[JVC World Sounds] Japan - Gagaku, Court Music of Japan

Posted By MiOd On Monday, March 31, 2014 0 comments
This CD presents the Japanese court music called gagaku. This very particular type of music came to Japan from China and Korea, between the fifth and the ninth centuries. Today, the orchestra is mainly composed of percussions, koto, shinobue (a small bamboo transverse flute), sho (a mouth organ), and hichiriki (a double-reed type of oboe). At the beginning, the first version of the shakuhachi was part of the orchestra, as well as singers. After its introduction, it was adapted to suit the Japanese spirit of the time. Pieces were composed for the ensemble, influenced by the indigenous music of the time. Some ethnomusicologists have been suggesting that this music is performed almost exactly as it was a thousand years ago, making it somehow the longest untouched musical tradition in the world. Since its beginning, gagaku has been performed almost exclusively at the imperial court, and on very rare occasions outside it. This is still pretty much the case today. There still exists only two or three gagaku orchestras in Japan today, the main one being the Emperor one. A fascinating out-of-the-ordinary music! ~ Bruno Deschênes, All Music Guide

Tokyo Gakuso formed in 1978 to preserve and advance gagaku, the oldest of Japan's performing arts, dating back over a thousand years. Since its inception, Tokyo Gakuso has performed many new compositions along with pieces from the classical repertoire that have been rarely heard. Founding music director Tadamaro Ono led the group until his death in 1994, when his nephew, Tadaaki Ono, succeeded him. Celestial Harmonies released an album by Tokyo Gakuso in 2002 -- Gaguku: Gems From Foreign Lands -- which followed an earlier release, Gagaku & Beyond (2000). ~ Jason Birchmeier, All Music Guide

(01). [Tokyo Gakuso] Manzairaku 1 Derute (Togaku)
(02). [Tokyo Gakuso] Manzairaku 2 Tokyoku (Togaku)
(03). [Tokyo Gakuso] Manzairaku 3 Irite (Togaku)
(04). [Tokyo Gakuso] Ranryoo (King of Lanling) 1 Ko Ranjo (Togaku)
(05). [Tokyo Gakuso] Ranryoo (King of Lanling) 2 Ryo Ou Ranjo (Togaku)
(06). [Tokyo Gakuso] Ranryoo (King of Lanling) 3 Sadacho Netori (Togaku)
(07). [Tokyo Gakuso] Ranryoo (King of Lanling) 4 Tokyoku (Togaku)
(08). [Tokyo Gakuso] Nasori 1 Koma Ko Ranjo (Komagaku)
(09). [Tokyo Gakuso] Nasori 2 Tokyoku Ha (Komagaku)
(10). [Tokyo Gakuso] Nasori 3 Tokyoku Kyu (Komagaku)

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World Music Library - Iran - Music of Iran I

Posted By MiOd On Sunday, March 30, 2014 0 comments
This dazzling recording includes various classical and semiclassical forms, ensemble and solo, vocal and instrumental, in a wide range of dastgahs, recorded in Tokyo in 1989. The iffy English-language notes don't tell one anything about the 12-person group qua group, though the musicians are named and there's a certain amount of general and recording-specific information. ~ John Storm Roberts, Original Music, All Music Guide

This is the first recording to introduce the post revolutionary music of Iran, a style adding the western taste onto practices of Iranian traditional music. An exquisite ensemble performance of traditional instruments and Avaz, a style of vocals.

Music Of Iran I! Japanese Import Pressing! Personnel: Avaz: Alireza Eftekhari; Santur: Mohammad Jalil Andelibi; Kamanche: Davud Genjei, Hadi Montazeri; Tar: Mansur Yunosi Sinaki, Abbas Miyandehi; Ud: Hoseyn Behruzniya; Setar: Behnam Vadani; Ney: Behzad Foruhari; Gheychak: Ardashir Fakhimi; Tombak: Mahmud Farahmand; & Daff: Kambiz Ganjei.

01. Dastgah-e Mahur "Sere-e 'Eshq" - "The Secret of Love" - of Sa'adi [20:22];
02. Dastgah-e Mahur "Sere-e 'Eshq" - "The Secret of Love" - of Sa'adi and Tasnìf / [6:39];
03. Dastgah-e Mahur: Tasnif "Mahd-e Honar" by Javad Azar [6:51]; &
04. Dastgah-e Mahur [18:37].

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Hossein Alizadeh - Hejrani: Nostalgia

Posted By MiOd On Sunday, March 30, 2014 0 comments
" Hejrani" / NostalgiaDastghah-e SEGAHDastghah-e MAHOURSolo improvisation on "TAR" by Hossein AlizadehThe Persian tar used to have five strings. The sixth string was added to the tar by Darvish Khan. This string is today's fifth string of the Iranian tar.Tar is one of the most important classical Persian musical instruments. The formation, compilation, edition, and inheritance of the most authentic and most comprehensive versions of radif are all worked on tar. The general trends of Persian classical music have been deeply influenced by tar players.The tar appeared in its present form in the middle of the eighteenth century. The body is a double-bowl shape carved from mulberry wood, with a thin membrane of stretched lamb-skin covering the top. The long fingerboard has twenty-six to twenty-eight adjustable gut frets, and there are three double courses of strings. Its range is about two and one-half octaves, and is played with a small brass plectrum.Hossein AlizadehHossein Alizadeh was born in Tehran in 1950. He is considered as one of the most important figures in contemporary Persian music, exemplifying excellence in traditional Persian music today. He studied the classical Persian composition system, the Radif, under various masters, including Houshang Zarif, Ali Akbar Shahnazi, NurAli Borumand, Mahmood Karimi, Abdollah Davami, Yousef Foroutan, and Saied Hormozi. He later recorded the entire body of the Radif based on the interpretations of Mirza Abdullah for Tar and Setar. Alizadeh received a BA in Music Composition and Performance from the University of Tehran, and then studied Composition and Musicology at Berlin University. He has taught at University of Tehran and Tehran Music Conservatory. He has performed, as a solo artist, in Iran, North America, Europe and Asia. He was the conductor and soloist in The Iranian National Orchestra of Radio and Television. He established the acclaimed Aref Ensemble and has often worked with the Shayda Ensemble. His first professional experience in Europe was performing with the famous Bejart Ballet Company’s orchestra for Maurice Bejart's ballet, Gulistan. Some of Alizadeh's most noted works are The Nava Improvisations (1976), Riders of the Plains of Hope (1977), Hesar (1977), Revolt (1983), Ney Nava (1983), Dream (1986), Torkaman (1986), Raz-O-Niaz (1986), Delshodegan (1987), Song of Compassion (1991), New Secret (1996), A Time for Drunken Horses (2000), Turtles can Fly (2004), Endless Vision (2004), Nive Mang (2006), Under the Razor (2007) and Ode to Flowers (2007). Endless Vision has been nominated for the Best World Music Album of the Year 2006 in the 49th Edition of the Grammy Awards.Alizadeh established the Hamavayan Ensemble in 1989 as a venue for advancing traditional Iranian choral singing. Composed of some of the best known performers of Iranian instruments and vocalists, this ensemble has produced many of Alizadeh's compositions including New Secret, Gabbeh, Songs of Compassion, Endless Vision and Ode to Flowers.
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[01]. pishdaramad hejrani
[02]. daramad hejrani
[03]. zabol hejrani
[04]. mokhakef hejrani
[05]. zarbi-e mokhalef hejrani
[06]. foroud hejrani
[07]. hejran hejrani
[08]. daramad kereshmeh hejrani
[09]. chaharmezrab hejrani
[10]. dad, nayayi hejrani
[11]. feyli hejrani
[12]. shekasteh hejrani
[13]. shekasteh hejrani
[14]. zarbi-e shekasteh hejrani
[15]. delkash, chaharmezrab, foroud hejrani
[16]. araq, nahib,hazin,mohayyer hejrani
[17]. faqan hejrani

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Armand Amar - Bab Aziz

Posted By MiOd On Friday, March 28, 2014 0 comments
Bab' Aziz-Le Prince Qui Contemplait Son Ame
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Lost in a sand ocean, two silhouettes walk on: Ishtar, a small girl full with spirit, and his/her grandfather Bab' Aziz, a blind dervish. She guides it towards the great meeting of the dervishes which takes place every thirty years, but to find this place secret, he is necessary “to listen to the infinite silence of the desert with her heart”. Their voyage through the extreme vastness brings them, a such set of tracks, with crossed other destinies…

CD: 01 MUSIQUE Armand Amar
(01). Maryam
(02). Bab Aziz
(03). Poem of the Butterflies
(04). Salvacci Denducci Pace
(05). Zikr
(06). Poem of the Atoms
(07). You Created the Night, I Made the Lamp
(08). Ishtar
(09). Song of the Red Dervish
(10). Poem of the Atoms
(11). Dream of the Palace
(12). The Wedding

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Simon Shaheen - Turath Masterworks Of The Middle East

Posted By MiOd On Sunday, March 23, 2014 0 comments
"...Simon Shaheen is a virtuoso and master of traditional Arab music...a solid introduction to a centuries-old classical tradition..."
Really outstanding Arabic classical recordings are rare. Shaheen is an outstanding ud-player and violinist who has suddenly drawn some notice after years of quiet excellence. In Turath he is joined by fine nay, qanun and percussion in a recital of classic and contemporary works in the linked Arabic and Ottoman-Turkish tradition. ~ John Storm Roberts, Original Music, All Music Guide

Simon Shaheen is wonderful, and this is a great CD. I've been listening to it since high school (when it was originally released by CMP), and I'm now just short of twenty-nine. My favorite track, and really one of my favorite songs, is the uber-catchy "Longa Farahfaza." The addition of the bass oud really propels the song and gives it some funky oumph (pun intended). The tempos on the other songs tend to be slower, but the track I mentioned and the longer riqq/oud duet on the next track are well worth the price of the album. It's very seldom you'll hear this kind of repertoire with such high production values. If you enjoy this, I also recommend Mr. Shaheen's album devoted to the music of Mohammed Abdel Wohab. It rocks. It really really rocks. Fun-Fact: Dead Can Dance, the leading fake world music purveyors of the 80s and 90s, sample that one for the closing credits of their "Toward the Within" concert film.

(01). Bashraf Farahfaza
(02). Sama'I Farahfaza
(03). Taqasim On Violin
(04). Longa Farahfaza
(05). Taqasim On The Beat
(06). Sama'i Nahawand
(07). Tahmilah Suznak
(08). Sama'i Nahawand
(09). Bashraf Kurd
(10). Taqasim On Nay
(11). Sama'I Kurd

Simon Shaheen (oud, violin).

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Nikhil Banerjee - AIR Archival Release Vol.[1-5]

Posted By MiOd On Sunday, March 23, 2014 0 comments
Nikhil Banerjee (Bangla: নিখিল ব্যানার্জী) (14 October 1931–27 January 1986) was one of India’s most prominent sitar players of the second half of the 20th Century. He never achieved the glamour of Vilayat Khan or his gurubhai Ravi Shankar, but Nikhil Banerjee did win great critical acclaim and the hearts of many music lovers. He is remembered as a musician’s musician.

Along with Ravi Shankar, Vasant Rai, and Ali Akbar Khan, he was trained by “Baba” Ustad Allauddin Khan of the Maihar gharana (school).

Beginnings
Nikhil Banerjee was born in Calcutta into a Brahmin family, where music as a profession was discouraged, although his father, Jitendranath Banerjee, an amateur sitariya, taught him to play the instrument. Young Nikhil grew into a child prodigy, won an All-Bengal Sitar Competition at the age of 9 and soon was playing for All India Radio. At the time, his sister was a student of khyal great Amir Khan, who became a life-long influence. Jitendranath approached Mushtaq Ali Khan to take the boy as a disciple, but was turned down; instead Birendra Kishore Roy Chowdhury, the zamindar of Gouripur in present-day Bangladesh, was responsible for much of Nikhil’s early training.

In 1947 Banerjee met Allauddin Khan, who was to become his main guru.

Nikhil Banerjee - Vol.1 - Rageshri, MianTodi, NatBhairav

1. Rageshree
2. Mian Ki Todi
3. Nat bhairav

Nikhil Banerjee - Vol.2 - Piloo, Bhatiyar

1. Pilu
2. Bhatiyar

Nikhil Banerjee - Vol.3 - Maru Bihag, Deshi

1. Maru Bihag
2. Deshi - alap
3. Deshi - gat

Nikhil Banerjee - Vol.4 - Chandrakauns, Hem Bihag

1. Raag Chandrakauns (With Pandit Shyamal Bose On 10.04.1970)
2. Raag Hem Bihag (With Pandit Shyamal Bose On 09.02.1960)

Nikhil Banerjee - Vol.5 - Bilaskhani Todi

1. Raag Bilaskhani Todi
2. Raag Bilaskhani Todi

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Simon Shaheen - Blue Flame

Posted By MiOd On Wednesday, March 19, 2014 0 comments

"Simon Shaheen's Blue Flame is world fusion with a commercial twist. On this intriguing collection, Shaheen melds Arabic, jazz, Indian, North African Mediterranean, and classical music via his expertise on the oud and violin with compositions that often display congruity with Western pop song structure. 'Waving Sands,' with its stated melody in the intro and succeeding solo sections, recalls the exhilarating mesh of rock and jazz that such groundbreaking outfits as Weather Report and the Mahavishnu Orchestra championed in the early '70s. Shaheen's interpretation of Sting's 'Tea in the Sahara' quickly develops into another captivating exercise of impromptu redefinition of Western music with layers of percussive polyrhythms and extended solos that flourish without obscuring the original motif. In the spirit of crossover appeal, Billy Idol guitarist Steve Stevens guests on 'Silk Tears,' a composition that evokes the sadness of a French chanson before exploding into grand moments of improvisation. It's definitely not something one would expect from the pairing of a world-renown Arabic instrumentalist with a guitarist who defined new wave rock in the 1980s; however, the combination of the two certainly captures the euphoric spirit of exploration which underpins each selection on this disc. Experimenting with a myriad of styles and subjects, Shaheen weaves Middle East and Turkish themes into 'Olive Harvest,' a joyful celebration of village life in his home of Tarshiha. In the track named for his dexterous backing ensemble 'Al-Qantara,' Shaheen employs heavy flamenco rhythms with complex passages that are lyrical and often play against the beat, implying altered time signatures and multiple key changes. Blue Flame is a cohesive and accessible array of world fusion that will appeal to purists and novices alike."

1. Blue Flame
2. Waving Sands
3. Tea in the Sahara
4. Dance Mediterranea
5. Bosphorus Scenes Under the Moonlight
6. Silk Tears
7. Fantasie for Oud and String Quartet
8. Saraab
9. Olive Harvest
10. Al-Qantara
11. Breeze of Bisaan

Simon Shaheen - Oud, Violin
Stephen Sheehan - Percussion, Cymbals, Djembe
Jamey Haddad - Cymbals, Drums, Clapping, Hadgini
Bassam Saba - Flute, Nay
Roger Biwandu - Drums

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Vilayat Khan - Jhinjhoti

Posted By MiOd On Tuesday, March 18, 2014 0 comments
Vilayat Khan (Bangla: িবলােয়ত খাঁ Bilaeet Khã) (b. August 8, 1928–March 13, 2004) was one of India’s well known sitar maestros, born in Gauripur in Mymensingh, Bangladesh. He recorded his first 78-RPM disc at the age of 8, and gave his last concert in 2004 at the age of 75.

Vilayat Khan was born into a family of musicians tracing its pedigree generations back to the court musicians of the Mughal rulers. His father was Enayat Khan (1895–1938), recognized as a leading sitar and surbahar (bass sitar) player of his time, as had been the grandfather, Imdad Khan (1848–1920), before him. Vilayat was taught in the family style, known as the Imdadkhani Gharana (school), or Etawah Gharana, after a village outside Agra where Imdad lived.

However, Enayat Khan died when Vilayat was only nine, so much of his education came from the rest of his family: his uncle, sitar and surbahar maestro Wahid Khan, his maternal grandfather, singer Bande Hassan Khan, and his mother, Bashiran Begum, who had studied the practice procedure of Imdad, Enayat and Wahid. Vilayat’s uncle Zinde Hassan looked after his riyaz (practice). As a boy, Vilayat wanted to be a singer; but his mother, herself from a family of vocalists, felt he had a strong responsibility to bear the family torch as a sitar maestro.

Disc 1:
Raga Jinjhoti - alap, jor, jhala

Disc 2:
1. Raga Jhinjhoti - gats
2. dhun
3. dhun

Flac (EAC Rip): 430 MB | MP3 - 320 kbs: 230 MB | Front Cover

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L.Subramaniam - Beyond

Posted By MiOd On Monday, March 17, 2014 0 comments
This album presents different facets of Dr. Subramaniam's musical genius. It starts off with a powerful orchestral composition, moves on to a few serene pieces for solo violin and concludes with a Carnatic music composition.

"L Subramaniam is the best this listener has heard." - The New York Times

L Subramaniam, India's foremost violinist, orchestral composer and creator of the Global Fusion concept, is perhaps the greatest representative of Indian classical music today. He has performed/recorded with some of the greatest musicians of all times including Yehudi Menuhin, Stephane Grappelli, Herbie Hancock, Ali Akbar Khan, Ravi Shankar, George Harrison and Stevie Wonder. He has written/performed orchestral compositions with the New York Philharmonic, London Philharmonic, Orchestra Nationale du Lille, among others.

This album presents different facets of Dr. Subramaniam's musical genius. It starts off with a powerful and inspiring orchestral composition of Dr. Subramaniam, moves on to a few serene pieces for solo violin and concludes with a Carnatic music composition of Saint Tyagaraja, one of the greatest composers of the Indian classical musical tradition. "Beyond" is a musical tribute to Prof. V Lakshminarayana (1911-1990), father and guru of Dr. Subramaniam.

Track 1
Beyond is an orchestral composition is based on Raga Vasatapriya, which is a creation of Dr. Subramaniam. Vasantapriya is developed from the raga Vasanta, a derived scale of Suryakantam, one of the 72 parent scales of the Carnatic music tradition.

Composed as a musical tribute to the composer's father, Beyond begins and ends with perfect silence. Dr. Subramaniam wrote this work taking the best and most comparable elements from Indian Classical and Western music. The instruments used are electric violin, Indian percussion and Western ensemble (strings, percussion and woodwinds). The piece starts with solo violin passages using microtonal tonalities and Indian ornamentation (gamakas) leading into melodic themes played by Western instruments using implied harmony. There are also trade-offs between the soloist and different instruments in the ensemble. The piece ends with similar improvisational-like passages which are repeated from the opening statement. There are some typical Indian rhythmic concepts incorporated into the composition.

This composition was recorded with the Contrechamps Ensemble, conducted by Maestro Giorgio Bernasconi, and was specially composed for the Swiss Festival in India (1991).

Tracks 2 & 3
Weeping Soul and Wandering Saint are slow, meditative pieces written by Dr. Subramaniam for solo violin. He performs these compositions with just a tambura (traditional drone instrument) in the background.

Track 4
Tyagaraja's kriti (South Indian classical composition) Bhajana Seyave is in the raga Kalyani (Tonic, Major Second, Major Third, Augmented Fourth, Perfect Fifth, Major Sixth and Major Seventh) set to a 3 beat cycle of Rupaka Tala. This composition features Prof. V. Lakshminarayana and Dr. L. Subramaniam (violin), Ramnad V Raghavan (mridangam),
T H Subashchandran (ghatam) and Viji Subramaniam (tambura).

1. Beyond

2. Weeping Soul

3. Wandering Saint

4. Kriti: Bhajana Seyave


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Swinging Gentlemen

Posted By MiOd On Sunday, March 16, 2014 0 comments
Swinging Gentlemen
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BREAKFAST AT TIFFANY´S, PINK PANTHER, CHARADE & OTHERS

[01]. Yes Sir, That's My Baby
[02]. It's Only A Paper Moon
[03]. I Hear Music
[04]. 'S Wonderful
[05]. On The Street Where You Live
[06]. Makin Whoopee
[07]. Elmer's Tune
[08]. Blue Room
[09]. Tain't So Honey, Tain't So
[10]. Trav'lin' Light
[11]. Moon Song
[12]. You'd Better Love Me
[13]. Cherry
[14]. Shiny Silk Stockings
[15]. Kiss & Run
[16]. Taking A Chance On Love

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The New Classical Generation

Posted By MiOd On Sunday, March 16, 2014 0 comments
The New Classical Generation 2008 is a CD compilation, showcasing the latest and freshest classical music talent.
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This release features five tracks from the voices of five young classical crossover artists: Blake, Hayley Westenra, David Garrett, Jonathan Ansell and the highly anticipated Will Martin. Young and talented, each of these artists have helped to open up the classical genre to a wider and younger audience with their fresh repetoire of music.

1. Will Martin - Cinema Paradiso
2. Hayley Westenra - Laschia Ch'io Pianga
3. David Garrett - Flight Of The Bumble Bee
4. Blake - 1492 Conquest Of Paradise
5. Jonathan Ansell - Here's To The Heroes

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Vilayat Khan - Vistaar (Raga Rageshri)

Posted By MiOd On Sunday, March 16, 2014 0 comments
Vilayat Khan (Bangla: িবলােয়ত খাঁ Bilaeet Khã) (b. August 8, 1928–March 13, 2004) was one of India’s well known sitar maestros, born in Gauripur in Mymensingh, Bangladesh. He recorded his first 78-RPM disc at the age of 8, and gave his last concert in 2004 at the age of 75.

Vilayat Khan was born into a family of musicians tracing its pedigree generations back to the court musicians of the Mughal rulers. His father was Enayat Khan (1895–1938), recognized as a leading sitar and surbahar (bass sitar) player of his time, as had been the grandfather, Imdad Khan (1848–1920), before him. Vilayat was taught in the family style, known as the Imdadkhani Gharana (school), or Etawah Gharana, after a village outside Agra where Imdad lived.

However, Enayat Khan died when Vilayat was only nine, so much of his education came from the rest of his family: his uncle, sitar and surbahar maestro Wahid Khan, his maternal grandfather, singer Bande Hassan Khan, and his mother, Bashiran Begum, who had studied the practice procedure of Imdad, Enayat and Wahid. Vilayat’s uncle Zinde Hassan looked after his riyaz (practice). As a boy, Vilayat wanted to be a singer; but his mother, herself from a family of vocalists, felt he had a strong responsibility to bear the family torch as a sitar maestro.

Vilayat Khan - Vistaar: The gradual unfolding of a raga in a slow, free flowing unmeasured rhythm. Racorded 'Live' in Calcutta in memory of Ustad Inayat Khan. Ustad Vilayat Khan is accompanied by Hidayat Hussain on Sitar and Yogesh Samsi on Tabla.

1. Raga Rageshri

2. Alap 27:59
Gat in Teental 37:03

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Jazz Diva Easy Listening

Posted By MiOd On Saturday, March 15, 2014 0 comments
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Track Listings
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[01]. Light My Fire - Tahta
[02]. Her Jude - Monique Kessous
[03]. It's Too Late - Marcela
[04]. You'Ve Got A Friend - Tahta
[05]. Just The Way You Are - Marcela
[06]. Don't know Why - Lizet
[07]. Let's Stay together - Lizet
[08]. I Say A little Prayer For You - Taryn Szpilman
[09]. Isn't She Lovely - Cris Delanno
[10]. Love Dance - Marcela
[11]. My Cherrie Amour - Taryn Szpilman
[12]. She Loves You - Monique Kessous
[13]. Ribbon In The Sky - Tahta
[14]. Roxanne - Roberto Menescal Cris Delanno
[15]. Cry Me a River - Roberto Menescal Cris Delanno

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Golden Legends - Blues Legends

Posted By MiOd On Saturday, March 15, 2014 0 comments
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Track Listings
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[01]. Mississippi Fred Mcdowell - good morning little school girl
[02]. Big Maybelle - i cried for you
[03]. Memphis Slim - cow cow blues
[04]. Leadbelly - big fat woman
[05]. B.B. King - the other night blues
[06]. Lightnin' Hopkins - lonesome dog
[07]. Buddy Guy - first time i met the blues
[08]. Ray Charles - blues is my middle name
[09]. Charles Brown - big legged woman
[10]. Roy Brown - boogie woogie blues
[11]. James Cotton Band - fanny mae
[12]. Johnny Otis - barrelhouse blues
[13]. Jimmy Mcgriff - jumping the blues
[14]. B.B. King - you've done lost your good thing now

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Balkanbeats Vol.3

Posted By MiOd On Saturday, March 15, 2014 0 comments
Volume 3 of the popular and original Balkan music compilation
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Track Listings
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[01]. Opa Cupa (Slavic Soul Party!)
[02]. Ubicu te (Magnifico)
[03]. Jungle Shadow (Kiril feat MC Wasp & Rucl)
[04]. Balkan Qoulou (Watcha Clan)
[05]. Disko (friends of Boban Mix) (Shantel feat. Boban Markovic Orkestar)
[06]. Virágok a réten (Little Cow) 00:03:59
[07]. Turkish Honga (Streamer & mps PILOT remix) (Ot Azoj Klezmer Band)
[08]. Manea-k (Max Pashm)
[09]. Drunk of Sorrow (Parno Graszt)
[10]. Moscow Fever (Slonovski Bal)
[11]. Hopai Diri Da (edit) (Damian & Brothers)
[12]. Heymischer Bulgar (Garage-Mix 2004) (Al Jawala)
[13]. Nema Problema Tourist (Figli di Madre Ignota)
[14]. Dobrila (The No Smoking Orchestra)
[15]. Naj ma shela (Romengo)

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Vilayat Khan - Raga Kedar Bhankar

Posted By MiOd On Friday, March 14, 2014 0 comments
Vilayat Khan (Bangla: বিলায়েত খাঁ Bilaeet Khã) (b. August 8, 1928–March 13, 2004) was one of India’s well known sitar maestros, born in Gauripur in Mymensingh, Bengal (now in Bangladesh). He recorded his first 78-RPM disc at the age of 8, and gave his last concert in 2004 at the age of 75.

Vilayat Khan was born into a family of musicians tracing its pedigree generations back to the court musicians of the Mughal rulers. His father was Enayat Khan (1895–1938), recognized as a leading sitar and surbahar (bass sitar) player of his time, as had been the grandfather, Imdad Khan (1848–1920), before him. Vilayat was taught in the family style, known as the Imdadkhani Gharana (school), or Etawah Gharana, after a village outside Agra where Imdad lived.

However, Enayat Khan died when Vilayat was only nine, so much of his education came from the rest of his family: his uncle, sitar and surbahar maestro Wahid Khan, his maternal grandfather, singer Bande Hassan Khan, and his mother, Bashiran Begum, who had studied the practice procedure of Imdad, Enayat and Wahid. Vilayat’s uncle Zinde Hassan looked after his riyaz (practice). As a boy, Vilayat wanted to be a singer; but his mother, herself from a family of vocalists, felt he had a strong responsibility to bear the family torch as a sitar maestro.

The Imdadkhani gharana never added the bass string to their sitar, which is a smaller, lighter instrument, easier to handle, than for example Ravi Shankar’s.

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Al Di Meola - Colecao Folha Classicos do Jazz

Posted By MiOd On Thursday, March 13, 2014 0 comments
Al Di Meola - Colecao Folha Classicos do Jazz Vol. 18
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The guitarist won fame of the night for the day to join the Return to Forever with only 19 years. The trio with John McLaughlin and Paco de Lucia also has become legendary. He was one of the fastest guitarists in jazz fusion, but then started to focus also on world music, alternating the guitar with the guitar, which comes with the same dexterity. Son of Italians, Meola was born in Jersey City, New Jersey, on July 22, 1954. Since child, now frequented clubs, parsley, to discover the jazz with Chick Corea and Larry Coryell. In 74, the very Corea invited to come for the Return to Forever. The soils of fast and energetic rock Meola attracted the public, giving the group its best vendagens on discs such as "Where Have I Known You Before" and "Romantic Warrior." Two years later, he started solo career with "Land of the Midnight Sun." This and the subsequent "Elegant Gypsy," "Casino" and "Hotel Splendido" already brought elements of world music. In 80, Meola recorded with John McLaughlin and Paco de Lucia "Friday Night in San Francisco," which sold over two million copies. From the 90 he recorded more often acoustic music world, as "World Symphony" and "Di Meola Plays Piazzolla." In 96, formed the trio The Rite of Strings, with the violinist Jean-Luc Ponty and bassist Stanley Clarke (another former Return to Forever). His new CD, "Diabolic Inventions and Seduction for Solo Guitar, Volume I", has launch scheduled for the end of October, 2007.

[01]. July
[02]. Traces of a Tear
[03]. Maraba
[04]. Song to the Pharoah Kings
[05]. Etude
[06]. Rhapsody of Fire
[07]. Coral
[08]. Beijing Demons
[09]. Ballad

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Festival Nacional del Cante de las Minas - Antología

Posted By MiOd On Thursday, March 13, 2014 0 comments
(International Mine Singing Festival. Anthology) (5 CD Box)

"The Festival Internacional del Cante de las Minas (International Mine Singing Festival) and the RTVE Música record label have maintained a regular and close cooperation, editing an anthological resumé which now, after a period spent recovering material and freeing documents which are of special interest from oblivion, have finally and joyfully resulted in the set that you are receiving from us. As you will have noticed, it is a series in which there is space for a valuable catalogue of flamenco styles sung by the voices of prestigious artists who belong to different eras, and who have taken part in this festival over its successive editions." José María Velázquez-Gaztelu.

Festival Nacional de Cante de las Minas. Antología Vol.1

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The Festival Internacional del Cante de las Minas (International Mine Singing Festival) celebrates its 40th birthday. RTVE-Música, in cooperation with the La Unión town council and the Caja de Ahorros de Murcia, will commemorate the anniversary with this Anthology that is imprescindible in the record collection of any true enthusiast. It is a CD that features mine and Andalusian cantes (styles), in a word, flamenco. The purest forms of cante jondo ( an expression used to refer to the deepest and purest forms of flamenco) performed in the Festival, from Eleuterio Andreu to Curro Piñana, including Antonio Piñana, Pencho Cros, Luis de Córdoba and Encarnación Fernández, among others.

Festival Nacional de Cante de las Minas. Antología Vol.2

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In this, the second record in the collection, we can find some juicy examples of the copla minera (mining copla, a form of traditional popular singing) sung by the voices of the master Juan Valderrama, Curro Piñana and Miguel Poveda, but also, as it is an anthology, we are given the opportunity to undertake a thorough journey through the most varied selection of flamenco formulas that have been performed over the years in the Festival Internacional del Cante de las Minas. These are samples which, in many instances, are veritable historical documents that are irrepeatable, like the serrana by Manuel Ávila, the soleá and alegrías by Fosforito and the jabera by Curro de Utrera.

Festival Nacional de Cante de las Minas. Antología Vol.3

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A splendid selection from the festival, that spans the period from 1967 to 1993. It collects some wonderful displays of cantes mineros (mine styles) like the cartageneras by Carmen Linares and Manolo Romero, the taranta by Joselete de Linares and the minera by Encarnación Fernández, as well as different styles like the malagueña of Bernardo el de los Lobitos with Antonio Piñana's guitar playing, and the brilliant performances by Ginesa Ortega, Rogelio Beltrán El Puebla and Miguel Poveda, without forgetting about the brilliant tarantas and alegrías by Niño de Pura, in recordings from 1984 - when he was 18 years old - with which he won the First Prize for Guitar Playing in the Festival del Cante de las Minas.

Festival Nacional de Cante de las Minas. Antología Vol.4

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This fourth volume includes a wide range of flamenco palos (forms). It features the voices of Miguel Poveda, Luis de Córdoba, Manuel Ávila, Manuel Infante 'Manolo Fregenal', Alfonso Paredes 'Niño Alfonso', Carmen Linares, Enrique Orozco, Diego el Cigala, Antonio Ayala 'El Rampa', Rocío Segura, Manuel Cuevas, Ginesa Ortega and Manuel Celestino Cobos 'Cobitos'. It also features some splendid guitarists who took their guitar playing to the competition in La Unión, such as Daniel Navarro 'Niño de Pura' and José Antonio Rodríguez. It is a CD that has the necessary elements and quality features to satisfy true flamenco enthusiasts.

Festival Nacional de Cante de las Minas. Antología Vol.5

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The fifth volume of this anthology which retrieves the best singers and guitarists who have passed through the stage of the Festival Internacional del Cante de las Minas. Radio Television Espanola (RTVE, Spain’s public broadcasting company) and the Festival embarked upon this joint venture some years ago to promote the survival, strengthening and divulging of the cantes mineros (mine singing) and of a flamenco contest that has already acquired worldwide recognition and prestige.

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L. Subramaniam - Beyond

Posted By MiOd On Tuesday, March 11, 2014 0 comments
This album presents different facets of Dr. Subramaniam's musical genius. It starts off with a powerful orchestral composition, moves on to a few serene pieces for solo violin and concludes with a Carnatic music composition.

1. Beyond
2. Weeping Soul
3. Wandering Saint
4. Kriti: Bhajana Seyave

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Armik - Brisas De Pamplonita

Posted By MiOd On Tuesday, March 11, 2014 0 comments
Armik, a prolific Iranian-Armenian flamenco guitarist and composer of bravura, guitar works enjoys great popularity around the world. As a guitarist, he is one of the most adulated virtuosos of the Nuevo Flamenco genre, having attained this stature by virtue of his commanding presence among Billboard Magazine’s Top Ten New Age Artists of 2004, 2005 and 2006. His recordings emphasize the prodigious technique that he constantly hones.

Armik was born in Iran of Armenian descent. When he was just seven years old, he pawned his watch for a classical guitar, which he hid and practiced on in the basement. Formal music lessons followed and Armik completed a rigid instructional regimen in just two years. At 12, he was a professional recording artist. While his early career focused mostly on jazz, Armik discovered the beauty and passion of Flamenco while visiting and studying in Spain during the 1970s when he saw the legendary Paco de Lucia perform. Driven by a fire for the tradition that has defined his musical life ever since, the young musician immediately switched from his Jazz guitar for an in-depth journey to the heart of Spanish music.

He moved to Los Angeles to pursue this new direction, playing with other artists live and in the studio. By 1994 he released his solo debut album RAIN DANCER, a critical and commercial success that he followed with 1995’s GYPSY FLAME.

01. Brisas De Pamplonita (3:45)
02. El Samba (6:26)
03. Guaperra (4:02)
04. Sky In Madrid (4:56)
05. Fire Dance (4:05)
06. Back To Paradise (4:15)
07. Mersedes (4:39)
08. Criollo Song (4:48)
09. Gypsy Love (4:57)
10. Purple Duende (5:07)
11. Smile Of Sahel (4:07)
12. Moon In Love (4:18)
13. La Siciliana (3:48)
14. Ipanema (4:39)

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Armik - Rubia

Posted By MiOd On Monday, March 10, 2014 0 comments

On Rubia Armik has written and produced twelve compositions in which sultry Caribbean and Latin rhythms meld with provocative old world melodies. The album is titled after a guitar created expressly for Armik by the revered luthier Pedro Maldonado. Nearly 3 years in the making, the guitar was constructed from a rare wood called rubia. So inspired by Maldonado's handiwork, Armik composed two tracks on the album in honor of the instrument and it's maker, Rubia and Maldonado.

I enjoyed the 'Rain Dancer' for nearly six months after I had received it from Amazon and then I ordered 'Gypsy Flame' that contained some wonderful tunes. My girlfriend knows I am a great fan of Armik and she ordered 'Rubia' for me as a present. It is the most wonderful present that I have received in my life. I have listening to 'Rubia' for more than three months now and I must say that although I thought 'Rain Dancer' was the album of the millennium and still do, 'Rubia' is very nearly its equal. The mastery of the flamenco guitar plus the incredible and immense talent for conjuring up tunes and melodies of unheard passion and warmth made 'Rubia' a joy forever for me. My most favourite tunes are: Rubia, Seduction, Moldanado, Escapade, Sapphire Dreams and Veil of Desire. But I think the jewel in the crown is undoubtedly 'Mi Amor.' It is a tour de force. The most romantic piece of guitar music that I have ever heard in my life. Underneath its soft rhythms you can feel an ocean of romance, love and longing rushing and gushing. The notes seem to plead with the modesty and fervor of a true lover and leave the listener spellbound and breathless. Personally, it reminds me of the sweetest person I know who gave this musical gift in the form of 'Rubia' to me. Hats off to Armik. I think it is only a matter of time when Armik will become a household name all over the world. Keep up the good work, Armik. In a world where music seems to mean mindless noise and non-sensical lyrics, you stand tall and way above the rest. Thank you to Amazon for bringing me these timeless classics of Armik's albums that were not available to me in my country, but not for long, I hope. I insist that everyone who thinks he or she enjoys good music should go for 'Rubia' without any second thoughts. Or else they could miss out on something they could cherish forever.

01. Rubia 5:14
02. Seduction 5:06
03. Maldonado 4:59
04. Mi Amor 4:56
05. Escapade 4:34
06. Sapphire Dreams 4:49
07. Miracles 4:52
08. Romantic Whispers 4:59
09. Veil Of Desire 5:09
10. Seychelles 3:22
11. Torreros 4:56
12. Follow Me

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Burhan Ocal & Pete Namlook - Sultan Osman

Posted By MiOd On Saturday, March 08, 2014 0 comments
Born in 1953 in Kirklareli, a village in Thrace (the European territory of Turkey), the multi-instrumentalist and composer Burhan Oçal grew up in a musical family. From his father he learned a variety of percussion instruments, while his mother introduced him to religious vocal music. His main instruments are darbuka (a vase-shaped drum played with the fingers), kös (kettle drum), kudüm, and bendi; he also sings and plays saz, tanbur, and oud, in addition to composing. He moved to Zürich in 1977, but he soon moved back to the more exciting environment of Istanbul, where he enjoyed a deep network of connections with local musicians.

His percussive skills have been sought after by many players, in jazz and popular music (Sting invited him on-stage in Istanbul in 2000); but the most interesting parts of his production are his own projects: Jardin Ottoman (Harmonia Mundi, 1996) dedicated to Turkish classical music of the 17th century; the Oriental Ensemble which performs traditional Gypsy and Turkish folk music (Gypsy Rum, 1995). His series of Soundways focused on traditional repertoire and the wildly different duo with electronic musician Pete Namlook (Sultan Osman, 2000). The unprecedented alliance with harmolodic electric bass player Jamaaladeen Tacuma (a frequent visitor to Istanbul) gave birth to Groove Alla Turca (Doublemoon, 2000), an Oriental/funk/hip-hop band where Oçal's Oriental players meet a heavy jazz group, including ex-Charles Mingus trumpeter Jack Walrath and graced by the voice of Turkish/American rapper Sultana. The group created a sensation in jazz festivals and clubs all over the world. A spectacular virtuoso on the darbuka, from which he extracts an astonishing variety of sounds and rhythms, Oçal's wide vision includes stately Ottoman tunes and contemporary turntablists, which he's more than happy to put side by side in his projects, relishing the clash of atmospheres and the audience's puzzlement. ~ Francesco Martinelli, All Music Guide

Bir Çalgıyım Göğsüne Yaslanmış

1. Part I 4:58
2. Part II 8:35
3. Part III 5:46
4. Part IV 11:42
5. Part V 9:40
6. Part VI 1:03
7. Part VII

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Bill Laswell - Hear No Evil

Posted By MiOd On Saturday, March 01, 2014 0 comments
On Hear No Evil, Bill Laswell attempts to fuse his love of Eastern musical forms and textures with the tonality and sensibility of the Western world. The result is a harmonious though rather benign combination, with much of the trappings of new age music. The album title can be taken at face value; there is no danger in sight. Mostly, the instrumentalists mesh perfectly in a pastoral blend that never drifts far from its harmonic center. Percussionists Zakir Hussain (tabla) and Aiyb Dieng (talking drums) produce the bulk of the rhythm and guitarist Nick Skopelitis and violinist Shankar weave pleasant, droning melodies around Laswell's rubbery bass playing. The only discord comes with "Assassin," an ineffective attempt at dark, throbbing funk. Still, the track serves as a good model for Laswell's approach. In this case, the West wins. Skopelitis delivers some banal rock licks over a beat that's not nearly as heavy as it might aspire to be. A mixture of tabla and talking drums makes its way into the music's pauses, providing an Eastern undercurrent, and Shankar lends a wordless vocal to the texture. The most successful track is the closing "Kingdom Come." The introduction highlights the group's percussion trio; Hussain is even allowed a captivating tabla solo, approaching his instrument like a drum kit. For once, the musicians are allowed some room to roam, and they delve into the beginnings of an engaging, improvised dialogue. While the fusion elements present on Hear No Evil may have seemed groundbreaking during the late '80s, the passing of time has not been so kind. Laswell's compositions take few risks, requiring the instrumentalists to pull more of the weight but, unfortunately, they remain too subdued.

Disc 1:
1-1. Lost Roads 7:26
1-2. Bullet Hole Memory 7:13
1-3. Illinois Central 6:59
1-4. Assassin 6:24
1-5. Stations Of The Cross 7:13
1-6. Kingdom Come 7:33

Disc 2:
2-1. Lost Roads Orchestral Site 18:07
2-2. Kingdom Come Ambient Site
WV (EAC Rip): 580 MB | MP3 - 320 kbs: 230 MB | Booklet Scans

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