazeenah. ~ Leon Jackson, All Music Guide

Although that Fairouz presents in this album a style different from her eariler works,'Wala Kif' is no doubt a remarkable piece of work. It is a simple yet very creative masterpiece that allows Fairouz to gain the hearts of the arab world's youth. 'Wala Kif' also demonstrates Ziad Rahbany's unrivaled creativity in both oriental and occidental music.

[01].Sabah Wu Masa (Morning and Evening)
[02].Shu Bkhaf (Manha de de Carnaval) (How I Fear)
[03].Sobhil Jiz (My Comrade)
[04].Tinzakar Ma Tinaad (May History Not Repeat Itself!)
[05].Ya Mariamu (Saint Mary)
[06].Ana Fezaani (I Feel So Afraid)
[07].Bizakker Bil Kharif (Les Feuilles Mortes) (He Reminds Me of Autumn)
[08].Wallah (La Bamba) (Never)
[09].Inshallah Ma Bu Shi [I Hope He Is Doing Fine]
[10].Bizakker Bil Kharif [Take 2]

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Opéra Volume 1, Collection du millénaire

Posted By MiOd On Wednesday, February 05, 2014 1 comments

Opéra Volume 1, Collection du millénaire
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CD1. Giuseppe Verdi (1813-1901): Nabucco (Extraits)
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01. Sinfonia
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Première Partie:
02. Gli arredi festivi giù cadano infranti
03. Qual rumore?
04. Fenena! O mia diletta! / Guerrieri, è preso il tempio! / Prode guerrier!
05. lo t'amava!
06. Lo vedeste?
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Deuxième Partie:
07. Chi s'avanza?
08. Salgo già del trono aurato
09. Vieni o Levita!
10. Tu sul labbro de' veggenti
11. Che si vuol? / Il maledetto non ha fratelli
12. Deh, fratelli, perdonate!
13. S'appressan gl'istanti
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Troisième Partie:
14. Ah, qual suon!
15. Va, pensiero, sull'ali dorate
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Quatrième Partie
16. Dio di Giuda!
17. Porta fatale, or t'aprirai!
18. Cadran, cadranno i perfidi - O prodi miei, seguitemi
19. Oh! Chi vegg'io? - Su me ... morente ... esanime
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Nabucco: Piero Cappuccilli
Ismaele: Plácido Domingo
Zaccaria: Evgeny Nesterenko
Abigaille: Ghena Dimitrova
Fenena: Lucia Valentini Terrani
Il Gran Sacerdote di Belo: Kurt Rydl
Anna: Lucia Popp
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Chœur et Orchestre de l'Opéra de Berlin
Direction: Giuseppe Sinopoli
ADD 1983
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CD2. Giuseppe Verdi (1813-1901): La Traviata (Extraits)
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01. Prélude
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Acte 1
02. Brindisi: 'Libiamo ne'lieti calici' (Alfredo)
03. E strano! - Ah, fors'è lui (Violetta)
04. Follie! Delirio vano è questo! - Sempre libera (Violetta)
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Acte 2
- Premier Tableau
05. Lunge da lei - De' miei bollenti spiriti (Alfredo)
06. Pura, siccome un angelo (Germont)
07. Non sapete quale affeto (Violetta)
08. Un di quando le veneri (Germont)
09. Ah! Dite alla giovine (Violetta, Germont)
10. Che Fai? - Nulla (Alfredo, Violetta)
11. Di Provenza il mar, il suol (Germont)
- Deuxième Tableau
12. Noi siamo zingarelle (Zingarelle)
13. M'Invitato a qui seguirmi (Traviata)
14. Ogni suo aver tal femmina (Alfredo)
15. Di sprezzo degno se stesso rende (Germont)
16. Alfredo, Alfredo, di questo core (Violetta)
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Acte 3
17. Prélude
18. Teneste la promessa - Attendo, né a me giungon mai - Addio del passato (Violetta)
19. Signora - Che t'accade? Parigi, o cara, noi lasceremo (Annina, Violetta, Alfredo)
20. Ah non piu ... Ah! Gran Dio! Morir si giovine (Violetta)
21. Ah, Violetta? - Voi? Signor? (Germont, Violetta)
22. Prendi, quest'è l'immagine (Violetta)
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Violetta Valery: Renata Scotto
Alfredo Germont: Gianni Raimondi
Giorgio Germont: Ettore Bastianini
Flora Bervoix: Giulana Tavolaccini
Annina: Armanda Bonato
Gastone, Vicomte de Lestorières: Franco Ricciardi
Baron Douphol: Guiseppe Morresi
Marquis d'Obigny: Virgilio Carbonari
Docteur Granvil: Silvio Malonica
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Chœur et orchestre de la Scala de Milan (Chef de Chœur: Norberto Mola)
Direction: Antonino Votto
ADD 1963
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CD3. Georges Bizet (1838-1875): Carmen (Extraits)
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01. Prélude
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Acte 1
02. No.3 Chœur Et Scène: Voici la cloche qui sonne (Don José, Chœur)
03. Mais nous ne voyons pas la Carmencita! (Chœur, Carmen)
04. No.4 Havanaise 'L'amour est un oiseau rebelle (Carmen)
05. No.5 Scène et Duo 'Monsieur le brigadier' (Don José, Micaëla)
06. No.9 Chanson et Duo 'Près des remparts de Séville' (Carmen, Don José)
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Acte 2
07. No.11 Chanson 'Les triangles des sistres tintaient' (Carmen, Mercédes, Frasquita)
08. No.13 Air du toréador 'Votre toast, je peux vous le rendre' (Escamillo, Frasquita, Mercédes, Carmen, Chœur ...)
09. No.16 Air 'La fleur que tu m'avais jetée' (Don José)
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Acte 3
10. No.21 Air 'Je dis que rien ne m'épouvante (Micaëla)
11. No.22 Duo 'Je suis Escamillo, toréro de Grenade' (Escamillo, Don José)
12. No.25 Chœur et scène 'Les voici, voici le quadrille' (Chœur, Escamillo, Carmen, Frasquita)
13. 'Si tu m'aimes, Carmen' (Escamillo, Carmen)
14. No.26 Duo final 'C'est toi? C'est moi!' (Carmen, Don José)
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Carmen: Teresa Berganza
Don José: Plácido Domingo
Escamillo: Sherril Milnes
Micaëla: Ileana Cotrubas
Frasquita: Yvonne Kenny
Mercédes: Alicia Nafé
Zuniga: Rober Lloyd
Andrès: Jean Lainé
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George Watson's College Boy's Chorus
Ambrosian Singers
Orchestre Symphonique de Londres
Direction: Claudio Abbado
ADD 1978

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Various - Saturday Afternoon Jazz

Posted By MiOd On Wednesday, February 05, 2014 0 comments
Another volume of classic jazz from the popular Concord series, Saturday Afternoon Jazz presents a collection of smooth yet vibrant music including songs from Django Reinhardt, Billy Strayhorn, Herbie Hancock, and Fletch Henderson

1. Surrey With The Fringe On Top - Mary Stallings
2. Nuages - Tal Farlow
3. The Best Things In Life Are Free - Ken Peplowski
4. Soft Winds - Gene Harris
5. O Barquinho - Karrin Allyson
6. The Summer Wind - Monty Alexander Trio
7. Chelsea Bridge - Scott Hamilton
8. Hello Young Lovers - Toots Thielemans
9. Dolphin Dance - Howard Roberts
10. On The Sunny Side Of The Street - George Shearing
11. I'm Just A Lucky So And So - Bill Mays
12. Young At Heart [feat. Joe Ascione, Frank Vignola]

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Anne-Sophie Mutter - Tango Song and Dance

Posted By MiOd On Tuesday, February 04, 2014 0 comments
Anyone would assume from the title Tango Song and Dance that this album contains performances of Piazzolla and friends, representing an effort on the part of Anne-Sophie Mutter to cash in on the recent tango craze. Actually, the only tango-related piece here, the title composition by Mutter's husband André Previn, was written in 1997 before that trend really got started in classical music. Instead, Tango Song and Dance offers a collection of dance-inflected pieces that diverges from Mutter's usual serious fare but benefits equally from her commanding musical personality. These performances are great fun and, for the most part, will take you back to the days of the star virtuoso. Previn joins Mutter on piano for his own work, and their complementarity -- he is suave, she intense -- is delightful. The work sounds not like Piazzolla but like Ravel composing a tango; its final movement is in a 7/8 time that cleverly trips up the tango feel. Some reviewers have reproached the liberties Mutter takes with the Joseph Joachim transcriptions of three Brahms Hungarian Dances, but it's hard to imagine that Joachim, in Brahms' own time, would have done any less. Only in a group of selections from Gershwin's Porgy and Bess does Mutter seem out of her element; she executes the Jascha Heifetz arrangements flawlessly, but despite former jazzman Previn's presence, it ain't got that swing. Mutter's usual sideman Lambert Orkis returns to the keyboard for three Fritz Kreisler encores, however (Previn plays only on the Gershwin and his own piece), and Mutter takes command once again with swooping, sentiment-drenched thrills. Fauré's Violin Sonata No. 1, Op. 13, a tuneful piece with a whiff of the music hall, makes an unexpected but satisfying conclusion. In all, a wonderful outing for a great artist who deserved to lighten up.

(01) Tango Song and Dance- Tango. Passionately
(02) Tango Song and Dance- Song. Simply
(03) Tango Song and Dance- Dance. Jazz Feeling
(04) 3 Hungarian Dances- No. 1 in G Minor. Allegro Molto
(05) 3 Hungarian Dances- Tango Song and Dance- No. 6 in B Flat Major. Vivace
(06) 3 Hungarian Dances- No. 7 in a Major. Allegretto
(07) Porgy and Bess- Summertime
(08) Porgy and Bess- It Ain't Necessarily So
(09) Bess, You Is My Woman Now
(10) Porgy and Bess- My Man's Gone Now
(11) Sch--n Rosmarin
(12) Caprice Viennois Op. 2
(13) Liebesleid (Chagrin d'Amour)
(14) Sonata for Violin and Piano No. 1 in a Major, Op. 13- Allegro Molto
(15) Sonata for Violin and Piano No. 1 in a Major, Op. 13- Andante
(16) Sonata for Violin and Piano No. 1 in a Major, Op. 13- Allegro Vivo
(17) Sonata for Violin and Piano No. 1 in a Major, Op. 13- Allegro Quasi Pre

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María La Perrata - La Perrata de Lebrija

Posted By MiOd On Tuesday, February 04, 2014 0 comments
María la Perrata (María Fernández Granados) cantaora en la intimidad, fue una fiel transmisora de los cantes tradicionales que aprendió de su madre. En pocas ocasiones cantó de forma profesional. Ha participado en algún disco, como "María La Perrata", en la colección Grandes Cantaores del Flamenco. También participó en una grabación con sus hijos y en algunos volúmenes de Rito y Geografía del Cante.
La Perrata, heredera de la forma antigua de vivir el flamenco, supo transmitir su arte y sus conocimientos a sus hijos, el cantaor Juan Peña "El Lebrijano" y el guitarrista Pedro Peña. Era además hermana del mítico Perrate de Utrera y estaba emparentada con otras grandes figuras como Bernarda y Fernanda de Utrera o Pedro Bacán.

The cantaora María la Perrata (María Fernández Granados. 1922-2005) died on 5 February in her home in Lebrija after a long sickness.

A cantaora in intimate surroundings, she faithfully transmitted her knowledge of the traditional styles that she learnt from her mother. She only rarely sang as a professional. She took part in a few records as "María La Perrata", in the Grandes Cantaores del Flamenco (Great Flamenco Singers) collection. She also took part in a recording alongside her sons, and in some volumes of Rito y Geografía del Cante (The Rituals and Geography of Flamenco Singing).

La Perrata inherited the old manner of living flamenco, and she was able to transmit her artistry and knowledge to her sons, the cantaor Juan Peña "El Lebrijano" and the guitarist Pedro Peña. She was also the sister of the legendary Perrate de Utrera, and was related to other great flamenco figures like Bernarda and Fernanda de Utrera , and Pedro Bacán.

(01). Mi Desconsuelo (Tangos)
(02). El Agua De La Piedad (Cantiñas)
(03). La Lola (Bulerías)
(04). Esconder Un Tormento (Tientos)
(05). Dios Te Salve, María (Plegaria)
(06). Mi Casa Tiene Un Duende (Nana)
(07). Dejo La Puerta Entorná (Soleares)
(08). De Romería (Sevillana Corraleras)
(09). Como Me Quedo (Seguiriyas)
(10). Entre Pinares Verdes (Bamberas)
(11). Te Olvidara (Fandangos)
(12). Que Me Va A Vender (Alegrías)
(13). Romance Morisco-con Juan Peña (Alboreá)
(14). A La Galiana (Bulerías por Soleá)
(15). Una Morita (Bulerías)
(16). Toca La Zambomba (Bulerías de Navidad)

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