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- Amsterdam Bach Soloists - J.S. Bach - Die Kunst der Fuge
Amsterdam Bach Soloists
J.S. Bach - Die Kunst der Fuge,1989
01. Contrapunctus 1
02. Contrapunctus 2
03. Contrapunctus 3
04. Contrapumctus 4
05. Canon alla ottava
06. Contrapunctus 5
07. Contrapunctus 6 (a 4, im Stile francese)
08. Contrapunctus 7 (a 4, per Augmentationem et Diminutionem)
09. Canon alla decima contrapuncto alla terza
10. Contrapunctus 8 (a 3) (rectus)
11. Contrapunctus 8 (a 3) (inversus)
12. Contrapunctus 9 (a 4, alla Duodecima) (rectus)
13. Contrapunctus 9 (a 4, alla Duodecima) (inversus)
14. Contrapunctus 10 (a 4, alla Decima)
15. Contrapunctus 11 (a 4)
16. Canon alla duodecima in contrapuncto alla quinta
17. Contrapunctus 12 (a 4: rectus); Contrapunctus 12 (inversus)
18. Contrapunctus 13 (a 3: rectus); Contrapunctus 13 (inversus)
19. Canon (per Augmentationem in contrario motu)
20. Contrapunctus 14
21. Choral: "Vor deinen Thron tret' ich hiermit."
320 kbps mp3, including cover scans
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Part Two
Переслать - Instrumental Tribute to Abdul Halim HafezTRACK LISTINGS
[01]. Awal Mara
[02]. Kunt Fein
[03]. Ala Ad El Shouq
[04]. Shaghalouni
[05]. Hiya De Hiya
[06]. Touba
[07]. Leh Tishghil Balak
[08]. Bahlam beek
[09]. Ya Albi Ya Khali
[10]. Asmar Yasmarani
[11]. Isba'ni Ya Albi
MP3 192 kbps including Front Cover
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Переслать - Eduardo Paniagua - Calamus - Medieval Women's SongsMedieval Women's Songs - Música Arábigo-andaluza S. XIII-XIV - Cantigas de Martin Codax S. XIII[Eduardo Paniagua, Luis Delgado, Rosa Olavide, Begoña Olavide, Carlos Paniagua]Contents:
1. Anon.: Nuba rasd ed dhil Touchy'a quaim va nisf
2. Sana' basit "No confíes a nadie tu secreto"
3. Tawachi qudam
4. Sana' darj "El vino como sangre de gacela"
5. Anon.: Maluf Mchalia "La fuerza que tengo"
6. Sana (Para la fiesta de la circuncisión)
7. Taqsim "Laila me ha quitado la cordura"
8. Touchiya "Los ojos me lloran por perder a mi amada"
9. Martin Codax: No. I: Ondas do mar de Vigo
10. No. II: Mandad'ei comigo
11. No. III: Mia Yrmana fremosa
12. No. IV: Ay Deus
13. No. V: Quantas sabedes amar amigo
14. No. VI: Eno sagrado, en Vigo
15. No. VII: Ay, ondas que eu vin veer
1. Touchiya Quaim ua Nisf
Composed by Arabic-Andalusian Traditional
2. No confíes a nadie tu secreto, sana' basit
Composed by Arabic-Andalusian Traditional
3. Tawachi Qudam
Composed by Arabic-Andalusian Traditional
4. El vino como sangre de gacela, sana' darj
Composed by Arabic-Andalusian Traditional
5. Mchalia on "La fuerza que tengo"
Composed by Arabic-Andalusian Traditional
6. Sana' for la fiesta de la circuncisión
Composed by Arabic-Andalusian Traditional
7. Taqsim on "Laila me ha quitado la cordura"
Composed by Arabic-Andalusian Traditional
8. Touchiya on "Los ojos me lloran por perder a mi amada"
Composed by Arabic-Andalusian Traditional
9. Ondas de mar de Vigo, cantiga de amigo (music missing)
Composed by Martin Codax
10. Mandad' ei comigo, cantiga for voice and accompaniment
Composed by Martin Codax
11. Mia irmana fremosa, cantiga for voice and accompaniment
Composed by Martin Codax
12. Ai Deus, se sab' ora meu amigo, cantiga for voice and accompaniment
Composed by Martin Codax
13. Quantas sabedes amare amigo, cantiga for voice and accompaniment
Composed by Martin Codax
14. Eno sagrado en Vigo, cantiga for voice and accompaniment
Composed by Martin Codax
15. Ai ondas que eu vin veere, cantiga for voice and accompaniment
Composed by Martin Codax
Playing time: 47' 12"
Performers:
Calamus [Eduardo Paniagua (nay, shahin, flautas, timpanon, ocarina, tarija, adufe I, tar I y II, sinj, campanitas, castañuelas ibicencas, medusa, palo de lluvia), Luis Delgado (ud I y II, laúd, vihuela de peñola, trompa marina, rabel II, bendir III, tar II, cántaros, tamborcito, adufe II, crótalos, sinj), Rosa Olavide (canto II, kamanja, rabel I, viola, al-urgana, tar I y III, címbalos, sinj), Begoña Olavide (canto I, salterio I, II y III, qanun, arpa, organo portatil, shahin, pandero, pulsera, medusa, palo de lluvia), Carlos Paniagua (darbuka, bendir I y II, zanfona, salterio II, trompa marina)]
FLAC (EAC Rip): 240 MB | MP3 - 320 kbs: 110 MB | Booklet Scans
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Переслать - Sadoon Jabbir - Sings Nazem Al Ghazali Vol 1
Track List
01.Maqam Dama'at Al Ein
02.Wein Ya Galbi
03.Shiban Mini Thaneb
04.Hatha Mou Inssaf Minak
05.Maqam Fourghakoum
06.Lama Ra'at Nakati
07.Maqam BelHajer
08.Oum Al Ouyoun Alsosoud
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Переслать - ARABIA BLUES
Arabia Blues is a concept compilation of all-time saddest Arabic songs. More than an hour long of sad Arabic ballads by some of the biggest artists today like Nancy Ajram, Shereen, Wael Jassar, Baha'a Sultan, Tamer Hosni, Yara & many more. Most of the tracks were/ still are massive hits that topped the charts and are still on high demand till today like Enta Eh, Allah Ma'ah, Elama, Wein Msafer etc.
Track List
[01].Al Sa´ban Aleh - Shereen
[02].Enta Eh - Nancy Ajram
[03].Habbet Ya Zaman - Wael Jassar
[04].Edayya Fi Gyoobi - Mohamed Muneer
[05].Allah Ma´ah - Abbas Ibrahim
[06].Bi Amaret Eh - Baha´s Sultan
[07].El Wahdah Bete´telni - Tamer Hosni
[08].Ayam - Yara
[09].Helm Ba´eed - Mekaella
[10].Matha Akoul Li Ouzouni - Yuri Mrakadi
[11].Abadan - Katia
[12].Men Ghair Enwan - Omar & Raffi
[13].Kel Ma Beshta´lek - Kulna Sawa
[14].Elama - Yassir Habeeb
[15].Wein Msafer - Julia Boutros
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Переслать - Manolo Caracol - Antologia Del Cante
"You are born singing, but then you have to perfect your singing to come to have your own spirit."
Manolo Caracol is one of the most important figures in flamenco singing. He is one of the masters and geniuses of flamenco, alongside Antonio Chacón, Manuel Torre, Pepe Marchena and Silverio. He was a pure gypsy, an artist who can be described "neither as flamenco nor as hondo (deep), but rather as gypsy", who descended from a dynasty of great artists which started with El Planeta. However, his singing is considered heterodox, as he sang with orchestra and piano accompaniment, something which has been done frequently in flamenco during the last few decades, but not at that time. He also invented a new fandango that he called "caracolero". Caracol always insisted on the originality of his singing, of his style, and of everything he did, he always claimed that he didn't imitate or follow anybody. He dominated all of the styles, but he was particularly outstanding in the festive ones: bulerías, martinetes, soleares and tangos, and, most of all, in seguiriyas, as he himself used to say.
The most successful years for Manolo Caracol were the ones when he formed an artistic partnership with Lola Flores. Together, they travelled all over Spain more than once, achieving great triumphs with their theatre shows. Once the couple had split up, in 1963 he established his own tablao, Los Canasteros, in Madrid. Since then, Caracol only wanted to sing there and, occasionally, in great festivals or flamenco gatherings. All of the contemporary artists passed through Los Canasteros at one time or another, so the full list of artists who worked alongside Manolo Caracol throughout his artistic career is almost impossible to reproduce. It will suffice to mention some of the greatest ones: Pastora Imperio, La Niña de los Peines, Juanito Valderrama, Pepe Pinto, Pepe Marchena... He also made some films: "Un caballero famoso" and "Jack El Negro"; "Embrujo" and "La Niña de la Venta", with Lola Flores.
TRACK LISTINGS
CD 1
[01].La niña de fuego(zambra)
[02].Se cumplió la suerte
[03].Caracol y sus hijos(bulería)
[04].Por la vereda del monte(tanguillo)
[05].Yo no siento que te vayas(bulería por solea)
[06].Fandangos
[07].Salen a siete mujeres (alegrías)
[08].Azucena
[09].Manuela
[10].Tientos
[11].Dime que me quieres
[12].Soleares
[13].Serranas
[14].Malva loca
[15].Saeta-recita Lola Flores
CD 2
[01].La Salvaora(zambra
[02].Venga la tele(buleria)
[03].Los campanilleros
[04].Gloria a la petenera(seguiriya)
[05].Que la besara en la mano
[06].Ecos del penal
[07].Azucena(zambra)
[08].Campana de plata y oro(soleares)
[09].Buleria
[10].Por la verdad del monte calvario
[11].Fiesta gitana
[12].Yo no le temo a los rayos(tientos)
[13].Agua en el coco(bulería)
[14].La sentencia(bulería)
[15].Pregones sevillanos
MP3 320 kbps including Covers
Part One
Part Two
Переслать - Italian CafeThis is a charming, if ultimately fairly inconsequential, collection of recordings from 1950s and 1960s Italy, along with a handful of songs by a few modern artists whose stylistic roots go back to the postwar era as well. The overall sound may come across as a bit kitschy to American ears -- there are lots of accordions and crooning, emotive vocals -- but if you spend some time with these recordings most of them will grow on you. Highlights include the quirky Vinicio Capossela's "Che Cossè l'Amor," Quadro Nuevo's jazzy instrumental "Tu Vuo' Fa' l'Americano," and Quartetto Cetra's slightly cute but really very engaging "Un Bacio a Mezzanotte." On the slightly less compelling side are Gianmaria Testa's contributions, the willfully goofy "Dentro al Cinema" and the self-consciously intense (and ultimately self-parodying) "La Traiettorie delle Mongolfiere," but the high points outweigh the low ones on this ultimately charming collection. Recommended. ~ Rick Anderson, All Music Guide
[01]. Juke Box - Beretta
[02]. Un Bacio a Mezzanotte - Garinei, P.
[03]. Cannelloni - Conte, Giorgio
[04]. Che Cossè l'Amor - Capossela, Vinicio
[05]. Petali e Mirto - Giua, Maria Pierant
[06]. Gnè Gnè - Conte, Giorgio Listen
[07]. Piccolissima Serenata - Carosone, Renato
[08]. Dentro al Cinema - Testa, Gianmaria
[09]. Le Cose in Comune - Miceli, Vincenzo
[10]. Tu Vuo' Fa' l'Americano - Carosone, Renato
[11]. La Traiettorie delle Mongolfiere - Bertone, F.
[12]. Carina - Poes, R.
FLAC tracks(EAC Rip): 260 MB | MP3 - 320 kbs: 110 MB | Full Scans
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Переслать - Sermüezzin Rıfat Bey - Ferahnak Mevlevi AyiniCeremonial Music of the Mevlevi Order Ayin in makam ferahnak by Rifat Bey - The liturgical music on this disk was composed by one of the most distinguished nineteenth century composers, Rifat Bey (1820-1988). Uncil recently, scores of this mevlevi ayin (ceremonial music of whirling dervishes) were not found in any Turkish source. A French musicologist, P. J. Thibaut first published this ayin, based on makam ferahnak, in 1902 La Revue Musicale ("La Musique des Mevlevis ou Derviches rourners", nos.8-9). This is the original version as written by the composer himself. Ironically, the lyrics of the ayin as appeared in the journal were translated into French, making it accessible to French readers but rendering it impossible to perform for Turkish musicians...
In 1990, I found the same composition in a collection of musical manuscripts (Ekrem Karadeniz Collection) donated to Suleymaniye Library in 1984. This version which fortunately was only slightly different from the original, included the Persian lyrics. I had to choose Thibaut's original version. The next step in my work was to set the Persian lyrics found in Karadeniz collection to the music found in the French journal. This process brought out a third version with complete lyrics and the scores. I published this new version of the composition together with the other two versions in my book entitled Sermuezzin Rifat Bey'in Ferahnak Mevlevi Ayini in 1992.
During the next decade the ayin remained unperformed. Finally, on the 729th anniversary of the passing of Mevlana Celaleddin (December 17th, 2002), the third version was performed by Istanbul Otantik Sema ve Mevlevi Grubu conducted by Gursel Kocak; performed exactly one century after it was published in France. The present disc is the world premiere of the Ferahnak Ayin composed by Rifat Bey.
The French musicologist Thibaut had given us the complete program of a mevlevi ceremony, including the scores of a taksim at the beginning, which is the oldest gotated taksim in Ottoman-Turkish music. Taksims, being improvisadonal forms, had never been notaced before, therefore, this taksim deserves special attention. The talented young musician Burcu Sonmez, ney player of the ensemble has successfully performed this "notated" taksim on makam ferahnak for this disc.
[01]. Makam Rast Naat-ı Mevlana
[02]. Opening taksim in makam ferahnak
[03]. Peşrev in makam ferahnak and rhythmical cycle "zincir"
[04]. Ferahnak Ayin-i Şerifi (1, 2, 3, 4. selams)
[05]. Zakir's peşrev in makam eviç (the final peşrev); The final yürük semai in ferahnak
[06]. Taksim on the kanun
[07]. Traditional ilahis (hyms)
[08]. Taksim on the Kemençe (the final taksim)
[09]. Quranic
[10]. Prayer
MP3 320 kbps [130 MB]
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Переслать - Latin LoungeThe downtempo side of fusion between traditional Latin forms and electronica. The mixes are surprisingly good throughout, with styles taken from everywhere from Spain to Argentina to Texas and thrown together with electronic beats and grooves. The album opens up with Alacran, an Italian outfit specializing in electronic tango à la Gotan Project. Son is taken on by Roberto Poveda with only slight modification, but enough to evoke the samba at times. There's proper chillout from Bebe, Cuban-British dub from Sidestepper, and a mix of flamenco and more from Amparanoia. More tango fusion and then a bit of nostalgia from rising star Charange Cakewalk. Perhaps the oddest bit here is an appearance by Deepak Chopra in a full-on bout of Indian-exotica-via-Mexico with aid from Adriana Castelazo. The mix is coherent and holds a constant sway without the schizophrenic breaks that are so common with cross-cultural albums. A charming album that belongs in league with Putumayo's other lounge-focused albums as perfect backing music to any given evening. ~ Adam Greenberg, All Music Guide
[01]. Reflejo de Luna - Colella, Roby J.C.
[02]. Sueño Mamá - Poveda, Roberto
[03]. Siempre Me Quedará - Bebe
[04]. Dame Tu Querer - Benavides, I.
[05]. Mariposa (En Havana) [Mix] - C., Carol
[06]. Caminhos de Cuba - DeAquino, Luiz Jr.
[07]. Don't Leave Me Now - Sanchez, Amparo
[08]. Folía - Pá, Wagner
[09]. Carmela - Arteaga, R.
[10]. Esta Noche - Aubele, Federico
[11]. In Love with You - Chopra, Deepak
[12]. Sentimentos - Wilensky, Jaime
FLAC tracks (EAC Rip): 270 MB | MP3 - 320 kbs: 110 MB | Full Scans
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Переслать - Louisiana GumboThe folks at Putumayo got it right on this one. The easiest trap to fall into when putting together a Louisiana compilation is to go for the tourist stuff -- the Dixieland jazz , the second-line horn bands, or zydeco. There's nothing the matter with any of those traditions, but they're so obvious. What this compilation focuses on is New Orleans R&B, a tradition as rich as the others but not unique to the area and therefore not typically marketed aggressively by chambers of commerce and travel agencies. Louisiana Gumbo starts off strong, with Charles Sheffield's "It's Your Voodoo Working" and the even better "Door Poppin'" by Carol Fran and Clarence Holliman -- and then it gets even better. The late pianist James Booker is at his best on the spicy "African Gumbo" (the secret ingredient of which is the legendary drummer John Boudreaux), and there are equally fine contributions from Johnny Adams, Clifton Chenier (okay, they did include some zydeco) and, especially, Percy Mayfield, whose strange but brilliant "Festis Believe in Justice" is the album's highlight track. Highly recommended. ~ Rick Anderson, All Music Guide
[01]. It's Your Voodoo Working - Sheffield, Charles
[02]. Door Poppin' - Fran, Carol
[03]. African Gumbo - Booker, James
[04]. Ti Na Na - Chenier, Clifton
[05]. It Ain't the Same Thing - Barnett, Jonnie
[06]. Lead Me On - Malone, Deadric
[07]. Voodoo - Green, Willie [Drum
[08]. Piano Roll - Bo, Eddie
[09]. I'm Coming Home - Chenier, C.J.
[10]. Festis Believe in Justice - Charles, Rockie
[11]. Louisiana - Mayfield, Percy
[12]. Nine Pound Steel - Penn, Dan
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Переслать - Ahoar - Between Rivers
Ahoar
Between Rivers, 2007
Ahoar is the name adopted by two Iraqi classical-traditional concert musicians, a Belgian jazz pianist and a jazz double bassist from Germany. By combining two very different styles of music and venturing into new musical territory in this project, the four musicians perform a daring, unique experiment.
The secret of Ahoar, so it seems, is the reduction to the very essential, both musically and aesthetically: short, clear melodies, catchy like children's songs, minimalist motifs, rather light piano chords which, hardly changed, are repeated gently and evenly, carefully dipped like in an overall picture of sound. No drums, no richly coloured percussion, with frame drums or Arabian tablas only on some compositions. The sound of the group can be heard immediately in every place.
In their form the compositions are also sparse up to emptiness: usually there is only the sound of a single, simple theme, often only a slightly varied motif. There is no melodic development dragging the listeners along with it, no high-contrast breaks trying to surprise them: a sequence of tones on the djoze, a slowly reeling piano. No movement, only a sound rising and sinking again imperceptibly slowly. Fascinating!
And yet the music of Ahoar always has the effect of an insoluble overall structure and never joined together. It would be impossible to hear the components of the originating styles apart. It would be difficult to find a group in which everyone involved - although unmissably extraordinary virtuosos - withdraws so radically for a mutual overall sound. No synthesis of traditions has taken place here, instead it is a kind of musical core meltdown.
Rarely is the combination of unisonant, filigree maqam melody and Western harmony as successful as it is here. When listening, we become repeatedly unsure whether harmonies are still sounding at all or rather a long, softly streaming bourdon sound. Unfolding equally little is the Iraqi maqam, this long cycle with its predefined songs, rhythm and modulations. The two Iraqi musicians of Ahoar break through the strict forms again and again and shorten its developments.
An example is the dialogue of the two string instruments in "Erwartung", a Western bass and the Iraqi djoze: no melodies, no harmonies, no maqam, just a mutual, calm, abstract flow of sounds. Only molecules, so it seems, have released the quartet from their different musical traditions and merged them together.
Some world-music fusions have a touch of Frankenstein's monster about them - the bolts are visible. The best collaborations emerge from chance encounters and friendships. Ahoar are a quartet with two exiled Iraqi musicians, Saad Thamir and Bassem Hawar, Belgian pianist Free Desmyter, who first played together at a family gathering, and Belgian bassist Dietmar Fuhr, who met Thamir through a random act of kindness. It could be tagged "maqam-jazz", after the Iraqi vocal tradition they draw on, but that doesn't do justice to the thrilling, sombre atmosphere they conjure on songs such as Ouidad, Karawane and Nadam (Remorse), which in mood reminds me of Fairport Convention's Liege and Lief. Thamir typically sets up compelling rhythms on tabla or daf while Hawar plays djoze, the keening Iraqi "knee fiddle". The Western instruments contribute a sensitive and multi-textured complement to the traditional sounds, resulting in music that is muted, moving, hypnotic and uplifting by turn.
Kaum ein Land der Erde ist so durch Medienberichte in die Aufmerksamkeit der Welt gerückt wie der Irak. Doch sind es die Medien die ein Bild vorgeben, das unkontrolliert absorbiert wird. Fest steht, was gelesen und gesehen wird: "Das Land befindet sich im Krieg, ist zerstört, unkontrollierbar und kaum bewohnbar". Das trotz alledem Menschen in dem Land leben, die sich im täglichen Kampf des Lebens behaupten, ihr Land und ihre Kultur lieben und trotz Terror und US-Armee nicht bereit sind aufzugeben, spielt in der Wahrnehmung der westlichen Welt kaum eine Rolle.
Die Kultur des Landes ist älter als sonst eine. Das Land zwischen den beiden Strömen Euphrat und Tigris beherbergte die Hochkulturen der Sumerer und Babylonier, wird als Mesopothamien als die Wiege der Menschheit bezeichnet. Helenen, Römer, Osmanen, Araber, all diese Völker haben ihre Spuren zwischen den Flüssen hinterlassen. Auf eben diesen Spuren wandelt die Musik von Ahoar, einer Combo, die aus einem Belgier, einem Deutschen und zwei irakischen Musikern besteht. Ahoar, ein Landstrich des Iraks, gelegen zwischen den beiden historischen Strömen fungiert hier als Namensgeber.
Musikalisch bewegt sich die Gruppe hauptsächlich in arabischen Harmonien. Die vier Musiker zelebrieren kunstvolle Melodien einer uralten Gesangs- und Spieltechnik, eine komplizierte Musikform, die als Maqam bezeichnet wird und im ganzen arabischen Raum bekannt ist. Diese für uns Europäer schwer nach vollziehbaren Harmonien, die wunderbar meditativ sind, zeigen, wie weit weg wir vom Verständnis dieses gedemütigten Volkes sind und wie wenig die medialen Klischées zutreffen. - Karsten Rube
Ahoar nennen sich der Maqamsänger und Perkussionist Saad Thamir und Bassem Hawar an der Kniegeige Djoze, beide klassische Konzertmusiker aus dem Irak, der belgische Jazzpianist Free Desmyter und Dietmar Fuhr, Jazzkontrabassist aus Köln. Indem sie zwei sehr unterschiedliche Musikstile miteinander verbinden und sich auf musikalisches Neuland begeben, wagen die vier Musiker mit diesem Projekt ein einzigartiges Experiment.
Das Geheimnis von Ahoar scheint in der Reduktion auf das musikalisch und ästhetisch Allernotwendigste zu liegen: kurze, klare Melodien, eingängig wie Kinderlieder, minimalistische Motive, etwa leichte Klavierakkorde, die kaum verändert, leise, gleichmäßig wiederholt werden, vorsichtig in ein klangliches Gesamtbild hinein getupft. Kein Schlagzeug, keine farbenreiche Perkussion, nur bei einigen Stücken Rahmentrommeln oder arabische Tabla. An jeder Stelle bleibt der einzigartige Klang der Gruppe sofort erkennbar. Auch in ihrer Form sind die Stücke karg bis zur magischen Leere: Meist erklingt nur ein einziges, schlichtes Thema, oft nur ein leicht variiertes Motiv. Keine melodische Entwicklung zieht den Hörer mit sich, keine kontrastreichen Brüche versuchen ihn zu überraschen: Eine Tonfolge auf der Djoze, ein langsam vor sich hin torkelndes Klavier. Keine Bewegung, nur ein unmerklich langsam an- und wieder abschwellender Klang. Faszinierend!
Und doch wirkt die Musik von Ahoar an jeder Stelle wie ein unauflösliches Gesamtgebilde. Unmöglich wäre es, die Bestandteile der Ausgangsstile getrennt voneinander herauszuhören. Nur schwer wird man eine Gruppe finden, in der sich alle Beteiligten – obwohl unüberhörbar außerordentliche Virtuosen – für einen gemeinsamen Gesamtklang derart radikal zurücknehmen. Keine Synthese von Traditionen hat hier stattgefunden, sondern eher eine Art musikalische Kernschmelze.
Selten ist die Kombination aus einstimmiger, filigraner Maqam-Melodik und westlicher Mehrstimmigkeit so gelungen wie hier. Immer wieder wird man beim Hören unsicher, ob gerade überhaupt noch Harmonien erklingen oder nicht nur mehr ein langer, weich dahinströmender Bordun-Ton. Ebenso wenig entfaltet sich der irakische Maqam, dieser lange Zyklus mit seinen festgelegten Liedern, Rhythmus und Modulationen. Die beiden irakischen Musiker von Ahoar, durchbrechen immer wieder die strengen Formen und verkürzen seine Entwicklungen.
Nur Moleküle, so scheint es, haben die vier aus ihren diversen Musiktraditionen herausgelöst und neu miteinander verschmolzen.
Ahoar sind Gewinner der „creole NRW 2006 - Preis für Weltmusik aus NRW" und Gewinner der „creole 2007 – Preis für Weltmusik aus Deutschland".
Aus der Laudatio der internationalen Jury: "Der Verbindung von westlichem Jazz und der Musik des Irak, der Erschaffung einer neuen Sprache, den mit grosser Hingabe spielenden Musikern in ihrer berührenden und bewegenden Performance zollen wir Respekt."
Wenn zwei Musiker wie Saad Thamir und Bassem Hawar gemeinsam ein Album veröffentlichen, das sie "Between Rivers" nennen, dann denkt man zwangsläufig an ihre Herkunft aus dem Irak, dem "Zweistromland" an Euphrat und Tigris, und ganz unbeabsichtigt ist die Assoziation sicherlich nicht.
Thamir ist Percussionist, Hawar spielt die "Djoze", die Kniegeige, deren schriller Ton oft verstörend wirkt, geheimnisvoll und aufrüttelnd, und gemeinsam mit den sparsamen, pointiert gesetzten Percussions steigern die Musiker die Spannung bis weilen ins Unermessliche, und sie zerren an den Nerven ihrer Zuhörer.
Dennoch: Einer der beiden Flüsse könnte auch der Rhein sein. Denn Thamir und Hawar taten sich mit zwei weiteren Musikern zusammen: Free Desmyter, einem Jazz-Pianisten aus Belgien, und dem Kölner Kontrabassisten Dietmar Fuhr. Auch sie folgen dem reduzierten Klangkonzept des Albums, das seine besondere Magie und Atmosphäre aus der Stille zwischen den Tönen zu beziehen scheint.
Nur selten, etwa in dem schnellen "Raques" (so das arabische Wort für "Tanz") findet das Quartett zusammen, einigen sich Geige, Klavier, Bass und Percussions auf eine gemeinsame Melodieführung und einen durchgängigen Rhythmus. Doch schon kurz darauf treiben die Instrumente wieder auseinander und schaffen so Platz für die besonders meditativen Augenblicke, in denen Saad Thamir mit bedächtigem, in sich versunkenem Timbre die Stimme erhebt ("Nadam").
"Ahoar" ist ein überraschendes, herausforderndes Projekt, weil es den Gewohnheiten sowohl traditioneller arabischer Musik als auch des Jazz zuwiderläuft, statt dessen aber eine neue Perspektive eröffnet. Das Quartett wurde für diese neue Art der Weltmusik bereits mit dem Musikpreis "creole" ausgezeichnet. Der Begründung der Jury für die Preisvergabe ist nichts hinzuzufügen: "Der Verbindung von westlichem Jazz und der Musik des Irak, der Erschaffung einer neuen Sprache, den mit großer Hingabe spielenden Musiker in ihrer berührenden und bewegenden Performance zollen wir Respekt." - Michael Frost
01. Quidad 3:46
02. Meine Grossmutter 5:12
03. Raqes 3:32
04. Nadam 7:59
05. Sabah 2:30
06. Der Dattelstaat 6:23
07. Karawane 3:58
08. Kazid 6:25
09. Bat 6:18
10. Dum Tek 4:06
11. Gespräch 5:10
12. Hadir 6:43
13. Regen Hymne 4:09
flac including full scans
Part 1 | Part 2 | Part 3 | Part 4
Переслать - Aufwind - Awek di junge jorn
Aufwind
Awek di junge jorn, 1996
Klezpourrie is a medley which we originally put together for a theatre production.
A doyna is an improvised piece in a free rhythm. We found this one on a '78 recorded in 1923 recorded by clarinettist Naftule Brandwein. Elsewhere the same piece is called Rumanian Doyna.
The hora is a Rumanian dance in 3/8 with accents on the first and third beats (don't confuse it with the Israeli dance of the same name). Shtile Hora is a composition by our violinist Claudia.
The next part of the medley is called Khassidim Tants (also known as Jewish Dance or simply freylekh). The character of its melody encouraged us to arrange it in the rhythm of a Terkish, a dance form imported from a Greco-Turkish regions. Its driving rhythm is similar to that of the tango.
It is followed by a sher, a popular East-European dance in 2/4, in tempo a bit slower than the bulgar or freylekh.
Lekhaim, a song from the Megilleh by Itsik Manger, is the finalé of Klezpourrie. The master-tailor tells his apprentices to begin with the purimshpil, they clink glasses. We know the Odessa Bulgarish incorporated into this song from a '78 recording made by the Abe Schwartz Orchestra in 1919.
Der alter majnsster Fonfasse
wischt op mitn tichl di bril
un sogt zu sajne geseln
fajerlech un schtil:
"Nu, chewre, fun nodl un scher,
nu, chewre, woss schtejt ez schtil?
Machtss a lechajim, chewre,
un nemt sich zum Purim-schpil !"
Blischtschen di kojssess un klingen:
"Lechajim far nodl un scher,
far Esster, der griner mazie,
un farn mejlech, dem lekisch-ber !"
2 In shtetl Nikolayev (words: David Medoff; melody: traditional; arrangement: Koch)
Surele falls hopelessly in love with a shoemaker. The shoemaker gets draughted into the tzar's army. Surele can't get over it and commits suicide by poisoning herself.
We found the words and music of In Shtetl Nikolayev (a town on the Black Sea) on a '78, recorded in 1923 by David Medoff, who also performed under the name Igor Petrenkov.
In schtetl Nikolajew, lebn Schwarzn Jam,
gelibt hob ich majn Ssurele draj jor nochanand,
geljupket un geschmotschket, ich hob gefilt a tam
wen mir flegn schtejen zusamen baj der want.
Zusamen fun der arbet gegangen alemol,
ich bin gewen a schusster gearbet on a zol,
un Ssurke di modisstke hot ojf mir gewart,
got is mir an ejdess - ich hob dich nischt genart.
Sorg nit ljube majne, ich wel nor dajner sajn,
fun prisiw sich bafrajen - wesstu wern majn.
A chupe weln mir schteln in der grojsser schil,
di brochess wet unds machn der chasn Mojsche Schmil.
Di schensste mechutonim weln baj unds sajn
Jankl wodowosnik un Berke lapazan,
Welwl balagole un Jjankele podljez,
Izikl der schnajderl un Fajwl der kusnjez.
Klesmorim musikantn weln singen acht,
mir weln tanzn,schpringen a tog mit a nacht.
Noch dem weln mir essn di goldene jojch,
ojch a sissn zimess un efscher epess noch.
Der prisiw is gekumen - ich bin geworn a ssoldat,
men hot mich zugenumen, gesogt bin ich „nasch brat".
Zeschtarbt majn schejne libe, zebrochn is majn glik,
baglejt hot mir majn Ssurele mit a trojer blik.
In schtetl Nikolajew is Ssurele alejn,
nischto kejn frajnt kejn ejgene elnt wi a schtejn.
Saj gesunt majn chossn, schrajb zu mir a briw,
du solsst mich ejbik trogn in dajn harzn tif.
In a mitwoch noch der arbet is doss schrekleche geschejn,
gefunen hot men Ssurele mit farklempte zejn,
a fleschele fun ssam, in hant a briw zu mir -
„oj, saj mir mojchl, tajerer - ich benk zu schtark noch dir."
3 Yidish tango (words: anonym melody: traditional; arrangement: Koch / Hermerschmidt)
Play me a tango in Yiddish - the tango of an expelled and scattered people - to which grandmother can dance as well as the kids. Play me a tango that's neither Aryan nor barbarian, so my enemies can see that I still dance. Play me a tango of peace, and don't let it be a dream, let Hitler and his Reich drop dead. Oh, that'll be a dance for you!
Along with Mues (track 8) this song is found in „Lider fun getos un lagern", a collection made by Shmerke Kaczerginski, published in 1948 in New York City. The melody became more popular with different words and the title „Shpil zhe mir a lidele in yidish".
Schpil ssche mir a tango ojss in jidisch,
Sol doss sajn missnagdisch oder chassidisch.
As di bobele alejn sol kenen doss farschtejn
Un take a tenzele gejn.
Schpil ssche mir a tango ojss fun plejtim,
Fun dem folk zesejtn un zeschprejtn,
As kinder, grojss un klejn, soln kenen doss farschtejn
un take a tenzele gejn!
Schpil, schpil, klesmerl, schpil -
Wi a jidisch harz hot gefil,
Schpil mir a tenzele, oj schpil,
Schpil, ich bet dich, mit neschome, mit gefil.
Schpil ssche mir a tango, nor nit arisch,
Sol doss sajn nit arisch, nit barbarisch,
As di ssonim soln sen, as ich noch tanzn ken
Un take a tenzele mit bren !
Schpil ssche mir a tango ojss fun scholem,
Sol doss sajn a scholem nit kejn cholem,
As hitler mit sajn rajch oj di kapore glajch...
Oj wet doss sajn a tenzele far ajch !
Schpil, schpil, klesmerl, schpil ...
4 Baym rebn in Palestine/Terkish yale v'yove tants (melody: traditional; arrangement: Koch / Reich / Rohde / Hermerschmidt)
We know the hora Baym rebn in Palestine from the 1929 recordings of the BRODER KAPELLE. We've added an improvised section and combined it with Terkish yale v'yove tants (recorded by Brandwein, 1923).
5 Hulyet, beyze vintn (words: Abraham Reisen; melody: Michel Gelbart; arrangement: Koch / Rohde)
A song about the „evil winds", which devastate the fields, chase the birds away and destroy houses. Storms, your time is now. The winter will still last long, spring is still far away.
Poet Avrum Reisen has been called the „Heinrich Heine of Yiddish". His song, originally called Tsum winter, was written during the hard winter of 1900. In 1904/05 Jewish workers changed the last lines into a more promising lang vet doyern nit der winter, friling iz nit vayt (winter won't last long, spring isn't far away).
Huljet, huljet, bejse wintn,
Fraj baherscht di welt!
Brecht di zwajgn, warft di bejmer,
Tut woss ajch gefelt.
Trajbt di fejgl fun di felder
Un farjogt sej fort;
Di woss kenen wajt nit flien,
Tejt sej ojfn ort.
Rajsst di lodn fun di hajslech,
Schojbn brecht arojss;
Brent a lichtl ergez tunkl,
Lescht mit zorn ojss!
Huljet, huljet, bejse wintn,
Izt is ajer zajt!
Lang wet dojern der winter
Friling is noch wajt...
6 Shoyn avek der nekhtn (words and melody: traditional; arrangement: Koch / Reich)
Yesterday is already gone, Tomorrow is not here yet, just a little bit of Today. So don't bother us with sorrows. Have another glass while you're still alive, for in the next world you won't get anything.
The Jewish Folk Music Association in Petrograd published that song in 1917 as an anonymous folksong. Textual and melodic elements could point towards a khassidic origin.
Schojn awek der nechtn, noch nito der morgn,
Ess is noch geblibn a bissele hajnt - to lomir sich nischt sorgn.
Chapt arajn a schnepssl, kol-sman ir sent bajm lebn,
Im jirze-haschem ojf jener welt - wet men ajch nischt gebn.
7 Don un Donye (words: H. Roisenblat melody: Michel Gelbart; arrangement: Koch)
Don has two black sidelocks and is the best student in school. Donye has two golden braids and is called the queen of the steppes, where she brings the sheep every day. They meet every morning, they blush and cast their eyes down bashfully. And when Don is sitting in school the letters blur into a herd of sheep. And when Donye watches the herd she keeps thinking of Don's curled sidelocks.
We found this lyrical love song in the same American collection (by Joseph and Eleanor Khana Mlotek) in which we found Hulyet, beyze vintn. It is said to have been popular not only in America, but also in Europe.
Don hot zwej pejelech schwarze,
Donje zwej goldene zep,
Don is der ile fun Schtetl
Donje di malke fun sstep.
Don gejt baginen in klejsl,
doss ojg halb farchmaret fun schlof.
Donje mt sun ojf di bremen
zum sstep trajbt arojss ire schof.
Don bagegnt di passtuschke
un lost schtil di ojgn arop,
Donje farschemt tut a schmejchl,
un lost schtil arunter dem kop.
Don sizt bajm lernen un ss´zit sich
der tog epess lang on a ssof.
Ss´ducht im der blat is a lonke
di ojssjess - a tscherede schof.
Donje si hit sich ir sstade
gekrejslte lemer, un tracht:
Epess fun pejelech schwarze
gekrejslte, schwarz wi di nacht.
Don gejt togteglech in klejsl,
Donje togtegech in sstep,
Don hot zwej pejelech schwarze,
Donje zwej goldene zep.
8 Mues (words and melody: anonym; arrangement: Reich)
Mues—money is the best thing. The Judenrat (Jewish Council; installed by the nazis in the ghettos during WW II) takes taxes from us, but we only get bread and sugar to eat. At home I ate oranges, now I get eaten by lice and bugs. You can bribe Jewish policemen, too, not to get into the camp. So if you don't have money, hand your food card away and get yourself immortalized in the the community's death records.
We got to know this song from New York singer and actress Adrienne Cooper. In „Lider fun getos un lagern" is written about it: gezungene kupletn in varshaver geto oyf dem yidn-rat (forzitser Tsherniakov), oyf der yidisher politsay un oyf andere aktuele temen. Behind the gently swinging rhythm and the thrown-in Shtiler Bulgar lies an angry and ironic text.
Muess is di erschte sach.
Hosstu nit kejn muess, is tsu dir a klog,
Gib awek di bone un sog a gutn tog.
Muess is di besste sach.
Muess is di besste sach.
Di jidische gemine nemt fun unds danine
Un git doch unds tsu essn brojt mit ssacharine.
Muess is di besste sach.
Muess is di besste sach.
In der hejm hob ich gegessn pomerantsn,
Hajnt essn mich ojf di lojss mit di wantsn.
Muess is di besste sach.
Muess is di besste sach.
Der jidischer politsjant- er is doch a lobus,
Setst ajch ojf der maschine un schikt awek in obus.
Muess is di besste sach.
Muess is a gute sach.
Hosstu nit kejn muess, hob jach far dir a plan-
Gib awek di bone un rik sich in pinkertss kesstele aran.
Muess is an ejdele sach.
9 Fun tashlikh (melody: traditional; arrangement: Koch / Reich / Hermerschmidt)
We're not sure if Fun tashlikh really has anything to do with the tashlikh ritual, the symbolic cleansing from sins by emptying the pockets into flowing waters on Rosh Hashana. The melody comes from a Brandwein recording of Feb. 18, 1926. Instead of rummaging in our pockets we rummaged into the melody and underlayed a doyna to improvise, a hora to swing and dance rhythms.
10 Mayn rue-plats (words and melody: Morris Rosenfeld; arrangement: Koch)
Don't look for me where myrtles grow green, birds sing or fountains splash. You won't find me there. My resting place is where lives wither at machines, teeth grind and chains jangle. And if you really love me, come to me and make my resting place sweet.
Moris Rosenfeld was a Russian Jew who immigrated to America 1886. There, he earned his money as a worker in the clothing industry. Some of his lyrics became very popular. Mayn rue-plats has been in Aufwind's repertoire since the group was founded in 1984.
Nit such mich wu di mirtn grinen,
Gefinsst mich dortn nit, majn schats.
Wu lebnss welkn baj maschinen,
Dortn is majn rue-plats.
Nit such mich wu di fejgl singen,
Gefinsst mich dortn nit, majn schats.
A schklaf bin ich, wu kejtn klingen,
Dortn is majn rue-plats.
Nit such mich wu fontanen schpritsn,
Gefinsst mich dortn nit, majn schats.
Wu trern rinen, tsejner kritsn,
Dortn is majn rue-plats.
Un libsstu mich mit warer libe,
To kum tsu mir majn guter schats.
Un hajter ojf majn harts, doss tribe,
Un mach mir siss majn rue-plats.
11 Avek di yunge yorn/Doyna/Gassn-nign (words and melody: traditional; arrangement: Koch)
From across the mountains pigeons come, and they leave as fast as they can. My young years passed by the same way. I tell my brothers to harness the horses to the carriage, so that I can hasten after my young years. On a big, broad bridge I reach them and implore them to come back to me for at least one moment. But they reply: No, we wouldn't return. You shouldn't have wasted us during your youth.
We heard the song for which this CD is named in the house of an Ukrainian woman, where we spend a night in the summer of 1993. We found an Ukrainian version on a tape by the singer Mariam Nirenberg, who lived in Canada from 1932. A linguistically proficient friend helped us to reconstruct the Ukrainian text. The doyna and the gasn-nign are from the collection of Soviet ethnologist Moishe Beregovsky.
Afn barg, ibern barg,
Flien tojbn, porn,
Ich hob noch gor kejn nachess nit gehat,
Awek majne junge jorn.
Schpant mir brider, di kare ferd,
Lomir lojfn, forn,
Efscher wel ich noch konen umkern
Majne junge jorn.
Ich hob bagegnt majne junge jorn
Afn brajtn brik.
Jorn, junge, kert sich um
Far ejn ojgnblik.
Nejn, nejn, nejn, mir weln nit gejen,
‚ss is nito far wemen.
Hosstu gesolt jungerhejt
Asoj unds nit farschemen.
01. Klespourrie
02. In Schtetl Nikolajew
03. Jidisch Tango
04. Bajm Rebn In Palestine/Terkisch Jale...
05. Huljet, Bejse Wintn
06. Schojn Awek Der Nechtn
07. Don Un Donje
08. Muess
09. Fun Taschlich
10. Majn Rue-Plaz
11. Awek Di Junge Jorn/Dojna/Gassn-Nign
Claudia Koch – vocals, violin, viola
Hardy Reich – vocals, guitar, mandolin
Andreas Rhode – vocals, bandoneon, guitar
Jan Hermerschmidt – clarinet
Guest:
Heiko Rötzscher – bass
1 Klezpourrie
a) Dojna (melody: traditional; arrangement: Koch)
b) Schtile hora (melody: Claudia Koch; arrangement: Koch)
c) Chassidim tants (melody: traditional; arrangement: Koch/Reich/Rohde/Hermerschmidt)
d) Scher (melody: traditional; arrangement: Koch)
e) Lechajim/Odessa bulgarisch (words: Itzik Manger; melody: traditional arrangement: Koch/Reich)
320 kbps mp3 - sorry, no booklet
Part One
Part Two
Переслать - Safari Sound Band - Mambo Jambo - Kenya
Safari Sound Band
Mambo Jambo - Kenya (Africa, Vol. 07)
01. Mpenzi
02. Haba Haba Soup Soup
03. Mambo Jambo
04. Binti
05. Kala Mashaka
06. Hinde
07. Kabutema
08. Malaika
09. Nilikupenda
10. Mamake Asiya
320 kbps mp3
Part One
Part Two
Переслать
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