WeLove-music

Nicholas Lens - Flamma Flamma, The Fire Requiem

noreply@blogger.com (JF Montréal) — Sat, 14 Nov 2009 11:39:48 PST

...don't listen to it by yourself in the dark...
Wow! While this piece can initially be beyond comprehension, with a second look it proves beautiful and mystifying. I first heard a few movements of Flamma Flamma during a performance of Agamemnon and, though I found the music disturbing, it has haunted me ever since. The bass and soprano are sublime. I highly recommend giving this recording a first and then a second look. ~Amazon.com

This large-scale work shares the late 20th century's interest in combining diverse musical cultures. It is structured to echo the form of a Requiem Mass, and is set for a classical orchestra and chorus, with six classical soloists, but it also has elements of ethnic music from around the world, especially the use of the "Bulgarian Voices," a folk-based ethnic ensemble that had gained international fame through recordings.

The text is by Herman Portocarero, who chose Latin for its singability, for its direct association with Roman Catholic ritual, and for its sense of timelessness and universality. The composer has written that to him the only thing that makes life bearable is death, or, rather the knowledge that death will bring it to an end. This insight, he says, makes it possible to enjoy life fully. He uses fire as a metaphor for death, and also as the agent that cleanses. He conceived this work as a kind of ritual that united the European classical culture with non-European cultures' magic. The classical soloists represent "six gods or the higher conscience of Man." The ethnic elements revitalize the weariness of European culture.

The text is deliberately shaped to echo the structure of the liturgical Mass for the Death. The instrumental soloists are a player of koto and bass koto, a player of three kinds of flute, a player of oboe and english horn, a trumpeter, four violinists, two percussionists, and a keyboard player. The work includes several other ethnic instruments and a notable use of electronic sounds. ~AllMusic.com

Track listing:
......................... MP3 .. |APE .. |TIME
[01]. Hic Iacet I ....... 216kbps 625kbps .. 5:42
[02]. Hic Iacet II ...... 228kbps 650kbps .. 9:08
[03]. Sumus Vicinae ..... 222kbps 759kbps .. 4:59
[04]. Tegite Specula .... 225kbps 651kbps .. 6:06
[05]. Complorate Filiae . 225kbps 675kbps .. 4:14
[06]. Vale Frater ....... 219kbps 675kbps .. 4:13
[07]. Amice Mi .......... 214kbps 692kbps .. 4:41
[08]. Corpus Inimici .... 238kbps 738kbps .. 5:26
[09]. Deliciae Meae ..... 216kbps 647kbps .. 4:54
[10]. Flamma Flamma ..... 228kbps 740kbps .. 3:19
[11]. Ave Ignis ......... 215kbps 634kbps .. 4:44
[12]. In Corpore ........ 233kbps 756kbps .. 4:59
[13]. Agnus Purus ....... 214kbps 651kbps .. 5:57
[14]. Ardeat Ignis ...... 206kbps 640kbps .. 7:17
AVG & Total ............. 221kbps 675kbps 1:15:46

Including covers (front, back, no CD, no booklet)
EAC Secure RIPped (from the RCA release in 1999)
MP3: Lame 3.98.2 -V0 -------------> mp3 (121mb)
APE: v4.06 Extra High (-c4000) ---> part1 | part2 | part3 | part4 (370mb)
30s sample per track, lo-fi MP3 --> here(amazon)

[end.]

Badi Assad - Verde

sue.miod@gmail.com (MiOd) — Sat, 14 Nov 2009 06:45:07 PST

The exotic, one of a kind Brazilian guitarist, singer, and rhythmic mouth and body percussionist has had a stop-and-start career with turns as mysterious and intriguing as

her music. After splashing on the scene with her Chesky debut Solo in 1994, continuing the stir (including vast critical acclaim) with Rhythms (1995) and releasing Chameleon on Verve in 1997, Badi Assad suffered from a series of personal issues that drew her back home for a few years. Fans who were excited about her 2003 re-emergence on the trio date Three Guitars with Larry Coryell and John Abercrombie will be beside themselves with the long-awaited Verde, her first solo project in six years. Those expecting a typical Brazilian vocal album -- she explains the title as "the shades of the Brazilian rain forest" -- will be surprised by Assad's versatility, which incorporates rhythmic textures from around the world. She opens with the very African-flavored voice and dense percussion call-and-response "Cheguei Meu Povo" and a vocal percussion pitter patter interlude before tapping into a sound more typical of classic romantic samba ("Basica"). That sultry side is balanced by her more aggressive vocal and guitar on the feisty "Nao Adianta," which blends modern rock influences with indigenous soundscaping, complete with birdcalls. Other tracks have slight classical leaning, and there's even a little avant-garde oddity apparent on the brief "Feminina." More mainstream ears will be glued to her sly, sexy reading of U2's "One" and soaring, folk- and chamber music-tinged take on Björk's dramatic "Bachelorette," which further confirms Assad's incredible willingness to tackle exotic challenges. Though all the stylistic zigzagging is fascinating, Assad is first and foremost a vocalist of heartbreaking intensity, and tracks like the mournful "Bom Dia Tristeza" best reflect her ability to penetrate the heart. ~ Jonathan Widran, All Music Guide

TRACK LISTINGS

(01) [Badi Assad] In my little white top
(02) [Badi Assad] Nao adianta
(03) [Badi Assad] One
(04) [Badi Assad] Voce nao entendeu nada
(05) [Badi Assad] Viola meu bem
(06) [Badi Assad] O verde e maravilha
(07) [Badi Assad] Feminina
(08) [Badi Assad] Bachelorette
(09) [Badi Assad] Seu delegado
(10) [Badi Assad] Estrangeiro em mim
(11) [Badi Assad] Bom dia tisteza
(12) [Badi Assad] The being between
(13) [Badi Assad] Valse d'amelie
(14) [Badi Assad] Asa branca

APE (EAC Rip): 220 MB | MP3 - 320 kbs: 110 MB | Scans

Archives have 5% of the information for restoration

APE
Part 1 | Part 2 | Part 3

OR MP3 320 kbps

Part 1 | Part 2

Egschiglen - Gereg (2007)

giancarlo.wlm@gmail.com (sublimit) — Fri, 13 Nov 2009 15:17:55 PST

This is Mongolian ensemble Egschiglen’s fourth album and the third to feature Amartuvshin’s fine Khöömii (Throat Singing). Amartuvshin comes from Chandman District in Western Mongolia, arguably the birthplace of Khöömii. His powerful singing retains much of the traditional styles of older singers such as Tserendavaa; however the influence of Tuvan Khöömei can be heard in the low Khargiraa (sub harmonic) style particularly on their renamed version of Huun Huur Tu’s classic ‘Kungurei’. Amartuvshin sings lyrics in Khailakh (a tense compressed guttural voice) or Khargiraa styles with the amazing non-verbal high melodic overtone style being featured on half a dozen cuts. His mastery enables him to sing the dizzyingly heights of the 16th harmonic and to adapt to unfamiliar musical settings. The one drawback is that his Khöömii can get lost in some of the overly dense arrangements.

1. Hunnu is a song from the 'deep past' of Mongolia - and a homage to the Huns who founded their legendary empire in the 3rd century BC between Lake Baikal, the Altai Mountains, the Chingan range and China, the first nomad empire of Central Asia consisting of 25 peoples. China tried to protect itself against the raids of the "barbarians of the north", as the Chinese farmers called the Huns disparagingly, by building the Great Wall. The empire of fearless nomad horsemen disintegrated after the death of their king Attila in 453 AD.
2. Goviin Magtaal : Paeans or songs of praise (magtaal) are sung to pay tribute to nature in itself, the spirits of nature or the Lamaistic gods or to praise individual mountains, rivers, animals or heroes. It is mainly camel-driving nomads who live in the Gobi Desert, so this paean is sung to the Gobi in the rhythm of the camel's footsteps. "From the blue gleaming steppe you come to visit us in the Gobi. When you visit us in the Gobi, you are cordially invited to our yurt. The doors of our white yurt are always open. With best wishes we invite you: take a seat on the north side of the yurt (place of honour), and the genial Gobi girl will entertain you with freshly brewed tea with camel's milk. Visit us in the Gobi, the home of countless herds - the fabulous Gobi."
3. Duuren Zaan : This composition is based on a myth about the legendary wrestler Duuren Zaan, a young man of the people who was killed by the people of the prince because he had defeated the prince's wrestlers. Earlier the wrestling competitions were arranged by princes, high state officials and religious dignitaries, they had their best fighters compete against each other, not uncommonly with fatal consequences. State and church, represented by their wrestlers, often carried out a power struggle. The church often won ...
4. Aisui Hulugiin Tuvurguun: "The echoing hoofs of the approaching horses", as the title of this piece is translated, is an anthem to the Naadam festival which is celebrated in Mongolia in the middle of July. Its roots go back to the time of the Huns and Genghis Khan. The three warlike 'basic sports' are the focus of the festival: wrestling, archery and horse racing. During the spectacular horse race which takes place over several days, hundreds of riders start well outside Ulan Bator and chase like a cloud of dust through the steppe up to the competition area, followed at breakneck speed by spectators in jeeps who can afford to watch the race from as close up as possible. The festival begins when the six to twelve-year old boys and girls climb into the saddles in order to take the horses into the race as jockeys. The first five winners are given a prize and awarded with a song of praise (moriny tsol). Successful horses can reach astronomical prices when sold - the breeding and the training of the animals are a science in themselves in which the experiences of the nomads and warriors over the centuries are passed down.
5. Jaran Zagaan Aduu: The sad old song of the Tuva people from the northwest tells the story of the time of the Manchu rulers in Mongolia (1691-1911). All men between 18 and 60 were liable to military service, many of them were drafted from the Manchurian central power, and hardly any returned: "Of sixty white horse herds / where are the best, my brothers / Of six regions of our country / Where are half of the people, my sister?"
6. Meeneg : Sun, moon and the endless starry sky have also always exerted their magical fascination on the Mongolian people. Shamanistic practices are also closely connected with the heavenly bodies here. The Buryat people from the northeast of Mongolia are the only ones who practice a round dance (yoohor) which describes the circle of the sun's orbit. It is accompanied by sung strophes which are improvised by individual singers and are answered in the chorus by all dancers. "Meeneg" is a love song and is widespread in the west of Buryatia in particular; in the eastern part it was banned by the Buddhist lamas and may be heard only at weddings.
7. Nutgiin Zamd : Amra, the khöömii virtuoso in the ensemble, comes from Chandman Sum in west Mongolia, the birthplace of overtone singing. Here the khöömii traditions go back more than 1,500 years, and from generation to generation the five most important khöömii variants are passed down. Khöömii is much more than 'just' the art of overtone singing. In Mongolia khöömii is also seen as a spiritual and magical art form which requires power, endurance, perseverance and comprehensive training - almost like a sport. Khöömii teaches the people to overcome difficulties and to enjoy the results of their work. People who do not respect difficulties or are not interested in overcoming them cannot become khöömii singers. In "Nutgiin Zarnd" Amra describes his (spiritual) journey home.
8. Huurhun Haluin : This ritual farewell song of parents for the bride is a traditional Mongolian long song (urtyn duu). It consists of three basic forms: extended long song, general long song and abbreviated long song (besreg). The verses of the besreg are short and its musical structure is less complex so that the lyrics - in this case advice to the bride to follow the words of the parents respectfully to maintain friendship with
the new sisters - can be understood better: "Your beautiful beige-coloured horse has a gentle character, but you still have to be careful when saddling. The customs are different in the foreign country. Wait until you
get used to these."
9. Adagio from the Ballet “Uran Has” : During the socialist period (1924 - 92) European art forms like classical music, opera and ballet came to Mongolia, and traditional Mongolian songs and dance melodies were Europeanised. Revolutionary lyrics were often combined with traditional melodies adapted in such a manner as they were seen as a symbol of the "new music for a new time". Jamyangiin Chuluun (1928 - 96), whose ballet "Uran Has" from 1973 was the basis for the Mongolian ballet school, received the state award in 1966 and later various other awards for his contribution to the development of classical music and ballet.
The ih Nur musician Uugan dedicates this composition to his friend Peter Lindi, with whom he built his Mongolian bass violin which can be heard for the first time on this recording.
10. Byan Hishig daa Lam : The band improvises on a humorous folksong, the title is the name of the protagonist.
11. Udelt : A short song like the Darhad from the northwest of Mongolia sing: the lyrics tell the story of a painful farewell.
12. Shigshergiin Ai : The melodies and rhythms of many short songs imitate noises, movements and the character of animals, especially horses. The gaits of a horse in particular are described meticulously and translated into music: walk, trot, gallop, amble etc. This song of the Dörvöd traces the amble of the fine brown horse and the sound of the harness magnificently decorated with silver work.
13. Chamagaa Gelgui Yahav : A short song of the Dörvöd people in the west of Mongolia: "Of sixty thousand sheep / The red ones are the best / Of a hundred thousand boys / You are my only sweetheart". Short songs (bogino duu) are very popular in northwest Mongolia, they are sung at casual meetings. The singer improvises his (often satirical) lyrics about everyday events, embarrassing behaviour, difficult relationships - or like in this song - about love.
14 Zezegtei Harmai : is a besreg duu, an abbreviated long song of the Darhad who live in the forested Taiga regions and breed yaks or reindeer. It describes the beauty of this region around the Harmai river and traces the contours of the mountains, valleys and steppes.
15. Bonus Track : For a while the band have pitched their yurt in the rural Bavarian area of Röthenbach an der Pegnitz, where they can hear unfamiliar sounds which they readily pick up and turn into music with a humorous wink - and when it is a Franconian peasant song.

Source: soundtransformations.btinternet.co.uk

MP3 160kbps 64MB | Front and back cover | Here

Egschiglen - Zazal (2002)

giancarlo.wlm@gmail.com (sublimit) — Fri, 13 Nov 2009 15:17:08 PST

Another fine CD by one of the current batch of groups from Mongolia. It features the marvellous khöömii of Amra (Amartuwshin Baasadorj) on at least five of the pieces. Finely recorded the Cd is a mix of traditional arrangements and contemporary compositions performed by Tume (Tumenbayar Migdory) on Morin Khuur & vocals, Tunuruu (Tumursaihan Yanlav) Morin khuur, aman khuur & vocals, Uugan (Uuganbaatar Tsend-Ochir) Ih Khuur, Boogi (Batbold Wandansenge) percussion, denshig, vocals and Saran (Sarangerel Tserevsamba) yoochin & vocals.

1. Hartai sarlag Traditional - arranged by Tumenbayar Migdori - solo khöömii vocals by Amra and solo vocals by Boogi
This song is inspired by an old melody of Durvud minority from the western region of Mongolia. It's used on the pastures as a calming song for yaks.
2. Uils dundaa sain Traditional - text and arrangement by Tumenbayar Migdorj - solo vocals by Amra, Boogi, Saran and Tummu
This is a folk song about the risks of alcohol. When alcohol remains in the bottle, there is calm, but when it is out of the bottle, there is a fiestiness. It is heard in toasts: Alcohol should only be used for the good things in life!
3. Yamaanii boodog Composed by Hangal - text by Amartuwshin Baasandorj - arranged by Uuganbaatar Tsend-Ochir - solo khöömii vocals by Amra
The “goat stone roast” is a Mongolian meat dish prepared for special occasions such as celebrations and long trips through the nature. During one such trip, the composer Hangal had the idea for this music. How to prepare “Yamaanii boodog”: The goat will be slaughtered, the head cut off, the innards will be taken out through the neck and seasoned with salt, onions and herbs. The goat will then be stuffed with this mixture and hot stones and grilled. Enjoy!
4. Han huhiin uuland Composed by Sharav and Mend-Amar - text and.arrangement by Tumenboyar Migdorj solo khöömii vocals by Amra and solo vocals by Boogi
This song is about Han Huhii mountains extend in the eastern area of Mongolia. The first part of this song, an instrumental by Mongolian composers Sharav and Mend-Amar, was originally written for flute. Egschiglen has re-arranged this song for traditional Mongolian instruments and the flute has been replaced by the khöömii.
5. Talin salhi Composed by Isao Tomita - text by Choinom - arranged by Tumenbayar Migdorj - solo khöömii vocals by Amra and solo female vocals by Saran
Egschiglen improvises from a Japanese melody with poems by a Mongolian poet. The song tells about several incidents in the 12th and 13th centuries during the period of Gengis Khans, who drastically altered the world of that time.
6. Mandluhai Composed by Janzannorov - text and arrangement by Tumenboyar Migdorj solo vocals by Amra, Boogi and Tummu.
This melody goes back to the Mongolian composer Janzannorov who studied in Kiev and Ulaan Bataar. Janzannorov is one of the most famous exponents of' Mongolian contemporary music. To date, he has composed more than 200 pieces for theatre and cinema. He is a contemporary and teacher of Egschiglen.
7. Herlengiin barya Traditional - arranged by Tumursahain solo morfin khuur by Tumruu.
This piece is inspired by the traditional “Long songs” (urtyn duu) known throughout Central Asia. These songs are extremley slow, serious and sad. Tumruu follows with his morin khuur the endless streaming river Herlen in the central east part of Mongolia.
8. Haramgui Composed, text and arrangement, solo khöömii vocals and moriin khuur by Amartuwshin Baasandorj
This song is a khöömii vocal improvisation. It's vocal style also called throat singing of diphonic singing. The vocalist Amra modulates between different techniques of this style requiring a complex interplay of abdominal breast and body breathing, of vocal cords, glottis and throat, of tongue, lips and oral cavity.
9. Setgeliin egshig Composed by Sharav - arranged by Uunganbaatar Tsend-Ochir.
This instrumental piece goes back to the early 1970 and is one of the first compositions of Mongolian modern classic music.
10. Morin khuur konzert Composed by Hangal - arranged by Tumenbayar Migdorj - solo moin khuur by Tume.
In the 1980's compositions for morin khuur and classical western instruments were written for the first time. Mongolian composer Hangal contributed many works during that time renewal, for the first time since the time of Gengis Khan, classical Mongolian music. Hangal studied at the music conservatory of Alma Ata and Svedolovsk. He received the most honoured and important art award of the Mongolian republic, the “Turin soerhol". His “Moriin khuur konzert" marked one of the most important turning points in Mongolian music history. This work has been re-arranged by Egschiglen for exclusivley traditional Mongolian instruments (morin khuur solo, morin khuur, yoochin, percussion, ih khuur).
11. Elstiin ganga Traditional - text and arrangements by Tumenboyar Migdorj - solo vocals by Amra, Boogi, Tume and Tummu
This melody is inspired by a folk song from the Darhad minority from the northern part of Mongolia.
12. Yan Tai Wan Göögöö Traditional - arranged by Tumenbayar Migdori - solo vocals by Saran
This love song is dedicated to a man called Yan Tai Wan Göögöö.
13. Builgan shar Traditional - arranged by Tumenbayar Migdorj
This composition is an allusion to the endless width of the landscapes of the Gobi desert and the camel herds which cross it. It is based on the traditional folk music the Gobi, homeland of the musicians Saran and Uugan.

Source: soundtransformations.btinternet.co.uk

MP3 160kbps 70MB | Front and back cover | Here

Egschiglen - Sounds of Mongolia (2001)

giancarlo.wlm@gmail.com (sublimit) — Fri, 13 Nov 2009 15:12:51 PST

Amra’s fine khöömii both his native Mongolian and heavily Tuvan influenced graces at least five tracks on this CD. The tracks that are less arranged show his techique better as sometimes the khöömii gets lost in the mix.

1. Huhu namyil (trad. arr. Tumenbayar Migdorj)
2. Ayaz (trad. arr. Tumenbayar Migdorj)
Improvisation to the melody of the folk song "Rising Sun". It tells about the feeling of longing for one's sweetheart: "The sun hides behind clouds. In the past three years I have always been with you in my dreams..."
3. Eruu cagaan bolimor (White-breasted Sparrow) (trad. arr. Tumenbayar Migdorj)
"The white-breasted sparrow is twittering in the morning. My beloved is moaning too much. The cuckoo is singing a beautiful song in the forest. But my beloved is thinking of leaving"
4. Tavan hasag (Five Kazakhs) (trad, arr. Tumenbayar Migdorj)
This song tells about five Kazakhs who robbed cattle from rich people and distributed them amongst the poor. The Kazakhs are a minority group in western Mongolia.
5. Horgoi torgon deel (trad. arr. Tumenbayar Migdorj)
This is an old folk song about the Mongolian national costume deel. The silk coat, which is very beautiful, has been made by the beloved with much hard work.
6. Tanz melody (trad. arr. Tumenbayar Migdorj)
Dance melody from western Mongolia.
7. Buyant gol (trad. arr. Tumenbayar Migdorj)
This song describes the beauty of nature around the river Buyant. It flows into lake Har Us in the eastern part of the Altai mountains.
8. Uglee shaazgai (trad. arr. Tumenbayar Migdorj)
The tile means "colourful magpie
9. Govin undur (The Hills in the Gobi) (trad. arr. Tumenbayar Migdorj)
A song in praise of nature and love.
10. Naadmin ugluu (The Naadam festival) (B. Sharav, arr. Tumenbayar Migdorj)
This instrumental piece describes the cheerful atmosphere of the morning on a Naadam-festival day. Naadam is the Mongolian national holiday, celebrated in the middle of July with horse races, wrestling competitions and archery.
11. Hadin oroigoor (Mountain tops) (trad. arr. Tumenbayar Migdorj)
This is a folk song of the Buriats, a Mongolian minority. The Buriats originally lived in Eastern Mongolia. This song originates from the 1930ies. During the October Revolution in 1917 many Buriats fled into Mongolia to escape Stalin, who persecuted them as 'counter revolutionaries' and had them murdered or deported into Siberia.
12. Durvun uul/ siilen buur (trad. arr. Tumenbayar Migdorj) Khoomii- Improvisation to popular Mongolian folk melodies.
13. Taivan namar (B. G. Birwaa, arr. Tumenbayar Migdorj, lyrics by Dashdoorov)
This is a song about the colours of the seasons:
"The colour of the quiet autumn is golden
The frost of the cold winter is hard
The wind of the coming spring is gentle
The air of the hot summer is clear."
14. Cenherlen haragdah uul (trad. arr. Tumenbayar Migdorj)
This song describes the beauty of the mountains shimmering in the distance. The melody is a solo improvisation on the joochin (dulcimer).
15. Boroonii uul (Rain-Clouds) (trad. arr. Tumenbayar Migdorj)
"Dark rain-clouds are flowing past me to the left and to the right - I cannot stop thinking about the neighbour's daughter."
16. Chandmani nutag (trad. arr. Tumenbayar Migdorj)
The Chandmani region is regarded as the home of khoomiisinging. The khoomii-soloist Amra of the ensemble Egschiglen comes from this region and dedicated this song to his homeland.
17. Temujin (trad. arr. Tumenbayar Migdorj)
This is a legend about the childhood of the national hero Genghis Kban, whose original name was Temujin.

Source: soundtransformations.btinternet.co.uk

MP3 128kbps 50MB | Front and back cover | Here

Egschiglen - Gobi (1997)

giancarlo.wlm@gmail.com (sublimit) — Fri, 13 Nov 2009 15:11:01 PST

The Ensemble Egschiglen ("Beautiful Melody") was founded in 1991 in Mongolia by students of the Conservatoire of Ulaanbaatar. Even today the four founding members still comprise the core of the group. The musicians concentrated on the contemporary music of their country and explored the dimensions of the sound of this repertoire with traditional Mongolian instruments and the vocal techniques of Central Asia.
The music of a country is shaped by its landscapes and how the people live. Mongolia, in the heart of Asia, is a vast country, about five times the size of Germany. In the South the boundless grasslands transform into the arid beauty of the Gobi desert. Clear rivers flow from the snow-covered mountains of the Altai and the Khangai through the forests into the plains. A large percentage of the just over two million Mongolians today still live as nomads, in harmony with nature and together with their "five jewels": their horses, camels, cattle, sheep and goats. The music of the Mongolians breathes the vastness and freedom and the power of a life in harmony with nature and the elements.
The musicians of the ensemble Egschiglen are musical ambassadors of their country. They bring to us the virtuoso musicality and harmonious sounds of their culture. The name Egschiglen means "melodious sound" or "beautiful melody". Tume (Tumenbayar Migdorj) and Tumru (Tumursaihan Yardav) sing and play the horsehead-violin morin kbuur, a string instrument with two horsehair strings, which is played like a cello. Uugan (Uuganbaatar Tsend-Ochir) plucks or bows the ih kbuu (bass). The solo vocalist Amra (Amartuwshin Baasandorj) sings in the khoomii style and plays a swan neck lute, called a tobsbuur. Khoomii is a special kind of throat-singing, where overtones are formed in addition to the basic tone. Saran (Sarangerel Tserevsarnba) plays a hammered dulcimer, the joochin and she is also the 'female voice' of the ensemble. Boogi (Wandansenge Batbold) plays the far-eastern percussion instruments and expertly sings second solo voice. It is not possible, unfortunately, to convey the dance of Ariunaa, acoustically. She performs at the concerts of the ensemble.
The music of Egschiglen shows an impressive variety and delicacy of expression. They play traditional pieces and works of contemporary Mongolian composers in sophisticated arrangements. The pieces often show a chamber music-like transparency and delicacy, others are of a rousing, earthy power. Occasionally one may imagine hearing the hoof beat of the small, tough Mongolian horses, on whose backs Ghengis Khan had founded the largest world empire of all times. Other pieces will lead you into the clear silence of the Gobi desert, where you can hear the wind sing in the dunes.
On the one hand, Mongolian sounds are strange and mysterious to western ears Especially the khoomii-singing is baffling and seem unbelievable. All these very deep and very high sounds should come from one throat at the same time? (They do!) On the other hand the music feels deeply familiar, for it expresses elementary human feelings, like happiness, longing, mourning and thankfulness. The musicians of Egschiglen lead us far away into the fascinating culture of their distant home and at the same time into the common centre of all human existence, beyond all cultural differences.

Gobi by Egschiglen (recorded 1997)

Quite contemporary arrangements of Magtaals, traditional melodies and western classical influenced pieces. The khöömii interest lies with the fantastic singing of Khosbayar who appears on five of the tracks on the CD. He along with Zulsar, seem to have created the kharkhiraa combined with khöömii style. All of the musicians are professionals and masters of their respective instruments.
1. Song of Praise to Genghis Khan 7’48 : A contemporary arrangement of this Magtaal with some great khöömii by Khosbajar and lush morin khuur playing
2. Gobi penetrating the Soul 7’39 : A Piece featuring exquisite Morin Khuur with a quaisi orchestral backing. It begins with a slow long song style movement followed by a fast horse galloping section mainly for yochin which leads into a very western style slower piece in which the yochin and morin khuur share roles.
3. Happy Milker 3’48 : Yatag and yoochin duo in two sections slow then fast, harking back to the times of the Yuan dynasty and the links that Mongolian music has with China.
4. Five different styles of Throat Singing 5’00 : When I saw Tserendaava in 1997 he thought that Khosbayar was a great young singer having control of the basic khöömii styles. This is basically an arrangement of Ganbold’s connecting khöömii styles. Khosbayar has a great tremolo on his karkhiraa and very good strength at his high-pitched drone khöömii. He manages a fairly good “borbannadyr” imitation and performs some fine nasal khöömii and does some strange glissando style tremelo on the last part of his kharkhiraa.
5. Concert for Joochin 4’53 : This is a Mongolian composed concerto for Joochin, a hammered dulcimer. It is far removed from the Mongolian tradition in that it uses diatonic major and minor scales and western classical music harmonies and cadences. The rhythmical aspect has the most Mongolian feel to it. This track clearly bears testament that many of the younger Mongolian musicians have been trained both in classical and traditional music.
6. Legend of a Horse 7’15 : Another Mongolian/classical crossover for Morin Khuurs. A slow romantic/melancholic section followed by the galloping section inspired by the Bii dancing of western Mongolia and returning to the slow movement of the beginning all in a strange hybrid classical diatonic/Mongolian pentatonic hybrid harmony.
7. Two Mongolian Traditional Songs 3.23 : A full ensemble plays these two pieces with Khosbayar singing his great “Zulsar” (I wonder who developed it first?) khöömii style of kharkhiraa combined with khöömii as well as some classical traditional khöömii.
8. On the High Henti Mountain 4.03 : Another ensemble piece with a slow then fast then medium section.
9. Manduul Khan 2.48 : Khosbayar sings this piece which has a slight Tuvan galloping feel at the beginning and then it moves into a duo of khöömii and khakhiraa (by Dagvan) with some tomor khuur speeding it all up to go back into the fast speedy section that it all starts with.
10. Concert for Jatang 8.03 : More western classical style Mongolian music.
11. Song of Praise to Altai and Changaj 5.07 : An Egschiglen style arrangement of this classic Magtaal.

Egschiglen are on this CD
Tumenbayar Migdorj - morin huur, voice
Huyagsaihan Luvsansharav - morin huur
Tumursaihan Janlav - morin huur, voice
Ganpurev Dagvan - bass, khoomii voice
Khosbajar Dangaa - khoomiii solo voice, tobshuur
Sarangerel Tserevsamba - joochin
Monh Erdene Chuluunbat - jatag

Source: soundtransformations.btinternet.co.uk

MP3 192kbps 82MB | Front cover | Here

Dave Brubeck Quartet - Double Live From The U.S.A. & U.K. (Disc 1 + 2)

fidofido45@yahoo.com (Fido) — Fri, 13 Nov 2009 13:04:17 PST

DOUBLE LIVE celebrates Dave Brubeck's 80th birthday featuring one live set in the United Kingdom and one in the National Cathedral, Washington, DC. Dave Brubeck Quartet: Dave Brubeck (piano); Bobby Militello (alto saxophone); Alec Dankworth, Jack Six (bass); Randy Jones (drums). Producers: Robert Woods, Elaine Martone, Russell Gloyd. Recorded at the Washington National Cathedral, Washington, D.C. on June 11 & 12, 1995; Royal Festical Hall, London, England on November 10, 1998; St. David's Hall, Cardiff, England on November 11, 1998; Derngate Hall, Northampton, England on November 12, 1998.
Bitrate: 224 kbps (VBR)-Channels: stereo-Samplerate: 48000-Encoder: LAME 3.98MPEG-1 layer 3

CD I - / - CD II

100 Best Romantic Classics

sue.miod@gmail.com (MiOd) — Fri, 13 Nov 2009 03:45:11 PST

CD1: From Russia with Romance,
CD2: An Austro-German Romance,
CD3: A French Romance,
CD4: Romance in a Cold Climate,
CD5: England and America in Love,
CD6: Mediterranean Romance.

This 6 CD set contains an unrivalled collection of 100 favourite romantic classics, performed by some of the world’s leading artists. Among them are the singers Maria Callas, Natalie Dessay, Angela Gheorghiu. Barbara Hendricks, Luciano Pavarotti and Kiri Te Kanawa; instrumentalists Leif Ove Andsnes, Martha Argerich, Jacqueline du Pré, Yehudi Menuhin, Anne-Sophie Mutter and Maxim Vengerov; plus conductors Mariss Jansons, Riccardo Muti, Antonio Pappano, André Previn, Sir Simon Rattle and Herbert von Karajan.

CD1 FROM RUSSIA WITH ROMANCE

[01]. TCHAIKOVSKY Piano Concerto No. 1
[02]. PROKOFIEV Romeo and Juliet, Balcony Scene
[03]. SHOSTAKOVICH The Gadfly, Romance
[04]. TCHAIKOVSKY Romeo and Juliet
[05]. RACHMANINOV Rhapsody on a Theme of Paganini
[06]. KHACHATURIAN Masquerade, Waltz
[07]. RACHMANINOV Vocalis
[08]. TCHAIKOVSKY The Nutcracker, Grand pas de deux
[09]. SHOSTAKOVICH Piano Concerto No. 2
[10]. RIMSKY-KORSAKOV Scheherazade
[11]. KHACHATURIAN Adagio of Spartacus and Phrygia
[12]. TCHAIKOVSKY Swan Lake, Scene
[13]. RACHMANINOV Piano Concerto No. 2
[14]. BORODIN Polovtsian Dances
[15]. RACHMANINOV Symphony No. 2
[16]. TCHAIKOVSKY The Sleeping Beauty, Waltz
[17]. STRAVINSKY L’Oiseau de feu

CD2 AN AUSTRO-GERMAN ROMANCE

[01]. MOZART Piano Concerto No. 21
[02]. MOZART Eine Kleine Nachtmusik
[03]. BEETHOVEN Moonlight Sonata
[04]. BEETHOVEN Emperor Concerto
[05]. MOZART Horn Concerto No. 4
[06]. MOZART Cosi fan tutte, Un’aura amorosa
[07]. BEETHOVEN Pathetique Sonata
[08]. MENDELSSOHN Violin Concerto
[09]. MOZART Clarinet Concerto
[10]. MENDELSSOHN Fruhlingslied
[11]. BRUCH Violin Concerto No. 1
[12]. MENDELSSOHN A Midsummer Night’s Dream, Nocturne
[13]. R. STRAUSS Four Last Songs, Beim Schlafengehen
[14]. J. STRAUSS II An der schonen blauen Donau
[15]. KREISLER Liebesleid
[16]. MENDELSSOHN A Midsummer Night’s Dream, Wedding March

CD3 A FRENCH ROMANCE

[01]. OFFENBACH Barcarolle
[02]. SAINT-SAENS Le Cygne
[03]. BIZET Carmen-Habanera
[04]. DEBUSSY Clair de lune
[05]. DELIBES Flower Duet
[06]. GOUNOD Faust, Ballet Music
[07]. SAINT-SAENS Mon Coeur s’ouvre a ta voix
[08]. FAURE Pavane
[09]. MARTINI Plaisir d’amour
[10]. SAINT-SAENS Romance
[11]. FAURE Berceuse
[12]. BIZET Carmen, Entr’acte to Act III
[13]. FAURE Chanson d’amour
[14]. SATIE Gymnopedie No. 1
[15]. DELIBES Sylvia, Intermezzo & Valse lente
[16]. MESSAGER Pas de deux pigeons
[17]. MASSENET Thais, Meditation

CD4 ROMANCE IN A COLD CLIMATE

[01]. GRIEG Peer Gynt, Morning
[02]. SMETENA Vltava
[03]. GRIEG Piano Concerto
[04]. DVORAK Symphony No. 9 From the New World
[05]. GRIEG Wedding Day at Troldhaugen
[06]. DVORAK Rusalka, Song to the Moon
[07]. CHOPIN Piano Concerto No. 1
[08]. DVORAK Humoresque
[09]. CHOPIN Prelude in A
[10]. LISZT Piano Concerto No. 1
[11]. SIBELIUS Pelleas et Melisande, At the Castle Gate
[12]. CHOPIN Berceuse
[13]. GADE Jealousy, Tango
[14]. CHOPIN Nocturne No. 2 in E flat
[15]. LISZT Liebestraum No. 3
[16]. LEHAR Die lustige Witwe, Vilja

CD5 ENGLAND & AMERICA IN LOVE

[01]. ELGAR Salut d’amour
[02]. VAUGHAN WILLIAMS Fantasia on Greensleeves
[03]. ELGAR Cello Concerto
[04]. VAUGHAN WILLIAMS The Lark Ascending
[05]. ELGAR Chanson de matin
[06]. VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis
[07]. LENNON & McCARTNEY Michelle
[08]. HOLST The Planets, Venus
[09]. McCARTNEY Standing Stone, Celebration
[10]. NYMAN Music from The Piano
[11]. MYERS Cavatina form The Deer Hunter
[12]. NEWMAN Music from American Beauty
[13]. HORNER My Heart Will Go On (Titanic)
[14]. VILLA-LOBOS Sentimental Melody
[15]. GERSHWIN Summertime
[16]. BERNSTEIN Somewhere
[17]. GERSHWIN Rhapsody in Blue

CD6 MEDITERRANEAN ROMANCE

[01]. MASCAGNI Cavalleria rusticana, Intermezzo
[02]. PUCCINI Gianni Schicchi, O mio babbino caro
[03]. ALBENIZ Tango
[04]. PUCCINI La rondine, Chi il bel sogno di Doretta
[05]. VIVALDI The Four Seasons, Spring
[06]. MONTEVERDI L’incoronazione di Poppea, Pur ti miro
[07]. BOCCHERINI Minuet
[08]. MASCAGNI L’amico Fritz, O amore, o bella luce del core
[09]. TARREGA Recuerdos de la Alhambra
[10]. ROTA Romeo & Juliet, Love Theme
[11]. RODRIGO Concierto de Aranjuez
[12]. PUCCINI Madama Butterfly, Vagliatemi bene
[13]. VIVALDI Guitar Concerto in D
[14]. SARASATE Zigeunerweisen
[15]. QUARANTOTTO Time to Say Goodbye
[16]. ALBENIZ Sevilla
[17]. PUCCINI Turnadot, Nessun dorma

MP3 - 320 kbs: 980 MB | Front Cover

Archives have 5% of the information for restoration

1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12

Fanfare Ciocarlia - Radio Pascani

sue.miod@gmail.com (MiOd) — Thu, 12 Nov 2009 00:31:56 PST

This 11-piece Romanian brass band plays a type of ecstatic, hyper, adrenaline-fueled gypsy music sometimes affectionately referred to as speed brass. After hearing just a couple of songs, it will not be hard to see why. This group is amazingly fast and tight, and their performances have a contagious energy that can be clearly felt whatever one's familiarity with the genre. The rhythm section consists of a couple of tubas and a lone bass drum, with the rest of the lineup composed of trumpets, clarinets, alto saxophones, and other horns. (It often sounds like there's a violin sawing away, but that isn't the case.) Most of the tunes are traditional pieces from Romania and neighboring lands -- the type of music that is played at rural weddings and ceremonies, and that has been for generations. However, this is clearly a living tradition: the performances are maniacally alive, and there isn't whiff of any sort of museum-grade preservationist ethic. Regardless of genre, music really doesn't get much faster or more delirious than what Fanfare Ciocarlia has to offer here. ~ William York, All Music Guide

TRACK LISTINGS

(01) [Fanfare Ciocărlia] Radio Paşcani
(02) [Fanfare Ciocărlia] Rusasca de la Buzdug
(03) [Fanfare Ciocărlia] Sîrba de la Zece Prajini
(04) [Fanfare Ciocărlia] Arâpeasca
(05) [Fanfare Ciocărlia] Doina şi balaşeanca
(06) [Fanfare Ciocărlia] Trio cu patru
(07) [Fanfare Ciocărlia] Hora cu strîgaturii
(08) [Fanfare Ciocărlia] Ciocărlia şi Suite
(09) [Fanfare Ciocărlia] Rusasca lui filon
(10) [Fanfare Ciocărlia] Manea
(11) [Fanfare Ciocărlia] Nicoleta
(12) [Fanfare Ciocărlia] Foxtrot
(13) [Fanfare Ciocărlia] Geamparale
(14) [Fanfare Ciocărlia] Bulgareasca
(15) [Fanfare Ciocărlia] Sîrba lui Sîcal
(16) [Fanfare Ciocărlia] Bâtuta la rînd
(17) [Fanfare Ciocărlia] Sîrba de la monastirea
(18) [Fanfare Ciocărlia] Dansul lui Şulo
(19) [Fanfare Ciocărlia] Lume, lume
(20) [Fanfare Ciocărlia] Ah Ya Bibi
(21) [Fanfare Ciocărlia] Hora de la Bucureşti
(22) [Fanfare Ciocărlia] Devlesa
(23) [Fanfare Ciocărlia] Rumba tziganeasca

Radio Paşcani is the first album released by Romanian twelve-piece Roma brass band Fanfare Ciocărlia. The album was recorded 1997 at Studio Electrocord in Bucharest, Romania, and mixed at Schalloran Tonstudio in Berlin, Germany. Producers are Henry Ernst and Helmut Neumann. The album was released 1998 by Piranha Musik.

WV (EAC Rip): 330 MB | MP3 - 320 kbs: 145 MB | Booklet Scans

Archives have 5% of the information for restoration

WV
Part 1 | Part 2 | Part 3 | Part 4

OR MP3 320 kbps
Part 1 | Part 2

Best of Modern Belly Dance from Arabia

sue.miod@gmail.com (MiOd) — Sat, 14 Nov 2009 04:56:59 PST

SAUDI ARABIA Aboud Abdel Al: Best of Modern Belly Dance from Arabia

This is a unique belly dance recording, from one of the most renowned violinists in the Middle East. Aboud Abdel Al, originally from Lebanon, writes his own arrangements, in his own, unique style. Enjoy!

TRACK LISTINGS

[01]. Sahira
[02]. Raksel Hawanem (Ladies Dance)
[03]. Aliek Asaal (Asking for you)
[04]. Ameint Bellah (I believe in God)
[05]. Rajeeh Yetaamar (Built again)
[06]. Zafatel Arouss (Brides Wedding)
[07]. Abarret Elshatt (I crossed the Sea)
[08]. Kouly Sanhgam
[09]. Al Aien (On my Eyes)
[10]. Saiedeh (Happiest)

WAV (EAC Rip): 580 MB | MP3 - 320 kbs: 140 MB | Covers

Archives have 5% of the information for restoration

WAV

OR MP3 320 kbps
Part 1 | Part 2

Ammar El Sherei - Night Boat To Cairo

noreply@blogger.com (Demnagirl) — Fri, 13 Nov 2009 21:44:52 PST

Track List
01.El-Helow Hayati
02.Sodfa
03.Beyni Wu Beynak
04.Fakarouni
05.Amal Hayati
06.Ba'eed Annak
07.Noura
08'Ala Bali
09.Ya Leyl
10.Ana Winta Lwahdina

Download HERE

Mohamed Abdel Wahab Collection 2

noreply@blogger.com (Demnagirl) — Fri, 13 Nov 2009 22:39:39 PST

Track List
01.Gafnoho
02.Khaief Akol
03.Seket Leh Ya Lesany
04.Ya Wabor Kole
05.Kan Agmal Youm
06.Ya Ward Min Yechterik
07.Belil Ya Rohi

Download HERE

Track List
01. Bafakar Fely Naseny
02. Lelet Hob
03. El Habeb Lelhagr Maiel

Download HERE

Track List
01.Shakl Tani
02.Ayazonu
03.Emta Taoud

Download HERE

Track List
01.Cleopatra
02.Han El Wod
03.Doa Al Sharq
04.Hayati

Download HERE

Dave Brubeck - We're All Together Again For The First Time

fidofido45@yahoo.com (Fido) — Tue, 10 Nov 2009 03:53:21 PST

During 1968-72, Brubeck's Quartet usually featured baritonist Gerry Mulligan, bassist Jack Six and drummer Alan Dawson. For this very logical record, altoist Paul Desmond (who was with Brubeck from 1951-67) makes the group a quintet and his interplay with Mulligan is consistently delightful. Together they are heard live in Europe on "Truth," Mulligan's "Unfinished Woman," "Rotterdam Blues" and a definitive 16-minute rendition of "Take Five." In addition, Desmond is showcased on "Koto Song" and as an encore Brubeck plays a lighthearted if brief "Sweet Georgia Brown." ~ Scott Yanow, All Music Guide.

Download

Fairuz - Wahdon

noreply@blogger.com (Demnagirl) — Fri, 13 Nov 2009 21:30:36 PST

AFTER SPLITTING WITH HER HUSBAND&MANAGER ......HERE SHE COMES BACK WITH THIS BEAUTIFUL ALBUM...MIXED AND DONE BY ZIAD HER SON. IT IS ALMOST GOOD AS HER PAST WORK....IT IS FOR THE PEOPLE WHO PREFER JAZZ AND POP THAN CLASSICAL ARABIC MUSIC......USING MODERN INSTRUMENTS AND JOINING THIS BEAUTIFUL VOICE..SOMETHING SPECIAL THAT IS VERY TOUCHY...COMES OUT. A MUST BUY ONE..THIS ALBUM CONTAINS ONLY FIVE TRACKS...BUT FIVE LOVELY ONES..WORDS CAN'T EXPLAIN BETTEER THAN LISTENING

Track List
01.Habaitak Ta Naseet Al Naoum
02.Baatliak
03.Ana Indi Haneen
04.Al Bostah
05.Wahdon

Download HERE
Download HERE

Fairuz - Kifak Inta

noreply@blogger.com (Demnagirl) — Fri, 13 Nov 2009 21:13:11 PST

In this album, which is by Fairuz's son Ziad Rahbani, Fairuz sounds unbelievably great, as usual. This album has a whole new experience to offer. It is one of a kind throughout the Arab world and sure enough throughout the entire world. With ingenious musical arrangements, masterful jazz and oriental music fusion, and the greatest singer of all time, Fairouz, this album is the best of Fairouz's collaboration with the ingenious Ziad. Interestingly enough, Kifak Inta was not received well by some of Fairuz's fans for the reason that it departed dramatically from Fairuz's previous line of work. Today, and almost 20 years after this album was first released, Kifak Inta is one of the most beloved Arab songs of all time. A classic for the ages!

Track List
01.Oughniat Al Wadaa
02.Fikon Tinsoo
03.Mukadima 87
04.Ya Laili Laili
05.Iaada
06.Prova (Kifak Inta)
07.Kifak Inta
08.Dhia'anou
09.Fi Shi Am'Bisseer
10.Indi Thika Feek
11.Mush Kissa Hai

Download HERE
Download HERE

Maroc: Musique Classique Andalou-Maghrebine

sue.miod@gmail.com (MiOd) — Sat, 07 Nov 2009 06:09:47 PST

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

TRACK LISTINGS

[01]. Nûba - Al-Hijâz Al-Kabîr
[02]. Nûba - Al-'Istihlâl

Credits
Orchestre De Fez (Main Performer), Pierre Bornard (Director), Pierre Bornard (Engineer), Sylvie Duvignau (Photography), Michael Vogel (Translation), Zajuli Shrifi Alawi (Viola), Abd Al'abah Amri (Darbouka), 'abd ar-Rahim Suiri (Vocals), Alain Duchemin (Engineer), Alain Duchemin (Editing), Ahmad Al'arabi (Taragat), Ahmad Al'arabi (Tars), al-Haj 'abd al-Krim al-Rayis (Rabab), Haj Abdelkrim al-Raïs (Leader), Louis Soret (Producer)

WAV tracks(EAC Rip): 510 MB | MP3 - 320 kbs: 120 MB | Covers

Archives have 5% of the information for restoration

WAV
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6

OR MP3 320 kbps
Part 1 | Part 2

Bellylicious 1&2 , Best of Bellybeats

noreply@blogger.com (Demnagirl) — Fri, 06 Nov 2009 23:31:32 PST

Bellylicious Vol.1

TRACK LISTINGS

[01].Desert Wind
[02].Crazy
[03].Last Chance
[04].Shaking The Time
[05].Freedom
[06].Maximum
[07].Drums of Joy
[08].Rhythmic
[09].Dreams
[10].Dum-Tek
[11].Istanbul Grooves
[12].Powerful
[13].Wishes
[14].Streams on The Nile

Bellylicious Vol.2

TRACK LISTINGS

[01].Cazima - Oriental Jazz n Bass
[02].Bairut biloma - Babylon to Beirut
[03].Reg Project - Trip to Anjar
[04].Said Mrad - Oriental Lament
[05].7 Days in Egypt - Ana El Hawa
[06].1001 Nightsociety - Ei zai(retro mix)
[07].Ellie attieh - shine
[08].Guy manoukian - Belly Bell
[09].Harem - clap the buka
[10].Alien the dj - World is not Enough
[11].Osane - Zalghouta
[12].Orient Funk - Arabian Funkatarium 2 4mix
[13].Kirpi - The song
[14].Abdullah Chhadeh and nara - bab sharqi
[15].Arithmetic - Oriental solo

Best of Bellybeats

TRACK LISTINGS

[01].Desert Wind
[02].Crazy
[03].Last Chance
[04].Shaking The Time
[05].Freedom
[06].Maximum
[07].Drums of Joy
[08].Rhythmic
[09].Dreams
[10].Dum-Tek
[11].Istanbul Grooves
[12].Powerful
[13].Wishes
[14].Streams on The Nile

Bellylicious Part 1
Bellylicious Part 2

Bellylicious 2

Best of Bellybeats

Mokhtar al Said & El Ferka el Masaya - AMAR 14 : JALILAH'S RAKS SHARKI 2

sue.miod@gmail.com (MiOd) — Thu, 05 Nov 2009 21:42:00 PST

Raks sharki (belly dance) classics arranged by Said and performed by his Cairene orchestra, El Ferka el Masaya.

The second volume of Jalilah's Raks Sharki albums featuring the veteran film music composer Mokhtar Al Said, conducting El Ferka el Masaya, an elite ensemble who have performed with many of the greatest names of Egyptian music. Once again Jalilah has assembled a collection of classic dance suites. Three routines in all, each with a drum solo which can also be performed seperately. But you don't have to be a dancer to enjoy the sumptuous and timeless sounds of Raks Sharki music at its best.

TRACK LISTINGS

[01]. Amar 14
[02]. Amar Andalus
[03]. Amar 14, Pt. 2
[04]. Enta Omri
[05]. Nagua's Tabla
[06]. Amar 14 [Final]
[07]. Eshta Ya Amar
[08]. Rakiya's Tabla
[09]. Eshta Ya Amar [Final]
[10]. Ya Amarti
[11]. Souhair's Tabla
[12]. Ya Amarti [Final]
[13]. Jalilah's Balady

WAV (EAC Rip): 610 MB | MP3 - 320 kbs: 150 MB | Covers

Archives have 5% of the information for restoration

WAV
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7

OR MP3 320 kbps
Part 1 | Part 2

Lakshminarayana Shankar - Soul Searcher

giancarlo.wlm@gmail.com (sublimit) — Thu, 05 Nov 2009 14:07:53 PST

Though rooted in the traditions of North Indian classical music, this album adds a subtle modern twist that makes it more digestible to Western ears. Soul Searcher consists of one 50-minute track that swells and recedes, evolving into an epic composition of almost otherworldly beauty. The music combines all the common elements of traditional Indian music -- syncopated tabla rhythms, droning tamboura, dazzling vocals -- with Shankar's breathtaking violin melodies, then adds keyboards courtesy of Peter Gabriel, who featured the violinist's talents prominently on Passion. Indian music has always had an influence over Western rock & roll bands, from the Beatles and Rolling Stones to Monster Magnet, and Soul Searcher is a wonderfully accessible introduction for newcomers looking to delve into the genre. ~ Bret Love, All Music Guide

TRACK LISTING:
1 - Soul Searcher 50:28

FLAC 291MB | Part 1 | Part 2 | Part 3 | Part 4
MP3 160kbps 63MB | Here

Full scans included in both archives

OTHER ALBUMS:
L. Shankar - Eternal Light (FLAC)
L. Shankar - Pancha Nadai Pallavi (FLAC)
L. Shankar - Who's to Know (FLAC)
L. Shankar - Raga Aberi

Fadi - Fairuziat Golden Hits Of Rahbani Brothers

noreply@blogger.com (Demnagirl) — Thu, 05 Nov 2009 05:34:13 PST

Track List
1 Nassam Aalayna El Hawa
2 Habbaytak Belsayf
3 Bektob Esmak
4 Shatti Ya Denyi
5 Sa'louni El Nass
6 Nehna Wel Amar Jiran
7 Tayr El Werwar
8 Akher Ayam El Sayfiyi
9 Kan El Zaman W kan
10 Kan Enna Tahoun
11 Bent El Shalabiya
12 A'tini El Naya Wa Ghanni

Download HERE

Listen With Style

noreply@blogger.com (Jazzmen) — Thu, 05 Nov 2009 02:13:03 PST

Listen With Style (Goodbye My Love)

Track Listings

[01].Tara Theme
[02].When A Child Is Born
[03].Feelings
[04].Annies Song
[05].La Paloma
[06].Volare
[07].House Of Rising Sun
[08].Always On My Mind
[09].Wind Beneath My Wings
[10].I Know Him So Well
[11].Flashdance (What A Feeling)
[12].Twin Peaks
[13].Sky
[14].The Breeze And I
[15].The Ferryman
[16].Maggie
[17].Song For Guy
[18].Beautiful Days
[19].Goodbye My Love
[20].Moonlight Love

HERE

Listen With Style (Just The Way You Are)

Track Listings

[01].Killing Me Softly
[02].Another Day In Paradise
[03].Tears In Heaven
[04].No Matter What
[05].Arthurs Theme
[06].Just The Way You Are
[07].Sometimes When We Touch
[08].Form A Distance
[09].Youre Still The One
[10].Guantanamera
[11].I Dont Want To Miss A Thing
[12].Unchained Melody / Save The Last Dance
[13].Somewhere Out There
[14].Nikita
[15].Elvira Madigan
[16].Eye Level
[17].La Bamba
[18].Forever And Ever
[19].Dreams Are Made To Last Forever
[20].Bilitis

HERE

Image (Emotional & Relaxing)

noreply@blogger.com (Jazzmen) — Wed, 04 Nov 2009 22:23:33 PST

Image 6 (Emotional & Relaxing)

TRACK LISTINGS

[01]. Jake Shimabukuro - Hula Girl
[02]. Fumiaki Miyamoto - Ashita no Kioku
[03]. Takashi Kako - Eiga(Hakase no Aishi ta Suushiki) Yori Ai no Te
[04]. Gontiti - Kun to Sumu Machi de
[05]. Taro Hakase - Riser
[06]. Haketa Takefumi - Turandot(Live Image Style)
[07]. Nodame Orchestra - Rhapsody In Blue(Ending Version)
[08]. Matsutani Takashi - Kenchou no Hoshi Teema Shinjitsu O Motome te
[09]. Makoto Matsushita - Ajiantamuburu Kumikyoku Dai 3 Kyoku: Ai no Kioku
[10]. Naoto -Blue'G'
[11]. Carlos Nunez - Aren no Michi - Gedo SenkiJokyoku
[12]. Toshiaki Matsumoto - Passion Cachee (Passhon Kashe)(Hime ta Omoi)
[13]. Dai Kimura - Londonderry no Uta
[14]. Ryota Komatsu - Nostalgico (Nosutaruhiko)
[15]. Toshiyuki Kishi - Gaia no Yoake (Kodou)
[16]. IwaoeFurusawa - Omoi no Todoku hi
[17]. Vangelis - Titans

| MP3 VBR H.Q kbps | Booklet Scans | 100 MB | 2007 |

HERE

Charlie Haden (The Montréal Tapes) - Gonzalo Rubalcaba, Paul Motian

noreply@blogger.com (JF Montréal) — Wed, 04 Nov 2009 19:46:28 PST

On the 10th Montréal Jazz Fest, Charlie was given 'carte blanche', the presence of the young virtuoso Gonzalo Rubalcaba alongside Charlie Haden was just as exciting. In 1989, the 'Festival International de Jazz de Montréal' organized a series of eight tribute concerts to Charlie Haden. On July 3, 1989 with Gonzalo Rubalcaba and Paul Motian.

Track listing:
..................... MP3 .. |APE .. |TIME
[01]. Vignette ...... 234kbps 533kbps . 11:12
[02]. Bay City ...... 247kbps 699kbps . 10:43
[03]. La Pasionaria . 238kbps 610kbps . 14:18
[04]. Silence ....... 231kbps 547kbps .. 7:48
[05]. The Blessing .. 250kbps 786kbps .. 9:28
[06]. Solar ......... 252kbps 775kbps . 10:23
AVG & Total ......... 242kbps 656kbps 1:03:55

Including Covers (front, back, CD, booklet)
EAC Secure RIPped
MP3: Lame 3.98.2 -V0 -------------> mp3 (112mb)
APE: v4.06 Extra High (-c4000) ---> part1 | part2 | part3 (306mb)
30s sample per track, lo-fi MP3 --> sample (4.1mb)

[end.]

David Krakauer - Klezmer Madness!

giancarlo.wlm@gmail.com (sublimit) — Thu, 05 Nov 2009 14:09:35 PST

Clarinetist David Krakauer is an accomplished performer and composer in classical music, jazz, and klezmer-based music. After completing his master's degree at Juilliard -- where he studied under Leon Russianoff -- Krakauer studied at Sarah Lawrence College and the Paris Conservatory. While in his early 20s, he had turned away from playing jazz to focus on his classical career. Krakauer went on to record for the Nonesuch, Xenophile, Eva, Opus One and CRI labels. He has played with the Philadelphia Orchestra, the Brooklyn Philharmonic, John Cage, the Kronos Quartet, and various other chamber music groups. Krakauer has performed many solo shows and given residency workshops through the Affiliate Artists program and the Concert Artists Guild. In the past, Krakauer has been a member of the clarinet and chamber music faculties of the Manhattan School of Music, the Mannes College of Music and Queens College. He has composed works for NewBand, the AIDS Quilt Songbook, as well as his own solo performances. A concert of particular note was his solo performance of Luciano Berio's famously difficult clarinet Sequenza for an audience that included Berio himself. Krakauer also performed with Itzhak Perlman for klezmer's debut on David Letterman.
In the '80s, Krakauer began playing klezmer for the first time (although he was raised in a musical home, he didn't hear klezmer as a child); this got him back into improvising, and soon he was composing a freestyle klezmer that combined traditional forms with a variety of jazz (even funk) influences, and explored the possibilities of the clarinet. A member of the Klezmatics through their first 3 albums, Krakauer went on to lead Klezmer Madness! which had two releases in the late '90s on the Tzadik label. ~ Joslyn Layne, All Music Guide

ABOUT THIS ALBUM:
David Krakauer's Klezmer Madness sits on the edge of the Klezmer tradition and is always jabbing at its boundaries. The music is always a little bit more unbridled, a bit more passionate, and a tad more discordant than your bubbe's klezmer records, which is not to say that it falls into the same camp as other punk, pop, or jazz-oriented groups that treat klezmer like a quaint novelty. Krakauer, with his virtuoso clarinet playing and incredibly tight and talented backing band, always shows respect for the heart of klezmer music -- these songs orbit around a pure core. The only tune which truly journeys out into left field is "Living With the H," which deconstructs and reassembles the ubiquitous classic "Hava Nagila," a song which almost begs to be messed with. The effect is not unlike a jazz band who can tip their hats to tradition without having to hash out another tired version of "My Foolish Heart." Krakauer has accepted that klezmer has never been a static form of music and has no problem imbuing his own sense of creativity into Klezmer Madness within the constraints of this classic style. ~ Stacia Proefrock, All Music Guide

TRACK LISTING:
1. Africa Bulgar - 3:43
2. Bogota Bulgar - 4:06
3. A Few Bowls Terkish - 4:37
4. At the Rabbit's Table - 5:14
5. Doina/Death March Suite - 10:32
6. Funky Dave - 5:53
7. The Ballad of Chernobyl - 5:19
8. Gong Doina - 2:19
9. Living With the H Tune - 6:03
10. Rachab - 1:27

FLAC 282MB | Part 1 | Part 2 | Part 3
MP3 320kbps 114MB | Part 1 | Part 2

Full scans included in both archives

Khalife Mirzâ Âghe Ghowsi - Qâderi Dervishes of Kurdistan

sue.miod@gmail.com (MiOd) — Wed, 04 Nov 2009 04:18:28 PST

Khalife Mirzâ Âghe Ghowsi: Zekr-e Yâ Rahmân
Sufi Music. Qâderi Dervishes of Kurdistan (Regional Music of Iran, vol. 18)
Credits to "shajarian"

Qaderiye Sufi Order

Qaderi Sufi order, with followers in Iran, Iraq, Turkey, Afghanistan, Pakistan and India, knows itself as based on mystical doctrines of Sheykh Abdolqader Gilani. However, according to history the famous Hanbali jurist of the 6th century after Hegira, himself did not found an order, and left it to his followers to enter such an endeavor. Qaderiye Order became known only as late as 9th century after Hegira, and is amongst few dervish orders, whose music ceremonies even nowadays, after issuing the permission by Khalife, are accompanied by miracles and wonders.

The order divides itself into two main branches known as Talebani, and Kasnazani. Their ceremonies are usually held on Fridays. Apart from this day, some beatific days in the calendar such as ‘eyd-e azha, the Prophet’s Birthday, the day of Prophet’s Ascension (known as mi’raj), occasions their ceremonies. Dervishes’ presence in front of their audience does not ruin the authenticity and quality of their performances; they are not bothered when witnessed by ordinary people. They even install loudspeakers outside their khaneqahs, in different neighborhoods, to communicate with other people through their music ceremonies.

Each Qaderi zekr is composed of two distinct sections: zekr-e tahlil and zekr-e qiyam. The former (known also as zekr-e neshaste) begins with avaz in free meter, something more like a speech-song. The words sung in this section are salavat, and eulogies to mystics and saints. Afterwards, it comes the turn of metric numbers, occasionally comprising nearly the whole part of section. Each number includes a short theme in few measures, on words of Persian or Kurdish classical poetry, and accompanied by daf. More sophisticated pieces have the same quality as that of a highly developed tasnif. This section with its irresistible rhythmic patterns played by daf ensemble, could be regarded as an authentic Sama’ ceremony. Ney is the only melodic instrument used in Sama’, but it is not ubiquitously found in qaderi music festivals. On the opposite, daf is the most esteemed instrument and its presence a conditio sine qua non. Daf elevates the players and listeners alike to a state of rapture. And is regarded as a holy instrument with a rich symbolism; e.g. the number of its chain loops (namely 101) is the number of attributes of the Supreme Being.

Zekr-e qiyam (or zekr-e tawhid) comes immediately after zekr-e tahlil. All performers stand up and sing to the rhythms of daf and tabl. Sometimes, on the ostinato rhythm in the background, few or more dervishes begin to sing separately, creating a unique combination of sound and poetry. At this moment and after some transient fluctuations, the rhythm usually speeds up, and duple meter turns into triple meter. The participants whirl around and respond with their audibly loud breathings to zekrs. Gradually all are transported, and at this very moment each person begins to sing his own zekr without any concern about being concordant to others. The rhythms again begin to accelerate and 1-2 minutes before reaching the end, daf players stop playing and a very fast zekr is sung.

The whole lot that could extend from 45 minutes to more than 2 hours, is terminated with zekr “Allah Allah Allah Hey!” and a requiem for the dead.

The pieces 1, 3, 5, 9, 13 are song before daf playing of zekr-e tahlil, the pieces 6, 7, 8, 11, 12 are performed with daf accompaniment at zekr-e tahlil, and pieces 2, 4, 10 belong to zekr-e qiyam.

TRACK LISTINGS

[01]. Besmellâh
[02]. Fadâ-ye Rokhsâr
[03]. Ey Khodâyâ
[04]. Rafiqân
[05]. Maqâm
[06]. Mâ dar o Jahân
[07]. Zekr-e Yâ Rahmân
[08]. Yâ Rasulallâh I
[09]. Na't
[10]. Ey Mâh-e 'Âlamsuz
[11]. Az Gol porsidam
[12]. Dülbar
[13]. Salavât

APE (EAC Rip): 340 MB | MP3 - 320 kbs: 145 MB | Booklet Scans

Archives have 5% of the information for restoration

APE
Part 1 | Part 2 | Part 3 | Part 4

OR MP3 320 kbps
Part 1 | Part 2