| rss2email.ru |
 Благотворительный фонд Чулпан Хаматовой  |  Удобные штучки  |  Вишневые креветки в домашнем аквариуме  |  YESWAY.RU -необычное красивое интересное  |
 |  WeLove-musicMusic of the World speaks of peoples with their unique originality and of Mankind in all its precious diversity. Are you interested in World Music? If so - let's keep in touch! http://www.welove-music.net/ рекомендовать друзьям >> |
- Nusrat Fateh Ali Khan & Michael Brook - Night SongNight Song is the second collaboration between Nusrat Fateh Ali Khan and Michael Brook on Real World Records. (The first is Mustt Mustt.) Kahn is best known as a Qawaal spiritual singer, while Brook is known as a producer, guitar player and maker of ethno-ambient music. Together they take the listener on an enchanting musical journey. This CD magically finds its way into my player when I want to listen to something different -- yet still somehow familiar. Khan sings with all of his heart and frequently makes the hairs on the back of my neck stand up. Brook's music and production is easy to listen to and marvelously complements Khan's voice. The music never overpowers his voice -- instead it floats around and through the words he sings and chants. Strong bass beats are contained in some songs. "Lament" has enough bass to move my diaphragm even at non-painful volume levels. The variances in Khan's voice are truly amazing. He at times sings with such longing in his voice as in the song "Lament," while he can also sing at breakneck speed as in parts of "Sweet Pain." This is not a traditional Qawaal album, so those looking for Khan at his most traditional may be a bit disappointed. A bit of controversy surrounds the CD because some of the songs have a bit of a pop-like feel. The boundary into pop music is never totally crossed, but this could explain why the album feels familiar while still being unlike anything I've heard before. Instead of it being a criticism, I believe the minor pop feel is a positive aspect as it makes the album approachable to more people. Night Song is a perfect introduction to Qawaal singing for an adventurous listener trying to discover different types of music.
Canadian guitarist Michael Brook worked with Nusrat to create the 1990 crossover hit Mustt Mustt, and the release was hailed internationally and credited with leading Pakistani youth to discover Sufi religious music, qawwali. This follow-up project helped establish something of a tradition for Real World crossover projects. The genre features dreamy, atmospheric keyboards and guitars, simple, mid-tempo rhythms, and a kind of low-key understatement that, depending on your point of view, sounds either profoundly mystical or else tedious and bland. With West African kora and electronic backing and Nusrat singing in a relaxed mid-range voice, the opener "My Heart, My Life" sounds almost like a Salif Keita ballad as it works up to its energized closing chant. "My Comfort Remains" and "Crest" are essentially pop numbers with catchy melodies, the former bouncy but static, the latter building towards a revelatory crescendo. Not until the fifth of eight tracks, "Longing," do we hear Nusrat's signature scat singing and his singular wail, unmistakable even when lavished with effects. "Sweet Pain" might be the strongest track, beginning deep in dream space with a wandering bassline and a simple backbeat, and then heating up to powerful close with Nusrat delivering spitfire scat. Wherever you stand on Real World's arty aesthetics, you have to admire the qawwali star's sense of adventure here. You also have to recognize that no crossover project, including Nusrat's far more fun collaboration with London DJ Bally Sagoo, approaches the power of his standard fare qawwali. ~ Banning Eyre, All Music Guide
(01) [Nusrat Fateh Ali Khan & Michael Brook] My Heart, My Life
(02) [Nusrat Fateh Ali Khan & Michael Brook] Intoxicated
(03) [Nusrat Fateh Ali Khan & Michael Brook] Lament
(04) [Nusrat Fateh Ali Khan & Michael Brook] My Comfort Remains
(05) [Nusrat Fateh Ali Khan & Michael Brook] Longing
(06) [Nusrat Fateh Ali Khan & Michael Brook] Sweet Pain
(07) [Nusrat Fateh Ali Khan & Michael Brook] Night Song
(08) [Nusrat Fateh Ali Khan & Michael Brook] Crest
APE(EAC Rip): 270 MB | MP3 - 320 kbs: 130 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
Переслать - Putumayo Presents: Women of the World - Acoustic
An exploration of contemporary acoustic music by some of the world's leading female artists
There are a whole lot of women who make acoustic music, so the best Putumayo could hope for, on this seemingly random collection, is that the 11 chosen tracks somehow manage to cohere. They do, despite the geographical range: the artists traverse the globe from the Czech Republic (Marta Topferova) to Algeria (Mona) to Canada (the Wailin' Jennys). Although they all perform acoustically, that should not necessarily be construed as meaning that these performances are all subdued or timid. Cape Verde's Lura may not have the experienced, weather-beaten voice of her country's legendary Césaria Évora, but her contribution, "Bida Mariadu," is exhilarating in its lushness. Greece's Anastasia Moutsatsou also delivers a fiery performance with her "Ola Ta Aiskola" and Tamara Obrovac, from Croatia, renders her sensual "Tuca' La Louna" with a dramatic flair. Some tracks do play it cool: Emiliana Torrini, claiming both Icelandic and Italian heritage, is best known as the vocalist behind "Gollum's Song" from the film Lord of the Rings: The Two Towers. Accompanied by a lone guitar, she prefers a breathy, tender approach for "Sunnyroad." The Wailin' Jennys, too, keep it simple, allowing their close harmonies to do most of the heavy work on "One Voice," the album's fine closer, a symbolic statement whether it intends to be or not. ~ Jeff Tamarkin, All Music Guide
Released partly to celebrate International Women's Day, a holiday recognized by the United Nations, these eleven unplugged tunes from as many female singers make wonderfully varied and pleasurable listening. And the performers' backgrounds are equally fascinating. Some are comparatively well-known; Sandrine Kiberlain is a French movie star while The Wailin' Jennys, from Canada, have appeared on Prairie Home Companion. Meanwhile, Emiliana Torrini, of Icelandic-Italian parentage, made her mark with "Gollum's Song" from the second Lord of the Rings soundtrack. Others found their voices through travel--Luca Mundaca was born in Chile, irresistibly drawn to Brazil, and now lives in the USA. Marta Topferova has achieved such an effortless command of South American traditions that hardly anyone ever guesses that she is originally from the Czech Republic. As each lady in turn assumes center stage, she bewitches all comers with her own brand of adroitness, confidence and charm. Although the music is, for the most part, richly redolent of folkloric sources, many of the artists display a neo-cabaret sophistication that somehow never lapses into world-weariness. A final note: a portion of the proceeds from the sale of this album will be donated to the Global Fund For Women, a good cause if ever there was one. --Christina Roden
On March 8, women all over the world celebrate International Women's Day. A national holiday in many countries and commemorated by the United Nations, International Women's Day is the story of ordinary women as makers of history. Though often divided by national boundaries and by ethnic, linguistic, cultural, economic and political differences, this day allows women everywhere to look back on a tradition of struggle for equality, justice, peace and development. As a tribute to this tradition, Putumayo World Music presents an album that literally sings its praises. Women of the World: Acoustic is an exploration of acoustic music by some of the world's leading female artists.
1. M'envoyer des Fleurs - Sandrine Kiberlain (France)
2. Grano de Arena - Marta Topferova (Czech Republic)
3. Sunnyroad - Emiliana Torrini (Iceland/Italy)
4. Não se Apavore - Luca Mundaca (Brazil)
5. Bida Mariadu - Lura (Cape Verde)
6. Sekna - Mona (Algeria)
7. Tuca' La Louna - Tamara Obrovac (Croatia)
8. Ola Ta Aiskola - Anastasia Moutsatsou (Greece)
9. Paula Ausente - Marta Gómez (Colombia)
10. Wa - Kaissa (Cameroon)
11. One Voice - The Wailin' Jennys (Canada)
FLAC tracks (EAC Rip): 240 MB | MP3 - 320 kbs: 95 MB | Covers
FLAC
Part 1 | Part 2
OR MP3 320 kbps
Part 1
Переслать - Putumayo Presents: Swing Around The WorldSwing Around the World is certainly an unusual set, featuring modern swing and retro-swing as performed in several countries, most from the late 20th and early 21st centuries. The most interesting selections are the rarest ones, including selections from bands based in Zimbabwe, Mauritius, and Hawaii. The six numbers from American groups are largely unnecessary since several are common, and Clark Terry's "Mumbles" (though a classic of its kind) is a bit out of place. Several of the groups are strongly influenced by Django Reinhardt and Stephane Grappelli. It is a pity that the complete personnel and dates are not given; however, there are enough interesting and rare performances to make this project of interest. ~ Scott Yanow, All Music Guide
Putumayo gets the whole world swinging with this collection of 12 jazzy numbers that will bring everybody to their feet, dancing and swaying to the infectious beats of artists from an interesting variety of countries and cultures. Proceeds from the sale of this be-bopping, show-stopping CD will benefit the non-profit National Dance Institute, an organization that brings innovative dance and music programs into New York City public schools and affiliated educational organizations around the country.
Swing music took the world by storm after its initial craze in the United States during the 1930s and 40s. Artists in places as far-flung as southern Africa, France and Hawaii blended swing and jazz into their own local music to create unique expressions. Jacob Edgar, Vice President of A&R at Putumayo World Music, had a lot of fun finding tracks for Swing Around the World. "Swing is such an accessible kind of music. Anyone can enjoy it. Like reggae, it's been adopted and arranged by artists everywhere." Edgar notes the wide variety of interpretations on Swing Around the World, from the African inflections of the Cool Crooners of Bulawayo (Zimbabwe), the bayou flavors of the Jambalaya Cajun Band to the minor key gypsy style tribute to Django Reinhardt served up by the Children of the Revolution. "Swing was the rock and roll of its time, and it still engages people today. It's just good-time, feel-good party music," says Edgar. Of course, American bands like the Squirrel Nut Zippers, the New Orleans Jazz Vipers and Duke Heitger and his Swing Band all embody the swing spirit and keep audiences jitterbugging and lindy-hopping all over the country.
[01]. I Van Enkulu - Cool Crooners of Bulawayo
[02]. Mari Niça Swing - Triton
[03]. Pallin' With Al - Squirrel Nut Zippers
[04]. Mumbles - Oscar Peterson, Clark Terry
[05]. Fotoromanza - Alfredo Rey,
[06]. Swing Pan Alley - Duke Heitger & His Swing Band, ,
[07]. Mamma Mi Piace il Ritmo - Renzo Arbore, , I Suoi Swing Maniacs
[08]. Blue Drag - New Orleans Jazz Vipers
[09]. Gypsy Fire - Romane
[10]. Opihi Man - Ka'au Crater Boys
[11]. Hey, Rock - Jambalaya
[12]. Minor Swing (To Django) - Children of the Revolution
FLAC tracks (EAC Rip): 580 MB | MP3 - 320 kbs: 100 MB | Covers
Archives have 5% of the information for restoration
FLAC
Part 1 | Part 2 | Covers
OR MP3 320 kbps
HERE
Переслать - Paco De Lucia - AntologiaAfter Paco de Lucía's long and celebrated career was rewarded with the 2004 Prince of Asturias Prize, this anthology is released, which, in a double CD, gathers pieces dating back to his early recordings from the 1960s ('Punta Umbría' and 'En la Caleta'), passing through the rumbas, fandangos and tangos of the 1970s and 1980s, and which, of course, includes his famous 'Entre dos aguas', which was also immortalised for posterity in the compilation chill-out album 'Café del Mar'.
The role of the flamenco guitar has evolved through the playing of Paco de Lucia (born Francisco Sanchez Gomez). The son of flamenco guitarist Antonio Sanchez and the brother of a flamenco guitarist, Ramon, and flamenco singer, Pepe, de Lucia has extended the former accompaniment-only tradition of flamenco guitar to include deeply personal melodic statements and modern instrumentation. His collaborations have included ten albums with late flamenco vocalist El Camaron de la Isla and work with American pianist Chick Corea and the Guitar Trio, featuring guitarists John McLaughlin, Larry Coryell, and Al DiMeola. His recordings with his sextet, which includes his brothers Ramon and Pepe, include such groundbreaking masterpieces as La Fabulosa Guitarra de Paco de Lucia, Fantasia Flamenca, Fuente y Caudal, Almoraima, and Zyryab. Yet, de Lucia has not completely forsaken traditional flamenco. His 1980 album, Interpreta a Manuel de Falla, paid homage to the classical composer and flamenco enthusiast, while his 1987 album, Siroco, marked a return to pure flamenco. "I have never lost the roots in my music," de Lucia said during a late-'90s interview, "because I would lose myself. What I have tried to do is have a hand holding onto tradition and the other scratching, digging in other places, trying to find new things I can bring into flamenco." Born in Algeciras, a small city in southernmost Spain's Cadiz province, de Lucia was bred to be a world-class musician. He trained with his father and brother from the age of five. Mastering the art of flamenco guitar by his 11th birthday, he made his public performance debut on Radio Algeciras in 1958. A year later, he received a special award at the Festival Concurso International Flamenco de Jerez de la Frontera. Heralded as a child prodigy, de Lucia was invited to join the flamenco troupe led by dancer Jose Greco at the age of 16. He remained with the group for three years. A turning point in de Lucia's musical development came while on tour with Greco's troupe in North America. Meeting Sabicas, the first flamenco guitarist to tour the world, he was instructed to pursue his own style of playing. Although he remained tied to traditional flamenco on his first two solo albums -- La Fabulosa Guitarra de Paco de Lucia in 1967 and Fantasia Flamenca in 1969 -- and recorded ten albums accompanying flamenco vocalist de la Isla, de Lucia continued to seek a personal approach. ~ Craig Harris, All Music Guide
TRACK LISTINGS
Disc: 1
1-01 Almoraima Bulerias
1-02 Cancion De Amor
1-03 Gloria Al Nino Ricardo Solea
1-04 Solo Quiero Caminar Tangos
1-05 Punta Umbria Fandangos
1-06 Rio Ancho Rumba
1-07 Danza Ritual Del Fuego "El Amor Brujo"
1-08 Compadres Bulerias
1-09 Fuente Y Caudal Taranta
1-10 Casilda Tanguillos
1-11 Cepa Andaluza Buleria
1-12 Rumba Improvisada
Disc: 2
2-01 Zyryab "Melodia Del Puente" De J. A. Amargos
2-02 Guajiras De Lucia
2-03 Cobre Sevillanas
2-04 Monasterio De Sal Colombianas
2-05 Cana De Azucar Rumba
2-06 Barrio La Vina Alegrias
2-07 Tio Sabas Tarantas. Homenaje A Sabicas
2-08 La Barrosa Alegrias
2-09 La Cueva Del Gato Rondena
2-10 Chiquito
2-11 En La Caleta Malaguenas
2-12 Entre Dos Aguas Rumba
2-13 Aranjuez. Allegro Con Spirito
APE (EAC Rip): 620 MB | MP3 - 320 kbs: 280 MB | Scans
Archives have 5% of the information for restoration
APE
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6
OR MP3 320 kbps
Part 1 | Part 2 | Part 3
Переслать - Putumayo Presents: Women of JazzAs Putumayo builds its genre base to include a little more than its initial world pop, jazz appears to be one of the first targets on their continued march. Hearkening back to some of their older releases focusing on women, here the label collects a series of female jazz performers. Luckily for the listener, the stereotypical torch singing is kept to a minimum. These women indeed lean heavily toward the vocal-only end of affairs, but there's enough innovation in their styles to keep the album afloat and out of sheer torch territory. The album opens with a stylish, slinky piece from Melody Gardot, immediately followed by Madeleine Peyroux, who turns an old Leonard Cohen piece into something of a torch song with a breathy delivery -- the piano keeps the song intriguing, but this is verging on the stereotypical in terms of female vocal form. Cassandra Wilson updates "Lover Come Back to Me" with some noteworthy speed, and Sophie Milman contributes a fairly classic style on her original number, the real star being her voice. Hope Waits tosses in a heavily Southern-inflected version of an old Jackie Wilson number, Kate Paradise adds a bit of simple scatting to an otherwise standard delivery of a songbook piece, and Jennifer Hartswick (perhaps best known for working with Trey Anastasio) gives "Lover Man" a nice workover with a highly capable delivery, though her trumpet unfortunately never comes out for this album. A young upstart gives a kittenish performance of the old show tune "Shall We Dance" that seems to take equal influence for its delivery from Eartha Kitt and Van Morrison's "Moondance." The album finishes with a pair of longtime performers, Della Griffin's gruff nightclub vocals preceding Etta Jones' blues-born remake of an old classic of hers in "Since I Fell for You." The album as a whole tends toward the predictable in many ways -- there are some grand dames of the nightclub scene, some songbook-heavy torch singers, some straightforward singers with beautiful voices but little else. However, Putumayo has found a few twists to throw in, handpicking some vocalists with extraordinary sounds, with intriguing twists to their composition styles, with a stylish nature that's missing from the multitude of female jazz vocalists out there. Not that it would have hurt to have a female instrumentalist or two represented (Marian McPartland is never a bad addition), but for vocal jazz, this one has a nice mix of possibilities. ~ Adam Greenberg, All Music Guide
[01]. Goodnite - Melody Gardot
[02]. Dance Me to the End of Love - Madeleine Peyroux
[03]. Lover Come Back to Me - Cassandra Wilson
[04]. Lonely in New York - Sophie Milman
[05]. I'll Be Satisfied - Hope Waits
[06]. Mean to Me - Kate Paradise
[07]. Lover Man - Jennifer Hartswick
[08]. Shall We Dance? - Stacey Kent
[09]. It Could Happen to You - Della Griffin
[10]. Since I Fell for You - Etta Jones
FLAC tracks(EAC Rip): 220 MB | MP3 - 320 kbs: 90 MB | Covers
FLAC
Part 1 | Part 2
OR MP3 320 kbps
HERE
Переслать - Claude Challe Presents New Oriental From The R.E.G Project
Claude Challe Presents New Oriental From The R.E.G Project
A great collection of so-called new Oriental music out of Lebanon mixing traditional Middle Eastern instruments with digital production techniques and the influence of modern lounge music and deep house. Already a huge hit in Lebanon, the UAE and many of the Gulf States, the R.E.G. Project - Ralph, Elie & Guy - came together through Guy Barbar doing a live show in a Beirut restaurant in late 2001 where Ralph Khoury, the resident DJ, heard him and suggested they do some tracks together with Ralph's friend and producer/DJ Guy Manoukian. Their self-titled debut LP topped the charts in Lebanon for over three months, and a hook-up with EMI worldwide and someone in there having some savvy ideas about marketing it to the huge Middle Eastern community of Europe and the US have lead to this. The sound itself is great, swinging from the opening two tracks "Free At Last" and "Lost Love" with their traditional Middle Eastern feel, onto tracks like "Harem", "Peace" and "Casa Del Sol" which mix lounge and deep house stylings (often within the same track) to come up with a unique sound. There's even Latin and samba sounds in there, notably "Zay Al Hawa" which muddy the waters even more. The tracks are cut to run into one another as well, so the overall sensation is quite frenetic and kinetic but relaxing at the same time. It's world music but without the horrid pikey connotations due to its high production standard and Guy and Ralph's dancefloor/chill-out sensibilities. A great find, beautifully packaged with a gorgeous picture of Beirut at sunset, and an enjoyable addition to any music lover's collection (especially if you enjoy the downbeat-meets-world end of things), as well as a fantastic way to turn your lounge into a Lebanese lounge bar at the flick of a switch and the lighting of a hookah. Even gets the almighty thumbs up and push from renown Buddha-Bar compiler and French downbeat guru Claude Challe.
[01]. Free At Last
[02]. Lost Love
[03]. Harem (Original)
[04]. Peace
[05]. Sayat Nova
[06]. Casa Del Sol
[07]. Zay Al Hawa
[08]. Batwannis Beek
[09]. Piece Of Heaven
[10]. Harem (House Mix)
[11]. Passion
MP3 320 kbps including full scans
HERE
Переслать - Fairuz - AnashidFairuz is a remarkably popular Lebanese musician who has managed to sustain Lebanese cultural motifs and aspirations while blending her performances with sounds as diverse as Mozart and Latin American rumbas, flamenco and Balkan folk music. Fairuz, who is Christian, has recorded both hymns and pro-Palestinian sings. The curious can hear her sing on Al-Gomma al-Hazeenah.
1. Al Lail Anasheed Wa Alomur Mawaied
2. Ardhuna...Onshudat Al Zaman
3. Ain Alroman
4. Al Malha Al Akhdhar
HERE
Переслать - Unforgettable Hits (3) (Golden Guitar)[01]. Only You
[02]. Form A Distance
[03]. Welcome To My World
[04]. If
[05]. Memories
[06]. Close To You
[07]. Wind Beneath My Wings
[08]. Evergreen
[09]. You Light Up My Life
[10]. Amazing Grace
[11]. Auld Lang Syne
[12]. Greensleeves
[13]. Londonderry Air Danny Bay
[14]. Imagine
[15]. Vincent
[16]. Love Me Tender
[17]. Let It Be Me
[18]. The Last Farewell
[19]. To All The Girls
[20]. Stranger On The Shore
MP3 VBR kbps including Cover, 2007
HERE
Переслать - Ammar al-Sherei Plays Abdul Halim Hafez al - Ashank Ya KamarTRACK LISTINGS
1. Ashank Ya Kamar
2. Boukra Wou Baadou
3. Nar Ya Habibi
4. Kount Fen
5. Esbaani Ya Albi
6. Zalamouh
7. Kan Fi Zaman
8. Taali Akoulek
9. Eh Zanbi
MP3 192 kbps including Covers
HERE
Переслать - Shtetl Superstars - Funky Jewish Sounds from Around the World
Shtetl Superstars - Funky Jewish Sounds from Around the World
Trikont, 2006
The young Jewish musicians assembled on this compilation belong to the generation that came to prominence after the klezmer revival of the 1970s. They play punk and surf rock, ska and reggae, hiphop and drum'n'bass, intentionally spicing each genre with ingredients from their own culture. You may hear klezmer references, or a quote from a classic from the era of Yiddish swing, the ambience of a Jerusalem marketplace, or a lullaby once sung to them by their grandparents. The lyrics speak of the joy and the hardship of being a Jew. They are sung in Yiddish, shouted in Hebrew or rapped in English or Russian. Certain tracks are peppered with samples lifted from their grandparents' collections of 78 rpm records. Their attempts at innovation, striking a balance between tradition and the latest trends, may turn out to be cheeky or half-baked, but are at the same time exciting and revitalizing. There are artists of Jewish descent who are re - engaging musically with their roots. The spectrum is wide: from the bizarre spectacle of Moscow - based klezmer punks Nayekhovichi singing 'Paint It Black' in Yiddish, to internationally successful acts such as Hasidic reggae singer Matisyahu from New York. As spectators and participators in this movement, we want to present the most thrilling tracks, not only from well respected stars, but also from the best up and coming artists.
01. Yuriy Gurzhy vs. Amsterdam Klezmer Band - Immigrant Song
02. Solomon & So-Called-Hassidish
03. Mook E- Shabak Music
04. Balkan Beat Box - Adir Alam
05. Hip-Hop Hoodios- Havana Nagila
06. King Django's Roots And Culture - Shtiklakh
07. David Gould - Adon Olam
08. Remedy - Never Again
09. Terry Hall & Mushtaq - This And That
10. Boom Pam - The Souvlak
11. Pakava It' - Klezmer Ivanych
12. Boogie Balagan - Lamentation Walloo
13. Ha Biluim - No Bagettes In The Ghetto
14. Astroglides - Adventures Of Rabbi Jacob
15. Geoff Berner - Lucky Goddamn Jew
16. POZA - Tramvay
17. Dan Kahn & The Painted Bird - Yesterday's Buried
18. Oi Va Voi - Gypsy
19. Lemez Lovas- 2nd Train Meditation
320 kbps including full scans
Part One
Part Two
Переслать - Stella Rambisai Chiweshe - Chisi
Stella Rambisai Chiweshe
Chisi, 1990
Stella Rambisai Chiweshe is one of the few women playing the male-dominated mbira-based music of the Shona people. Born in the late 1940s, Chiweshe grew up in Zimbabwe's forest region of Mhondoro, about 45 miles from the capital city, Harare. Chiwese began learning to play the mbira dza vadzimu in 1964. It was very unusual for a girl to play mbira at that time and Chiweshe had to face the dissaproval of her community, where woman performers were often treated as "loose women." Chiweshe perservered to become perhaps the best known player of the instrument outside Zimbabwe.
The mbira dza vadzimu is a sacred instrument used by the Shona people of Zimbabwe to call on the spirit of their ancestors in ceremonies called "bira." In these traditional cermonies the repetitive, chiming melodies and rhythms of the mbira combine with the hosho (gourd rattles), singing, and sometimes drumming (on the ngoma), to inspire the ancestors to offer advice and guidance through a spirit medium.
In 1974, Chiwese recorded her first single "Kasahwa," useing a borrowed mbira, The song was a hit and she went on to record 24 singles over the next six years. She joined the National Dance Company in 1981 and began to travel to other countried to perform. These days Chiwese maintains a home in both Zimbabwe and Germany and tours extensively throughout Europe and the Eastern United States. In early 1998 she appeared as one of three women showcased on the Global Divas tour (the other two acts being Susana Baca and Tish Hinojosa), which toured all over the U.S.
01. Ndinderere
02. Huya Uzoona
03. Mikono
04. Nyamaropa Pachipembere
05. Gwendere - Gwendere
06. Mapere
07. Kundara Kwangu
08. Rwuye Rwuye
09. Mudzimu Dzoka
10. Machena
11. Baya Wa Baya
12. Zungunde
13. Dande
14. Mese Maikwana
15. Kuzanga
Stella Chiweshe - vocals, mbira, ngoma, clapping
Virginia Mkwesha - vocals, mbira, hosho, clapping
Gilson Mangoma - baritone marimba, vocals, clapping
Leonard Ngwenya - soprano marimba, percussion, vocals, clapping
Charles Willie - guitars
Eric Makorora - bass guitar
Tonderai Zinyau - drums
320 kbps mp3; including full cover scans
Part One
Part Two
Переслать - Seth Josel - Sidney Corbett, Que hora es en paradiso? Kammermusik für und mit Gitarre
Seth Josel
Sidney Corbett, Que hora es en paradiso? Kammermusik für und mit Gitarre, 2006
Sidney Corbett is a native of Chicago. He was educated at UC San Diego and at the Yale School of Music. Corbett studied with Gyorgy Ligeti in Hamburg. He has composed in Europe for over 20 years. Sparsely melodic, refined, subtle,"cool", rarely venturing beyond pppp, Corbett's chamber music often reveals its jazz and rock roots. There is an optimism found in Corbett. He revels in the relationships of gradations of tonality . Frequently bare wisps of melody are extremely uplifting. Wonderfully unpredictable combinations of instruments (such as bass clarinet and banjo in Que hora in Paradiso) are used. Corbett luxuriates in the sound of his instrumental combinations. Tenderness and humor are abundant, and a buoyancy permeates this music. Here is tidy, delicate chamber music played with much panache and dedication by the excellent German performers with the fine guitarist, Seth Josel. The disc is very well recorded in extremely lifelike multichannel surround sound, and is highly recommended. - Ronald Legum
Das Erspüren der Gravitationskräfte, die von den Tönen ausgehen, gehört zu den elementaren musikalischen Empfindungen von Sidney Corbett. Er lauscht einer melodischen Figuration oder einer Linie nach und folgt dem Sog, den die Motivik in sich trägt. Die Basis dieses Hineinhörens in die Musik ist ihre kleinste Einheit, der Ton. Sidney Corbett fühlt sich in ihn ein. Er ist ein Kristallisationspunkt, von dem aus er andere Töne wählt und mit ihnen Linien zieht. Sie folgen den Tendenzen der Töne, die, da diese Tendenzen mehrdeutig sind, stets eine gewisse Offenheit besitzen. So haftet den Melodien des Komponisten eine eigentümliche Vagheit an, eine latente Mehrdimensionalität, eine Anmutung von Beweglichkeit. Das heißt nicht, dass es Sidney Corbetts Musik an Eindeutigkeit mangelte. Die Folge der Töne scheint stets logisch empfunden, ja sie übt einen geradezu suggestiven Sog auf den Hörer aus – eine Kraft, die aus den höchst sensibel ausgehörten Tonbeziehungen resultiert.
Melodie ist der Dreh und Angelpunkt des Klanguniversums von Sidney Corbett. Melodiker zu sein scheint heute in der auf Strukturen und Klangfarben konzentrierten Neue Musik Szene wenig populär. Doch von Strömungen und Tendenzen gleich welcher Art lässt sich Sidney Corbett nicht beeinflussen, schon gar nicht von ästhetischen Moden, die im Musikbetrieb zu beobachten sind. Die Unabhängigkeit davon verdankt er wohl seiner musikalischen Laufbahn. Sie begann mit Rockmusik, bei der ihn Jimi Hendrix am meisten faszinierte und zum Gitarrespielen animierte, und führte erst mit Beginn des Studiums zum klassisch romantischen Repertoire. Daher begegnete er diesem Repertoire nicht als zentralem Block der Musikgeschichte, sondern ganz unbefangen als eine ihrer zahlreichen Facetten. Er empfindet es nicht als historische Bürde, sondern als genauso spannendes Inspirationsfeld wie die Musik des Mittelalters, der Renaissance und des 20. Jahrhunderts.
So kommt es, dass die Sidney Corbetts Melodien ganz eigentümlich, ja im emphatischen Sinn des Wortes „neu" klingen, zeitgenössische Gebilde sind. Sie kleben nicht an Traditionellem, und wenn sie solches assoziieren lassen, dann hauptsächlich wegen ihres Äußeren. Denn der Komponist schmückt die Töne kaum mit klangfarblichen Tricks und avantgardistischen Effekten, sondern verwendet sie meistens ganz „normal". Der Klang scheint traditionell, die Musik jedoch ist es nicht.
Sidney Corbett spielte lange Baseball, einige Zeit sogar in der Zweiten Bundesliga. Ihn fasziniert vor allem die Schnelligkeit, Präzision und mentale Konzentration, die das Spiel erfordert. Auch sein Komponieren ist durch mentale Kontrolle und äußerste Präzision, ja geradezu skrupulöse Feinarbeit geprägt. Die Musik lebt durch die minutiöse, sorgfältig ausgehörte Setzung der Töne, durch die Konzentration auf die Beziehungen und Fluktuationen des Klangs, durch die Aufmerksamkeit, die der Komponist dem Innermusikalischen widmet. Auf diesem Weg versucht er, seine Utopie von der bestmöglichen Musik, die es stets zu schreiben gilt, zu verwirklichen.
Ein Flügel dominiert Sidney Corbetts Arbeitszimmer in Berlin Kreuzberg. Genau wie der Schreibtisch gegenüber ist er mit Partituren klassischer und neuer Musik und mit akribisch beschriebenen Notenblättern der gerade im Entstehen begriffenen Werke gepflastert. In diesen Notenblättern jedoch ist die Außenwelt höchst präsent, was am deutlichsten in den Themen der Musiktheaterwerke zu Tage tritt. „The Electric Chair" beschäftigt sich mit der Todesstrafe, „Noach" mit der Frage nach dem Sinn des Unglücks in der Welt. Sidney Corbett kristallisiert Letzteres an aktuellen gesellschaftspolitischen Problemen, an der Orientierung am Profit als Heilsversprechen unserer Zeit. Diese inhaltliche Komponente erscheint in einer kunstvollen, jeglicher Anpassung sich verweigernden Musiksprache. Die intensive innermusikalische Arbeit Sidney Corbetts könnte vermuten lassen, der Komponist sitze im sprichwörtlichen Elfenbeinturm. Das Gegenteil jedoch ist der Fall. Der Weltbezug der Werke wird durch die Sorgfalt der kompositorischen Gestaltung feinsinnig umhüllt. Gerade diese Subtilität, mit der er ins Musikalische verwoben ist, verleiht ihm Authentizität und Gewicht. - Hanno Ehrler
Für Corbett ist Musik das Hineinhorchen in ein Universum der Klänge. Ein sehr filigranes Universum, das aus verwirrend verknüpften, rhythmisch vertrackten kleinen Figuren besteht. Kein Stück dieser wunderschönen CD ist mit imposanten Effekten gespickt, niemals buhlt die Musik um die Sympathie des Hörers. Aber schon bald zieht Corbetts Musik die Ohren in den Bann, zaubert Farben und Figuren. Sie ist beunruhigend schön. Auch wenn es langsam und leise zugeht – immer brodelt etwas unter der sparsamen Oberfläche der Töne, treibt voran, lässt hinhorchen, überrascht mit plötzlichen Wendungen. Tonrepetitionen lassen einzelne Töne erblühen, produzieren Spannung und reichen (weil klug gesetzt) oft schon aus, um eindrucksvolle Klänge zu produzieren. Dabei ist die Musik Corbetts, der einst in der Rockmusik begann, niemals schroff oder abweisend, stattdessen eher ins Innere gekehrt und lauschend. Corbett liebt die Melodik aber verzichtet auf ohrenfällige melodische Zusammenhänge. So ergeben sich größere melodische Strukturen aus kleinen, fast unauffälligen Teilen, greifen die sorgsam gesetzten Noten ineinander wie die Fäden einer delikaten Stickerei. Rhythmisch vertrackt und wohlüberlegt passt so eines zum anderen. Diese CD mit dem hübschen, zum Schmunzeln und Nachdenken gleichermaßen anregenden Titel, hat ausschließlich kammermusikalische Besetzungen mit und um die Gitarre herum (akustische Gitarre und E-Gitarre). Die klassische Gitarre darf auch ganz allein: „Variations in Memoriam Edison Denisov" (1998). Zart und innig, klangschön und kein bisschen brav. Die kunterbunte Instrumententruppe aus „Exits" (E-Gitarre Solo, Flöte/Piccolo/Altflöte/Bassflöte, Oboe/Englischhorn, Klarinette/Bassklarinette, Fagott, Trompete, Posaune, Percussion, Violine, Viola, Violoncello, Kontrabass) wird nur wegen der sehr subtilen und abwechslungsreichen Klangmöglichkeiten der Instrumente benötigt, weniger der großen Lautstärke wegen. Okarina und Mundharmonika setzen zudem noch gezielt ein paar klitzekleine Klangtupfer hinzu. Und weil Corbett so geschmackvoll und zurückhaltend aus dem Vollen schöpft, wird es auch hier niemals kitschig. Durch die hervorragenden Musiker ist diese CD ein echter Ohrenschmaus, ein tolles rundes Ding. - Heike Eickhoff
01. Bleeding in Babylon für Bassklarinette, E-Gitarre und Kontrabass [9:15]
Die Stimmen der Wände - Ein Kompositionszyklus in sechs Teilen für Flöte, Bassklarinette/Altsaxophon, Posaune, E-Gitarre, Violine und Violoncello *
02. I. Symphoniae [6:28]
03. II. Porta [4:01]
04. III. Amplificat [4:35]
05. IV. Pellere Noxia Mundi [4:41]
06. V. Responsorium [5:21]
07. VI. Ultimus [4:21]
08. Que hora es in paradiso? für Banjo und Bassklarinette [8:26]
09. Variations in memoriam Edison Denisov für klassische Gitarre solo [8:55]
Exits for electric guitar and ensemble *
10. I. Self-portrait [4:26]
11. II. Tarantella [5:38]
12. III. Malibu (in memoriam Mark Osborn) [8:51]
13. IV. Desert [4:34]
Seth Josel - guitars, banjo
musikFabrik (Johannes Debus, dir.)
flac including full scans
Part 1 | Part 2 | Part 3
Переслать
| rss2email.ru | отписаться: http://www.rss2email.ru/unsubscribe.asp?c=90853&u=756462&r=797404733 управление подпиской: http://www.rss2email.ru/manage.asp |
