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- Putumayo Presents: Radio LatinoOn Radio Latino, Putumayo returns to its Latin roots with this collection of contemporary musicians standing at the forefront of the thriving Rock en Espanol/Latin Alternative movement. Most of these musicians are household names within their home countries, but have yet to realize their full potential in the rest of the world.
In 2003, Time magazine called Orishas one of the 10 most important groups outside the US, alongside U2 and Radiohead. Their song Reina de la Calle fuses traditional acoustic Cuban instruments playing son and guajira rhythms as a foundation with layered hip-hop samples, R&B vocals and rap verses to create a sound that is truly unique.
An accomplished singer-songwriter and one of Spain's brightest new stars, Bebe emerged from relative obscurity in 2005 after five Latin Grammy nominations made her the year's most nominated artist. On the track Men Senara the simple acoustic vibe of the opening phrases slowly grows into a sonic groove with pulsing beats and electronic effects that add a new dimension to Bebe's waif-like vocals.
Closing the album is 2002 Latin Grammy winner Jorge Moreno. On Candelita Moreno is inspired by the traditional instrumentation and rhythms of his parents' homeland, Cuba. Including brass band accents, flute, and a cacophony of percussive sounds, Moreno ties in contemporary flavors of American pop, funk and electronica.
While acknowledging their heritage by intertwining traditional rhythms and instrumentation with elements of popular music, Latin musicians are demonstrating that you don't have to sacrifice your cultural roots to appeal to a mainstream audience.
Putumayo will contribute $1 from the sale of each Radio Latino CD to United for Colombia in an effort to help rehabilitate child victims of landmines in the Putumayo River valley and throughout Colombia.
[01]. Princesa - Sacha Nairobi
[02]. Me Gustaria - Javier Garcia
[03]. Me Senora - Bebe
[04]. Vagabundo - Martin Buscaglia
[05]. Reina de la Calle - Orishas
[06]. Viento y Tiempo - Kelvis Ochoa
[07]. Por Esos Mares - Costo Rico
[08]. Mama - Raul Paz
[09]. Los Pinguos - Cielo Escarlata
[10]. Mulatica Mia - The Tao of Groove
[11]. Candelita - Jorge Moreno
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Переслать - Unforgettable Hits (3) (Guitar)TRACK LISTINGS
[01]. El Condor Pasa
[02]. Song Sung Blue
[03]. And I Love Her
[04]. Scarborough Fair
[05]. If You Dont Know Me By Now
[06]. How Am I Supposed To Live
[07]. Everything I Do I Do It For You
[08]. Sacrifice
[09]. Send Me An Angel
[10]. Sound Of Silence
[11]. Hello Again
[12]. When You Tell Me That You Love Me
[13]. Bridge Over Troubled Water
[14]. Sorry Seems To Be The Hardest Word
[15]. Love On The Rocks
MP3 VBR kbps including Covers, 2007
HERE
Переслать - Ammar al-Sherei Plays Abdul Halim Hafez - al - Helou HayatiTRACK LISTINGS
[01]. el-Helou Hayati
[02]. Safini Marra
[03]. Khayef Mara Aheb
[04]. Sudfa
[05]. Na'am Ya Habibi
[06]. Douqou al-Shamasi
[07]. Toukhounouh
[08]. Ya Hilu Ya Asmar
[09]. Beyni Wu Beynak
[10]. Ahen Ilayk
[11]. Mashghoul Wehyatik
MP3 192 kbps, no scans, sorry
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Переслать - CHINE - Musique classiqueRecording dates given in parentheses above. This is a very fine historical collection, although some tracks have noticeable static. One point of interest is that some styles have changed noticeably since the political changes in China, and so historical recordings such as this provide a way to appraise some of the older masters.
[01]. Liushui (Flowing waters) [7:21]
[02]. Gaoshan Liushui (High Mountains and Flowing Waters) [3:37]
[03]. Hangong quiyue (The Autumn Moon in the Han Palace) [3:44]
[04]. Shimian maifu (Ambushed from All Sides) [8:38]
[05]. Zhegu fei (The Partridge) [5:36]
[06]. Sishang xiang (The Incense over the Monastery) [3:34]
[07]. Ting song (Listenig to the Pine-trees) [2:40]
[08]. Ying diao (Shadows Tune) [3:47]
[09]. Yimeng shan (On Mount Yimeng) [3:04]
[10]. Qionghan ge (The Song of the Poor Man) [3:56]
[11]. Dalang taosha (The Waves Washes the Beach) [3:31]
[12]. Xiu hebao (The Embroidered Purse) [2:13]
[13]. Liu yao jin (The Silver Willow) xiao [2:41]
[14]. Fei hua dian cui (Snowing petals on the Grass) pipa [4:28]
[15]. Haiqing ge (Song of the Gerfalcon) [2:45]
[16]. Changmen yan (Resentment in the Palace of Changmen) [4:42]
[17]. Pu'an zhou (The Incantation of Pu'an) [7:53]
Instruments are as follows:
* guqin = 7-string zither
* zheng = movable bridge zither (13 or 21 strings)
* pipa = large, fretted, pear-shaped lute
* dizi = side-blown flute
* guanzi = cylindrical-bore oboe
* sheng = bamboo mouth organ
* erhu = 2-string fiddle
* sihu = 4-string fiddle
* gaohu = 2-string fiddle (one fourth higher than erhu)
* sanxian = 3-string unfretted lute
* yangqin = hammered dulcimer, derived from santur
* xiao = vertical bamboo flute
Playing time: 74'10"
Credits to "solaz"
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Переслать - South African LegendsA surprisingly comprehensive collection, this album from Putumayo really does cover nearly every South African musical legend that's made a name for themselves (with the only really obvious exceptions being Dorothy Masuka and Dave Matthews, though the latter's music isn't as rooted in African tradition in the first place). The album opens with some nice jive courtesy of the Soul Brothers. The great groaner Mahlathini combines with his favorites the Mahotella Queens for a bouncing, lilting number that shows off his deep, deep delivery. Vusi Mahlasela shows off his guitar style on a newer track, and the Mahotellas return for the classic "Mbube" (which really kicked off the recognition of African music in the Western world). More jive comes from the great West Nkosi, whose saxophone also leads the way into South African jazz in its modern form, as realized by Hugh Masekela in the next track. Lucky Dube evokes Marley and Tosh in his light reggae, and the cross-cultural Johnny Clegg presents a number. The album closes with two of the biggest stars of South Africa -- Miriam Makeba and a metaphorical song of exile, and Ladysmith Black Mambazo with their classic iscathamiya sound. Just about every sound that someone may have heard in recent years (or in years past) coming from South Africa is represented here. For a listener curious about the sounds of the country and its strong musical history, this makes for an outstanding introduction. For those already taken with South African music, it will still provide an enjoyable listen, and may even remind you to go look up someone you've forgotten about. ~ Adam Greenberg, All Music Guide
It was the South African sounds on Paul Simon's Graceland that first brought world music into the spotlight, and from there it's continued to shine. This album doesn't try to be The Indestructible Beat of Soweto; instead, it covers a wider canvas of the country's musical range. Along with mbaqanga, the style that's become so recognizably South African, there's the reggae of Lucky Dube (who would love to be Bob Marley), township jazz from Miriam Makeba, straight jazz from Hugh Masekela, and the ineffable Zulu harmonies of Ladysmith Black Mambazo, whose a cappella singing has both richness and emotion. The late Mahlathini roars in his unique lion voice (and he really does sound like a lion), and his backing band, the Mahotella Queens, brings "Mbube" (known in the West as "Wimoweh") back home again, where it belongs. In truth, there's not a bad track here, from the superb Soul Brothers to Johnny Clegg. As much as any one record can act as an introduction to a country, this does an excellent job. --Chris Nickson
[01]. Idlozi - The Soul Brothers
[02]. Mbaqanga - Mahlathini & the Mahotella Queens, Mahotella Queens,
[03]. Kuyobanjani Na? - Vusi Mahlasela, Vusi Mahlasela
[04]. Mbube - Mahotella Queens
[05]. Mazuzu - West Nkosi, West Nkosi
[06]. Chileshe - Hugh Masekela
[07]. My Game - Lucky Dube
[08]. Gijim'beke - Johnny Clegg, Juluka
[09]. Unhome - Miriam Makeba
[10]. Abantwana Basethempeleni - Ladysmith Black Mambazo
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Переслать - Oum Kalthoum - Hob eah - Gadedt hobek - Gamal el donia
More Info @ bolingo.org
Biography@almashriq
Biography@Answers
TRACK LISTINGS
[01]. 1960 - Hubb eeh (Anta fenn wel hobb fenn)
[¿Qué es el amor (Dónde estás y dónde el amor)?
What then is love? (Where are you and where the love?)]
Composer: Baligh Hamdi
Lyrics: 'Abd al-Wahhab Muhammad
Genre: Ughniyah
Maqaam: Bayati
Dialect: Egyptian colloquial
Recorded: Live
First Performance: 1960
First recording: Sono Cairo?
alt. transcriptions: Hubb eeh, Hobb Eih, Anta fenn wel hob fenn
By common knowledge in the music milieu of Egypt, the first couplet and the refrain were composed by Zakariyya Ahmad before his death. first sung 1/12/1960. (According to Frederic Lagrange)
[02]. 1952 - Jaddidta hubbak leeh
[Renovaste tu amor, ¿por qué?
You have renewed your love, whay?]
Composer: Riad al Soumbati
Lyrics: Ahmed Rami
Genre: Ughniyah
Maqaam: Nahawand
Recorded: Live
First Performance: 1952
First recording: Sonocairo?
alt. transcriptions: Jaddidta hubbak leeh
duration: 39:19 [4:32 intro]
[03]. 1947 - Jamal il-dunya
[La belleza del mundo
Beauty of the World]
Credits to "Calaf"
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Переслать - Sigune van Osten - Olivier Messiaen - Harawi
Sigune van Osten
Olivier Messiaen - Harawi, 1993
Der Komponist Olivier Messiaen, der mit Sigune von Osten lange Zeit zusammengearbeitet hat, sagte anlässlich der Aufführung von "Harawi" in Bratislava vor der Presse: "Der für die Interpretin höchst anspruchsvolle Gesangszyklus hat dank Sigune von Osten neue Dimensionen des Ausdrucks erhalten…Es war ein Wunder. Ihre Metamorphose meines Werkes hat alle meine Erwartungen übertroffen und allen vorangegangenen Interpretationen außergewöhnlich kreative Momente hinzugefügt.".
01. La ville qui dormait, toi
02. Bonjour toi, colombe verte
03. Montagnes
04. Doundou tchil
05. L'amour de Piroutcha
06. Répétition planétaire
07. Adieu!
08. Syllabes
09. L'escalier redit, gestes du soleil
10. Amour oiseau d'étoile
11. Katchikatchi les étoiles
12. Dans le noir
Sigune van Osten - soprano
Pi-Hsien Chen - piano
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Переслать - The 13th Tribe - Ping-Pong Anthropology
The 13th Tribe
Ping-Pong Anthropology, 1992
The music for the (self-built) PVC clarinets consist of single tones and melodic fragments which construct wide and pulsating soundscapes where the musicians of THE 13TH. TRIBE wander around, searching for hidden possibilities of enrichment and transformation into new, imaginary landscapes. Since 1984, Werner Durand is working with instruments which he has built out of PVC/Acryl and which are blown with mouthpices of trombones, clarinets or „neys" and are conjuncted with digital delay. He was born/lives in Germany and has studied Idian and Iranian classical music and has performed his own music and that of numerous new music composers. On this CD, he is accompanied by the well-known Norwegian saxophonist Erik Balke, who has performed extensively in Jazz improvisation contexts, created music for theatr and who has studied African and Balinese music; the Brasilian guitar player Silvia Ocougne, who has performed in countless musical settings including contemporary, Jazz, early music, Third Stream, Classical and Brazilian styles; and, as a guest musician, the Belgian percussionist Pierre Berthet who has performed within contemporary and improvised music and who has created homemade percussion instruments and sound installations.
Ping-Pong Anthropology defies categorizations. Two members of the 13th Tribe, German Werner Durand and Norwegian Erik Balke, perform on invented instruments, mostly wind instruments without finger holes, which are actually assemblages of PVC tubes of various lengths. The third musician, Brazilian Silvia Ocougne, provides cyclic rhythmical structures on prepared guitar. Percussionist Pierre Berthet appears as a guest on three tracks. Durand and Balke play games of "call and response" (reproduced in stereo, they do sound like a ping-pong game) over Ocougne's cycles, each one moving at his/her own pace, periodically losing the others and catching up on them. This process creates soft, unreal, slow-evolving textures belonging to both meditative and avant-garde music. Because of its ritualistic patterns and similarities between the Tribe's devices and such autochthonous instruments as the didjeridoo, the Alp horn, or even the pan flute, this music has a distinctive exotic quality. Somewhere between the Andes and Australia probably lies an island where the 13th Tribe's music may be used for the religious ceremonies of a postmodern civilization. ~ François Couture
Erik Balke - Pan-Bone (1,2,7,8,9); B-flat PVC-Clarinet (1,2,5); B-flat PVC-Clarinet with Oil Can Resonator (4,6); Percussion Oil Can (3)
Werner Durand - Pan-Ney (1,2,3,7,8,9); Pan-Bone (8,9), F PVC-Clarinet (5); F PVC-Clarinet with Oil Can Resonator (4,6)
Silvia Ocougne - Hammered and plucked Acoustic-Guitars (2,3,4,6,8); Pan-cussion (1)
Pierre Berthet - Bendir (8,9); Pipe Drum (5)
1. Dream Hunters
2. Hawaiian Office I
3. Khazar
4. Can-nibals I
5. Lofoten Part II
6. Can-nibals II
7. Ping-Pong Anthropology
8. Hawaiian Office II
9. Exhausted Pipes
320 kbps including full scans
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Part Two
Переслать - Stefan Hussong - Dream. Plays John Cage
Stefan Hussong
Dream. Plays John Cage, 1998
The pieces that Stefan plays are wistful, dreamy Japanese-inspired tunes. A sense a well-being and "rightness" is created where I was expecting near-cacophony and edgyness. The accordian is exactly right for the music. The tonalities of oriental flute with the chordal depth of accordian are striking and thought-provoking in the very best sense.
Of course, if your religion forbids listening to accordians, you have to pass this one up. - Amazon reviewer
01. Dream
02. In a Landscape
03. Souvenir
04. Two 3 No. 5
7 Harmonies from "Apartment House 1776"
05. XX. Heath
06. XXXV. Framingham
07. XV. Bellingham
08. XXXIX. Weymouth
09. XII. Littleton
10. III. Funeral Anthem
11. XVIII. Old North
Stefan Hussong - accordion
Hiroyuki Okano - conch shell (4)
320 kbps; including full booklet scans
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Переслать - Putumayo Presents: Women's WorkIn 1996 the interest in singer-songwriters was cresting and women were a big part of the emerging trend. The songs they wrote were not about fanciful dream images; they came from real life and were insightful, bitter, funny, and often painfully intimate. While a vanguard of younger artists were just finding their way, established performers were also being rediscovered, and the two groups gave each other considerable inspiration and support. These 13 songs are an amazingly accurate time capsule of a period when the vogue finally shifted to include singers who used small forces to sort out big problems and overwhelming emotions. Romances go sour, philosophy brings cold comfort, and reality is sometimes too much to stomach, but the women keep going as best they can despite craziness, opposition on various fronts, and their own frailty. With Ani DiFranco, Janis Ian, Vonda Shepard, and Toni Childs. --Christina Roden
[01]. Cradle and All [Live] - Ani DiFranco
[02]. Wolf - Catie Curtis
[03]. When the Silence Falls - Janis Ian
[04]. Maryland - Vonda Shepard
[05]. Just Enough - Toshi Reagon
[06]. Notion - Barbara Kessler
[07]. Letting Go - Fiona Joyce
[08]. Wild Horse - Eliza Gilkyson
[09]. Thru Cryin' - Kristen Hall
[10]. If You Leave Me Now - Laura Love
[11]. Testimony - Ferron Listen
[12]. Off the Ground - Christine Kane
[13]. I Met a Man [Live] - Toni Childs
FLAC tracks (EAC Rip): 320 MB | MP3 - 320 kbs: 130 MB | Covers
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Переслать - Anne-Sophie Mutter - Simply
(b Rheinfelden, 29 June 1963). German violinist. Her gifts as pianist and violinist were clear at an early age. Admired by Karajan when she played at Lucerne in 1976, she made her Salzburg Festival début when she was 14 and also her London début, playing first in the USA in 1980. She is noted for her shapely playing and warm tone in the standard repertory and has given premières of works by Lutosławski and others.
TRACK LISTINGS
[01]. Concerto for Violin and Strings in E, Op.8, No.1, R.269 "La Primavera" - 1. Allegro
[02]. Violin Concerto No.3 in G, K.216 - 3. Rondo (Allegro)
[03]. Violin Concerto No.5 in A, K.219 - 2. Adagio
[04]. Violin Romance No.2 in F major, Op.50
[05]. Thaïs - Acte Deux - Meditation
[06]. Liebesleid
[07]. Tango Song and Dance (dedicated to Anne-Sophie Mutter) - 2. Song. Simply
[08]. Hungarian Dance No.6 in D flat - transc. for Violin and Piano by Joseph Joachim
[09]. Porgy and Bess - Summertime
[10]. Carmen Fantasy, Op.25 - Introduction. Allegro moderato
[11]. Carmen Fantasy, Op.25 - 1. Moderato
[12]. Carmen Fantasy, Op.25 - 2. Lento assai
[13]. Carmen Fantasy, Op.25 - 3. Allegro moderato
[14]. Carmen Fantasy, Op.25 - 4. Moderato
Mutter was born in Rheinfelden, Germany. She began playing the piano at age five, and shortly afterwards the violin, studying with Erna Honigberger, a pupil of Carl Flesch. Upon Honigberger's death, she continued her studies with Aida Stucki, at the Winterthur Conservatory.
After winning several prizes, she was exempted from school to dedicate herself to her art. When she was 13, conductor Herbert von Karajan invited her to play with the Berlin Philharmonic. In 1977, she made her debut at the Salzburg Festival and with the English Chamber Orchestra under Daniel Barenboim.
At fifteen, Mutter made her first recording of the Mozart Third and Fifth violin concerti with von Karajan and the Berlin Philharmonic. The same year, she was named Artist of the Year.
In 1980, she made her American debut with the New York Philharmonic under Zubin Mehta. In 1985, at the age of 22, she was made an honorary fellow of the Royal Academy of Music (London) and head of its faculty of international violin studies. In 1988, she made a grand tour of Canada and the United States, playing for the first time at Carnegie Hall. In 1998 she played and recorded for CD and DVD the complete set of Beethoven's Violin Sonatas, accompanied by Lambert Orkis; these were broadcast on television in many countries.
Though her repertoire includes many classical works, Mutter is particularly known for her performances of contemporary music. A number of pieces have been especially written for or dedicated to her, including Henri Dutilleux's Sur le Même Accord, Witold Lutosławski's Partita, Krzysztof Penderecki's Second Violin Concerto and Wolfgang Rihm's Gesungene Zeit ("Time Chant"). In August 2007, she will premiere Sofia Gubaidulina's Violin Concerto No. 2 "Anne-Sophie". She has received various prizes, including several Grammys. She also owns two Stradivarius violins (The Emiliani of 1703, and the Lord Dunn-Raven of 1710) and a Regazzi, dated 2005.
In October 2006, on French television, Mutter appeared to indicate that she would be retiring when she turned 45, in 2008. However the following month she said that her words were "misinterpreted" and that she would continue to play as long as she felt she could "bring anything new, anything important, anything different to music".
Mikis Theodorakis has played many public roles since his emergence in the mid-twentieth century, as Greece's most successful composer of serious music, a leader in the field of film music, and a symbol of resistance to oppression. Born Michalis Theodorakis on the Aegean island of Chios, he was a shy child who enjoyed poetry and music. His interest in music was shaped by his gypsy-like childhood, as his father, a government official, was continually transferred throughout the Greek islands; in the process, Theodorakis was exposed to a huge variety of traditional Greek music, all of which shaped his sensibilities as a composer. He also displayed a strong interest in liturgical music and took up the violin, which he studied at the Patras Conservatory of Music. Theodorakis began composing music as a boy. He did his best to continue studying music during the Axis occupation, but after he was refused admission to the Athens State Conservatory, Theodorakis turned to his other great passion, politics. He was converted to Marxism by his patriotism and the sacrifices he saw made by the communists fighting the occupying forces. He linked his musical and political passions, composing pieces such as his oratorio Third of December, a memorial to partisans killed by the British. Theodorakis' Communist affiliations led to his imprisonment twice by the postwar government, and he was held under brutal conditions for more than two years, until he was released with a case of advanced tuberculosis in 1949.
During the 1950s, Theodorakis began emerging as a composer and critic. He wrote and arranged scores for ancient dramas, composed a pair of ballets, Orpheus and Euridice and Greek Carnival, and began writing for movies. In 1954, he received a grant to study at the Paris Conservatory, where his teachers included Olivier Messiaen, and he composed twenty-one works during his four years in Paris. He continued his work in films as well, most notably in Ill Met By Moonlight (1956) directed by Michael Powell and Emeric Pressburger, and in Powell's Honeymoon (1959), which featured Theodorakis' ballet The Lovers of Teruel (which was later the basis for a separate film). He also became a critic of the musical establishment in Greece, insisting that composition could be invigorated by a return to their music's roots and the traditional sources he'd known as a boy. He continued composing for the theater and also in popular music, and in 1964 wrote the score for the movie Zorba The Greek, which was a huge hit and exposed a vast new audience to Theodorakis' music. Theodorakis' reputation was made among popular listeners as well as serious music circles, but his music career was soon overshadowed by politics.
As a member of the Greek parliament in the 1960s, he had built a reputation as a political activist and had a potent political organization behind him. When a group of Greek army colonels seized power in 1967, Theodorakis went underground and began organizing resistance to the junta, and was arrested twice; held for two years, he was released on humanitarian grounds following a massive international outcry. He'd continued composing, even smuggling compositions out of prison, and wrote a song cycle devoted to the cause of the resistance. Theodorakis returned to the Greek parliament after democracy was restored, but has been increasingly known for his music in the decades since. In 1988, the expanded version of his first symphony received its American premiere, and his works have comprised entire programs at such venues as Avery Fisher Hall in New York. ~ Bruce Eder, All Music Guide
ANNE-SOPHIE MUTTER is one of the best-known classical musicians in the US, and her concert appearances here are sold-out events. Her contributions to the violin repertoire, her extraordinary collaborations with the most accomplished and elite of musical partners, and her unstinting devotion to excellence point to a legacy of unequalled brilliance.
2006 is the 30th anniversary of the beginning of Ms. Mutter's public career, which has intersected with and influenced the lives of so many important musicians of the era and inspired the minds and hearts of millions of listeners around the globe. Simply Anne-Sophie offers a great musical overview of her brilliant career.
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Переслать - Sonny Thet - Cello Meets Cello
Sonny Thet
Cello Meets Cello, 2000
Born and raised in the Kingdom of Cambodia, he was sent to Weimar (Germany) by Prince Sihanouk to study the art and technique of European Music. After graduating excellently from the Franz-Liszt University in the field of Cello, he became one of the founders of the legendary music group BAYON. He early developed his unique style of playing combining the Khmer-Pentatonic whit elements of Classic, Jazz and Rock.
Firstly as Bayon-Member, and from the late 80s on also in other musical constellations, he took part in numerous large-scaled projects and theatre productions. Aside from his own recordings on LPs and CDs, Sonny Thet has been frequently asked to compose, perform and record by the order of radio, film and television. His solo performances had led him to numerous places of cultural interest all over Europe and the United States.
Sonny Thet's incredible variety as cellist is reflected in the richness of his interpretational spectrum, which constantly calls for, elicits or softly palms never heard tones and sounds out of his instrument. In his personality as an artist, Asian and European musical traditions melt to one finding their expression in absolute matchlessness. - Barbara Jacob
Sonny Thet aus Kambodscha, ein Gründungsmitglied der Gruppe "Bayon" (Weimar), spielt Solostücke auf dem Cello. Eine Mischung aus Klassik, Jazz, Khmer-Pentatonik und filigranen elektronischen Effekten.
01. Ouverture: Schlacht / Traktor von Heiner Müller
02. Herbst
03. Carlos
04. Bluesbach
05. Kadenz
06. Crystal
07. Saravann
08. Pentus
09. Über's Meer - Erinnerung an Rio Reiser
10. Silent Cello
320 kbps - no booklet available!
HERE
Переслать - Shivkumar Sharma - Rag Madhuvanti & Rag Mishra Tilang
Shivkumar Sharma
Rag Madhuvanti & Rag Mishra Tilang, 1988
Shivkumar Sharma is one of the truly great visionaries in the Hindustani classical music firmament. His popularity has created a knotty problem for his admirers. Popularity has led to a demand for recordings by him, to a degree that having a Shivkumar Sharma album acts like a kind of validation for a label. Consequently the market is flooded with his recordings. His playing is consummate, therefore he is unlikely to produce a piece of work that is below par, which makes selecting a shortlist even more difficult.
Sharma's story is one of dedication. He was born in January 1938 in Jammu Kashmir. His father Uma Dutt Sharma asked him to pursue the development of the Kashmiri santoor. Being a dutiful son he obeyed and persevered despite private reservations. Though its Persian relative, the santur, had associations with Persian and Iranian classical music, elevating the Indian instrument to the classical concert platform was widely viewed as folly in conservative quarters. But Shivkumar Sharma persisted, experimented, restrung and reconfigured his instrument. His first major santoor recital took place in Bombay in February 1955, but it took, he reckons, until the 1970s to finally silence the querulous, "the die-hard connoisseurs of the music, musicologists and purists." Parallel with his development of the santoor he worked as a tabla player (he accompanied acts as diverse as the renowned Punjabi folksinger Surinder Kaur and sitar maestro Ravi Shankar), and his understanding of tabla playing and rhythm has immeasurably enhanced his performance style and stagecraft. ~ Ken Hunt, All Music Guide
there is nothing like the sound of a santur...and this CD will prove it to you. Sharma is a genius with this instrument. When listening to this music, expect a voyage nearly touching the transcendent realm. It is truly a spiritual experience.
Rag Madhuvanti
Rag Misra Tilang
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Part One
Part Two
Переслать - Shivkumar Sharma - Rag Bhimpalasi
Shivkumar Sharma
Rag Bhimpalasi
Shivkumar Sharma is one of the truly great visionaries in the Hindustani classical music firmament. His popularity has created a knotty problem for his admirers. Popularity has led to a demand for recordings by him, to a degree that having a Shivkumar Sharma album acts like a kind of validation for a label. Consequently the market is flooded with his recordings. His playing is consummate, therefore he is unlikely to produce a piece of work that is below par, which makes selecting a shortlist even more difficult.
Sharma's story is one of dedication. He was born in January 1938 in Jammu Kashmir. His father Uma Dutt Sharma asked him to pursue the development of the Kashmiri santoor. Being a dutiful son he obeyed and persevered despite private reservations. Though its Persian relative, the santur, had associations with Persian and Iranian classical music, elevating the Indian instrument to the classical concert platform was widely viewed as folly in conservative quarters. But Shivkumar Sharma persisted, experimented, restrung and reconfigured his instrument. His first major santoor recital took place in Bombay in February 1955, but it took, he reckons, until the 1970s to finally silence the querulous, "the die-hard connoisseurs of the music, musicologists and purists." Parallel with his development of the santoor he worked as a tabla player (he accompanied acts as diverse as the renowned Punjabi folksinger Surinder Kaur and sitar maestro Ravi Shankar), and his understanding of tabla playing and rhythm has immeasurably enhanced his performance style and stagecraft. ~ Ken Hunt, All Music Guide
Raga Bhimpalasi - Alap, Jor & Jhala
Raga Bhimpalasi - Gat in Jhaptal
Raga Bhimpalasi - Gat in Ektal
320 kbps including full scans
Part One
Part Two
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