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WeLove-music
Music 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!
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Oum Kalthoum - HAGARTAK
Oum Kalthoum - Hajartak, 1959

Composer: Reyad al-Sunbati
Lyrics: Ahmed rami
Genre: Ughniyah
Maqam : Kurd

HERE

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Ammar al-Shar'ieh Plays Mohammad Abdul Wahab - Ahwak

1. Gafnuhu
2. Ahwak
3. Ya Wabour Kol Li
4. Itmakhtari Ya Khayl
5. Ah Minka
6. Ana Wu Habibi
7. al-Ameh
8. Abjad Hawaz

HERE

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Sabri Brothers - Shikwa Jawab-e-Shikwa
SHIKVAH JAVAB -E-SHIKVAH
Haji Ghulam Farid Sabri & Haji Maqbool Ahmed Sabri

The Sabri Brothers, Haji Ghulam Farid (or Fareed) Sabri (1930-1994) and Haji Maqbool Ahmed Sabri (also born in Kalyana in East Punjab, on October 12, 1945), they were taught music by their father, Ustad Haji Inayat Sen Sabri. The family claims descent from Mian Tansen, one of the greatest and most legendary Hindustani musicians of all time. The musically gifted Tansen was a musician in the court of Akbar and is credited with miraculous powers of musicianship. Maqbool Ahmed Sabri formed his first party of qawwals at the age of 11; soon afterwards in 1956 his elder brother (who had been singing with Kallan Khan's qawwal and party) joined him and the Sabri Brothers proper came about. Their career was marked by brotherly squabbles followed by periods of each doing solo work. The duo created a body of recorded work, consistent in quality, but rather more traditional than Nusrat Fateh Ali Khan's recorded work. Ghulam Farid Sabri's funeral in Karachi was attended by an estimated 40,000 mourners. Haji Maqbool Ahmed Sabri continues to carry the torch. ~ Ken Hunt, All Music Guide

1. SHIKVA JAVAB-E-SHIKVA (Part-1)

Lyrics: Allama Iqbal
Artiste: Haji Ghulam Farid Sabri
Haji Maqbool Ahmed Sabri Qavval & Party
Music: Maqbool Ahmed Sabri

2. SHIKVA JAVAB-E-SHIKVA (Part-2)

Lyrics: Allama Iqbal
Artiste: Haji Ghulam Farid Sabri
Haji Maqbool Ahmed Sabri Qavval & Party
Music: Maqbool Ahmed Sabri

MP3 VBR kbps including Covers

HERE

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Paco de Lucía y Ramón de Algeciras en Hispanoamérica
Segundo disco que Paco de Lucía y Ramón de Algeciras dedicaron a la música popular latinoamericana después del disco grabado en 1967 titulado "Dos guitarras flamencas en América Latina".

Paco de Lucía. Francisco Sánchez Gómez. Algeciras (Cádiz), 1947. Guitarist

Perhaps the most universal of flamenco performers. His father was a modest player who never went beyond amateur meetings, although he established the firm purpose of making his sons major flamenco performers so they would never suffer the financial hardships he had to suffer. He achieved this, making them study hard from an early age. Ramón de Algeciras is a prestigious guitarist; Pepe de Lucía has made his career as a singer; María Luisa and Antonio have not become professional performers due to circumstances, although she sings and he was on the way to becoming a good guitarist; and Paco is the genius. He says he could not have been anything else in life: "One is what one was in childhood, and I spent the whole of my childhood surrounded by flamenco performers". He was a thirteen year old boy when he began to work in the dance company of José Greco, at what everyone starts with: accompanying cante and dance; and he did this in an impeccable way, in spite of his extreme inexperience. He met Camarón shortly after and, as Paco has said, fell in love with him for ever. He remembers that stage as the most beautiful in his life. They frequently toured together and the singer and him "played and sung round the clock, whole nights inventing things". And they made records which are now listened to more than ever. Paco de Lucía always admired El de la Isla more, perhaps more than anyone else, because he represented the ideal of what he would have liked to be. "I never wished to be a concert guitarist, because what I had liked from my childhood was to sing. But I was very shy, very fat; I felt very ridiculous and I hid behind the guitar. I am a frustrated singer". At the end of the sixties, the beginning of the seventies, the art of Paco de Lucía was known the world over. His style was already perfectly defined, after the first stage in which Niño Ricardo was his fundamental model, and in a second in which he discovered Sabicas, Mario Escudero and others, to then establish his personal way of playing. In 1975 he gave a concert that made history at the Royal Theater in Madrid, which brought his definitive consecration.

His permanent concern for innovation has earned him the reproach of the guardians of absolute orthodoxy. There was certainly a time in which his constant contributions made him the most revolutionary in flamenco music. He has confessed that he became afraid when he realized that he changed his way of playing relatively frequently, until one day when he realized that "whatever I do, my sound will always be flamenco, because I am who I am". Since then, he has played in a more spontaneous way, allowing himself liberties that he would never have dreamed of before. His attempts at approaching other musics is are noticeable, not only because they enriched his art, but because they had a decisive effect on later flamenco. However, he has assumed that he will never loose his flamenco identity, and precisely that is where his strength lies. He does not know music and has learned everything by intuition. He recognizes he lacks musical technique, although on the other hand, he has resources he has invented himself. "What gives strength and motivates my way of playing is precisely it being flamenco; if it were not flamenco, it would not be me". He has acted in several films.

TRACK LISTINGS

1.Amapola 2.Pájaro Chogüí 3.Yo vendo unos ojos negros 4.Guadalajara 5.Limeña 6.Las Mañanitas 7.Alma, corazón y vida 8.Quizás, quizás, quizás 9.Tico, tico 10.Lamento Borincano 11.Y todo a media Luz 12.La Paloma.

FLAC (EAC Rip): 270 MB | MP3 - 320 kbs: 155 MB | Booklet Scans

Archives have 5% of the information for restoration

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Part 1 | Part 2 | Part 3

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Part 1 | Part 2

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Kante Manfila & Balla Kalla - Kankan Blues
Kante Manfila & Balla Kalla
Kankan Blues
KW Out of Africa Series, 1991

This is a stunning record. Ace Afro-Frankfurter Gunter Gretz went to Manfila's hometown of Kankan and recorded him and various relatives, including balafonist Balla Balla. As you'd expect of a family of griots, there's magnificent traditional singing here, along with acoustic and electric guitar and superb balafon. Gretz's notes are both eccentric and very revealing, with a long account of the sundry hazards of field recording. ~ John Storm Roberts, All Music Guide

01. Kankan Blues
02. Baiye Baara Fabara
03. Djeliha
04. Damano
05. Lamagnote
06. Naroumba Conde
07. Djelia
08. N'na
09. Kanakassi
10. Naroumba Conde (Jali Version)

HERE

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Kasbek - Russian-style Klezmer. Jewish Music from Eastern Europe
Kasbek
Russian-style Klezmer. Jewish Music from Eastern Europe, 1996/2000

01. Zilberne Khasene 2:15
02. In Odess 3:15
03. Kasbek 3:49
04. Oy Piydu Ya... 4:01
05. Heyser Bulgar 4:21
06. Tshubtshik 3:23
07. Kishinever Bulgar - Shtiler Bulgar 3:43
08. S'is Fintzer In Mayn Gesale 2:49
09. Bulgar N°4 - Malkele 4:25
10. Khosn Un Kaleh 4:03
11. Djankoye 2:44
12. Doyna - Kandels Hora - Odessa Bulgar 8:25
13. Di Mezinke Oysgegebn 3:13
14. Papirosn - Kupite Papirosy 4:28
15. Eti Tshorniye Glaza 3:10
16. Lebedik - Freylekh 2:58
17. Russian Sher 4:05
18. Kolomayer Badkhen - Lebedik Un Freylekh 6:09

Frieder Breitkreutz - violin, vocals
Andreas Karpen - balalaika, vocals
Christian Müller - bass balalaika, vocals
Uwe Sauerwein - guitar, vocals

320 kbps; including full booklet scans

Part One
Part Two

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Karin Krog & Dexter Gordon - Some Other Spring
Karin Krog & Dexter Gordon
Some Other Spring, 2000 (1970)

When this album was recorded in May 1970 Dexter Gordon had been a Scandinavian resident on and off for eight years, working regularly at Copenhagen's Montmartre club with pianist Kenny Drew and bassist Niels-Henning Orsted Pedersen. He met Oslo-born Karin Krog - 'a musician first and a vocalist second' - when they shared the bill at the Neptun Jazz Club in Bergen, Norway, 1963, and a deep mutual respect developed from that point on. In 1967 Krog and Gordon worked together on a show for Danish television and it was then that idea for this album was born.
'Some Other Spring' was recorded for the Sonet label in 1970 and was then reissued on the Storyville label in 1971. It has gone on to become a classic album and is now presented for the first time on CD, together with four extra tracks not included on the original release ("Ode To Billy Joe", "Some Other Spring", "Blue Monk", "Shiny Stockings").

01. Some Other Spring 5:05
02. Blue Monk 4:03)
03. How Insensitive 4:41
04. Blues Eyes 4:58
05. Jelly Jelly 5:03
06. I Wish I Knew 5:25
07. Everybody's Somebody's Fool 4:45
08. Shiny Stockings 3:52
09. Ode To Billy Joe 8:22
10. Some Other Spring (Alternate) 4:32
11. Blue Monk (Alternate) 4:08
12. Shiny Stockings (Alternate) 6:54

Karin Krog - vocals
Dexter Gordon - tenor saxophone, vocals
Kenny Drew - piano, organ
Niels-Henning Orsted Pedersen - bass
Espen Rud - drums

flac including full scans

Part 1 | Part 2 | Part 3 | Part 4

Track 2 missing, unfortunately!

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Konrad Junghänel - Baroque Esprit. Esaias Reusner, Lute Suites
Konrad Junghänel
Baroque Esprit. Esaias Reusner, Lute Suites, 1992/2002

Suite d-minor
1. I. Präludium
2. II. Paduan
3. III. Allemanda
4. IV. Couranta
5. V. Saraband
6. VI. Gavotte
7. VII. Gigue
Suite c-minor
8. I. Allemanda
9. II. Courant
10. III. Sarabanda
11. IV. Gavotte
12. V. Gigue
Suite D-major
13. I. Sonatina
14. II. Allemanda
15. III. Courant
16. IV. Sarabanda
17. V. Gavotte
18. VI. Gigue
19. VII. Passacaglia
Suite g-minor
20. I. Allemanda
21. II. Courant
22. III. Sarabanda
23. IV. Aria I
24. V. Aria II
25. VI. Ballett
26. VII. Gigue
Suite c-minor
27. I. Paduana
28. II. Allemanda
29. III. Couranta
30. IV. Sarabanda
31. V. Gigue
Suite e-minor
32. I. Allemanda
33. II. Couranta
34. III. Sarabanda
35. IV. Gigue

320 kbps mp3, including full booklet scans

Part One
Part two

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