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- CajunSpurred on by the commercial success of their Zydeco release, Putumayo World Music has offered up a second helping of Southwest Louisianan musical vittles with Cajun. Essentially the flip side of zydeco -- which is a predominately Creole genre that's "a little jazz, a little blues, a little French, and a little rhythm 'n' blues" -- Cajun music is a rural genre that has grown out of French folk songs and other European stylings. This follow-up compilation includes 12 cuts, each recorded by a different Cajun band. With lyrics sung in French, and melodies primarily played on accordions and fiddles, the contemporary Cajun groups featured on this colorful compilation should give the listener a good introduction into today's Cajun scene. From Filé's opening track, "Pont de Vue," to the closing number by the Jambalaya Cajun Band, Cajun's optimistic ideology -- "laissez les bon temps roulez," or "let the good times roll" -- beams through and through. Perhaps in an effort to reinforce this "good times" vibe, all but one of the 12 cuts heard on Cajun are upbeat two-stepping numbers that drive one to knee slapping. The lone exception, David Doucet's "Balfa Waltz," reveals the moodier side of Cajun aesthetics. Though some Cajun purists may wince at the lack of waltzes -- and at some of the rock- and country-influenced cuts on the compilation -- Cajun does provide a very good introduction to the genre as it exists today. Extensive liner notes -- which offers an overview of Cajun music, a description of each track, and a recipe for red beans and rice -- help make this release educational and savory as well. ~ John Vallier, All Music Guide
[01]. Pont de Vue
[02]. Acadie À la Louisiane
[03]. Let's Dance Two-Step
[04]. Jolie Bassette - Ardoin, Alphonse
[05]. Beau Geste - Castille, J. Blake
[06]. The Corner Post - Schwartz, Peter "Sk
[07]. L' Oranger
[08]. Les Tracas de Todd Balfa
[09]. Balfa Waltz - Balfa, Will
[10]. Hey la Bas
[11]. Lafayette Breakdown
[12]. Les Flammes d'Enfer - Pitre, Austin
FLAC tracks(EAC Rip): 275 MB | MP3 - 320 kbs: 95 MB | Covers
Archives have 5% of the information for restoration
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Переслать - Carlo Domeniconi - To Play or Not to Play
Carlo Domeniconi
To Play or Not to Play, 1993
To play or not to play (Berlin, 1990). Based on an old guitar piece by Gaspar Sanz ("Zarabanda al Ayre Espanol", around 1700). Tonics and dominants are intentionally allowed to stand above each other (which more often happens unintentionally!), and thereby open a door into a new world. The old Zarabanda experiences completely new aspects and fully frees itself of its old form. At the end the piece dissolves into nothingness and the music continues in silence. One reaches a condition where almost any sound could fit, or even silence becomes sound. Whether one plays (on) or not... that is the question!
Three Studies for the Spirit (Berlin, 1985). These three études present technical as well as musical hurdles. The first, "Time and Space", wanders from European classicism into the present day world of the Far East. (Mixed techniques in connection with arpeggios and other special techniques.) The second, "The Chinese", is mainly a tremolo study. Totally Far Eastern. The third, "Hommage à Olivier Messiäen", returns to the western world. This piece is based on an eight-tone scale. The name originated from a conversation with David Russell (1986) in the composer's house in Heilbronnerstrasse, Berlin. Recorded by the composer for the CD "To play or not to play" (Classic Studio Berlin, now AMA Verlag). They have been performed by Martin Pramanik, Marco Socías, Carlo Marchione and Dale Kavanagh. The "Studies for the Spirit" were obligatory pieces in the Frechen Guitar Competition (1994).
Gesualdo (Berlin, 1991). Dark, chromatic.
Minyo (Berlin, 1990). Commissioned by Gendai Guitar (Tokyo). Variations on a Japanese folk song.
Ellylldan (Berlin, 1988). Ellylldan is the Welsh version of the tradition of Will-o'-the-wisps; mysterious creatures (elves) who inhabit marshland and mischievously mislead travellers. The piece is predominantly surreal and fantastic, a kind of midsummer nocturnal ecstasy. The third movement could represent a distant variation of the "Follia". Ellylldan won second prize in the "Reyna Sophia" composition competition in Madrid (1993).
Schnee in Istanbul (Snow in Istanbul) (Istanbul, 1991). Poetic piece drawn from real experience. The heavy snow drifts over the mosques of Istanbul.
Hommage à Jimi Hendrix (Berlin, 1991). A tombeau, so to speak, an epitaph. Sometimes it seems as if Jimi himself is thinking over his short life. Transformed quotations from his guitar passages are no rarity in this piece. Since 2006 in the repertoire of Pavel Steidel.
1. To play or not to play, Op.43
2. Three Studies for the Spirit, Op.22
Time and Space
The Chinese
Hommage à Olivier Messiaen
3. Gesualdo, Op.50e
4. Minyo, Op.50d
5. Ellylldan, Op.32
6. Schnee in Istanbul, Op.51a
7. Hommage à Jimi Hendrix, Op.52a
Carlo Domeniconi - Guitar
320 kbps including full scans
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Переслать - Rajesh Vaidhya - Yemani Vani. La tradition carnatique de la vina 3
Rajesh Vaidhya
Yemani Vani. La tradition carnatique de la vina 3, 1998
1. Varnam - Navaragamalika
2. Nada Loludai - Kalyana Vasanta
3. Alapanam - Kalyani
4. Tanam - Kalyani
5. Vasudevayani - Kalyani
6. Karunai Deivame - Sindhu Bhairavi
7. Train Song - Shankarabharanam
8. Tarana - Dhanashri
9. Bhagyada Lakshmi - Madhyamavati
Karakurichi N. Mohana Raman - mridangam
S. Karthick - ghatam
320 kbps including full scans
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Переслать - Aruna Sayeeram - La tradition lyrique de la musique carnatique 1
Aruna Sayeeram
La tradition lyrique de la musique carnatique 1, 1995
1. Mahaganapatim - Nattai
2. Entamuddo - Bindumalini
3. Naradamuni - Pantuvarali
4. Mohanarama - Mohana
5. Soundararajam - Brindavana Saranga
6. Alaipayude - Kanada
7. Tillana - Mohana Kalyani
Aruna Sayeeram - vocals
B. Anantharaman - violin
S. Shankaranarayanam - mridangam
320 kbps including full scans
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Переслать - Kamel Aouissi - Le luth AndalouKamel Aouissi was born in Algier in 1966. From age 12 he studied at the city conservatory of Algier and from 1981 until 1987 joined the Founoun Ziriab. In 1987 and 1988 he won the first prize at the "Festival National de Musique Arabo-Andalouse d'Alger".
1. Istikhbar Djarka
2. Istikhbar Raml El Maya
3. Istikhbar Zidane
4. Istikhbar Gh'rib Arak
5. Istikhbar Sika
6. Istikhbar Mazmoum
7. Istikhbar Moual
MP3 192 kbps including scans
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Переслать - Unforgettable Hits (9) (Saxophones)TRACK LISTINGS
[01]. I Will Always Love You
[02]. Wind Beneath My Wings
[03]. Desperado
[04]. Tears In Heaven
[05]. Take A Look At Me Now
[06]. Broken Wings
[07]. Songbird
[08]. Just The Way You Are
[09]. Just The Two Of Us
[10]. Moonlight Sax Medley Careless Whisper Italia
[11]. Unforgettable
[12]. Beauty And The Beast
[13]. Your Latest Trick Smooth Operator
[14]. Winelight
[15]. Ole Devil Called Love
MP3 VBR kbps including Covers
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Переслать - Oum Kalthoum - LELET HOBA well-known journalist in Cairo, Rajâ' al-Naqqâsh, wrote that, as a child, he thought "listening to Umm Kulthûm" meant "listening to singing." When the adults around him listened to singing, they listened to Umm Kulthûm, thus "singing," in his youthful experience, equated to "Umm Kulthûm." While this attitude would be rare in Egypt now as listeners have moved other music into the domains of their daily life, Umm Kulthûm remains a formidable presence as she has been for nearly a century.
Umm Kulthûm (1904?-1975) was perhaps the most famous singer of the century in the Arab world. She recorded some 300 songs. Her monthly, Thursday-night concerts were legendary as she extended a single song to last an hour or more, and the concert as a whole extended from 9:30 p.m. until 2, 3 or even 4 in the morning. She was known as an accomplished artist, often characterized as "authentic" (asîl), who honed her talents to the performance of elegant Arabic poetry, clever colloquial verse and moving devotional songs. She was called the "voice of Egypt." When she died, her funeral was reported as being bigger than that of President Jamâl `Abd al-Nâsir. Now, more than 20 years after her death, people still listen to her songs, whether at 5 p.m. when the all-music radio station in Cairo opens its daily broadcast with one of her concert tapes; in the New Opera House, where the state ensembles perform abbreviated versions of her songs; on cassette tapes, where younger artists record arrangements of her songs.
She was a musician who worked in a politically charged environment for most of her adult life. As a commercial artist, her career manifests the engagement of popular culture with politics and economy. Her place in Egyptian society has been constructed by her listeners as much as by herself as they move her recordings into new domains and conceive and re-conceive the meanings of her songs. Memories of her intertwine with beliefs about widely shared social values in Egypt as well as with aesthetics of historic Arab singing.
In the 1990s, her recordings reach a growing international audience, re-released on compact discs. To grasp the impact of this woman's performances and the character of her artistry, what does one choose?
Affinity for her music among Egyptian listeners is often personal. Whereas some songs, such as "al-Atlâl" and "Inta `Umrî," became very popular generally, the choices of individuals often link songs to events or times in their own lives. People remember single lines as having great meaning for them at one time or another.
In broad terms, her repertory falls into groups of songs: her early recordings made during the 1920s and 1930s, which are only available in the 12-minute versions possible on 78 rpm discs; the colloquial songs, or zajal, often by Bayram al-Tûnisî and Zakariyya Ahmad, most from the 1940s; the elegant qasâ'id and love songs composed by Riyâd al-Sunbâtî on texts by Ahmad Shawqî, Hâfiz Ibrâhîm, Ahmad Râmî and others; and the "modern" songs with big orchestras epitomized by Muhammad `Abd al-Wahhâb and also composed by Muhammad al-Mawjî, Balîgh Hamdî and other younger composers. The following works, a small selection from her enormous repertory, exemplify each group.
Bayram al-Tûnisî, one of the outstanding colloquial poets of the century in Egypt, worked often and successfully with composer Zakariyya Ahmad to create songs linked to the grass roots of Egypt. Works and melodies moved with the everyday speech and common entertainments of the country and were at once strikingly familiar and artistically gripping. "Anâ fî Intizârak" ("I'm waiting for you") penetrates the frustration of waiting for what does not happen, of listening to promises never fulfilled. Umm Kulthûm rivets the emotions of listeners with her repetitions of the lines "I want to know that you're not angry, that your heart does not belong to someone else" (`Ayiz a'raf lâ tikûn ghadbân... ) and later with her crying versions of "You promised me years and days and you came to me with excuses and talk" (Tuwa'idnî bi-sinîn...). "Huwa Sahîh al-hawa Ghalâb" ("Is It True that Love Conquers All"), another joint production of the three artists, draws similar emotions together, projects and shares them with the audience. Linguistically and musically, these songs produce decidedly Egyptian culture. The concert recording of the incredibly sad "`Aynî yâ `Aynî," once again a lament of love lost, this time composed in a style reminiscent of historic camel-drivers' songs, will simply reduce one to helpless tears.
At about the same time during and immediately after World War II, Umm Kulthûm sang a group of very different songs, complicated qasâ'id on ponderous themes, for which she became very famous. She was at the height of her vocal skill. Today's listeners remember the sheer power, affect and intensity of her renditions of such lines as "You cannot get what you want in this world by wishing; you must take it by force" (Wa-mâ nîla 'l-matâlibu... from "Salû Qalbî"), which rang out in concerts as exasperation with the political forces of the day increased in Egypt. Most of the texts had been written years earlier by Ahmad Shawqî. Two of the most famous, "Salû Qalbî" and "Nahj al-Burda," were religious in nature, the first intended for the Prophet's Birthday in 1912 and the second a commentary on the 13th-century poem entitled "al-Burda" by al-Busîrî. Both were set to music by Riyâd al-Sunbâtî, a young man at the time who composed film music and taught at the Institute for Arabic Music. The best performances I have heard of these songs (other than those from tapes aired by Egyptian Radio and available only from them or in private collections) are cassette tapes released by Sono Cairo in the 1980s. The recording of "Nahj al-Burda" features a lengthy, extremely dramatic musical rendition at the climactic line, "Oh Muhammad, here is the throne, take it" (Wa-yâ Muhammadu hâdhâ 'l-`arsh...), during which one can hear the impassioned response of the audience.
Partly resulting from his work on these qasâ'id, Riyâd al-Sunbâtî became the most accomplished musical neoclassicist of the century, regarded as a "genius" at working with complex poetry. He wrote many other qasâ'id and colloquial love songs during the rest of Umm Kulthûm's life. His "al-Atlâl" ("Traces") has become a signature tune for her. Mere snatches of the tune evoke her memory among listeners. The text was written by Ibrâhîm Nâjî and published in the late 1940s. Umm Kulthûm reworked it substantially (to the consternation of literary critics at the time), and al-Sunbâtî set it to music in 1966. Lines of love such as "Give me my freedom, set free my hands that I might give you everything, I will hold back nothing," were moved by listeners to signify the repressions of the late `Abd al-Nâsir years and the anguish of the defeat of 1967. Thereafter, Umm Kulthûm sang "al-Atlâl" throughout the Arab world and in Paris in her series of concerts to replenish the Egyptian treasury. The neoclassic qasâ'id, almost all composed by al-Sunbâtî, formed the bedrock of her reputation for command of the Arabic language and its literature. They helped enable her wide acceptance throughout the Arabic-speaking world.
`Abd al-Wahhâb's enormously popular love songs for Umm Kulthûm are almost too well-known to mention. Characterized by long instrumental sections, shifting styles and rhythmic patterns and adaptations of varying Arab and western styles in the same song, they depart from the styles of her other composers. "Inta `Umrî" is probably the most beloved. My own favorite is "Wa-Dârit al-Ayyâm" ("The Days Passed"), a sad song (that nevertheless features an important waltz-like section in the middle), released just before the death of `Abd al-Nâsir, that has become emblematic of the fondness for him that still exists in some quarters. The lines "If I run from my heart, where would I go? Our sweet nights are everywhere. We filled the world with love, we two and we filled the world with hope" (Ahrab min qalbî...) may at once contain the bittersweet memories of love lost, of the late president and the famous singer and of the lived experience of a time gone by.
The younger composers with whom she worked in her later years all professed the influence of `Abd al-Wahhâb yet composed in distinctive voices. In particular, Balîgh Hamdî wrote pleasurable, sweet and accessible melodies. Muhammad al-Mawji's songs perhaps lay closer to Zakariyya Ahmad's, rooted more deeply in the aurality of local traditions.
Since her death, Umm Kulthûm's first and early recordings have been re-released on compact discs. One can hear the many and different voices of the young singer. "Tala` al-Fajr" manifests a harsh nasality in the still-in-training voice. Umm Kulthûm began this recording with a layâlî (an improvisation sung on the syllables "yâ layl, yâ `ayn"), which she rarely did in later years. "Mâ lî Futint" manifests the truly remarkable virtuosity and range of the young voice, and "Afdîhi in Hafaz al-hawa" exemplifies the neoclassic qasîda that marked her repertory even in its early years. (The religious songs for which she was well-known for singing at saints' day celebrations as a child were not included in her early recordings.)
Listening with feeling to these performances can be difficult for students (as indeed the patience of young Egyptians has been taxed in the effort). The long performances are built gradually, line by line, phrase by phrase and sometimes word by word. Attention to nuance is necessary. As Jihad Racy, Salwa El Shawan and many others have pointed out, "listening" to Arab music is historically a holistic experience and an active engagement, following the details of melody and text and responding to what is heard, perceived and felt. For newcomers to the music, this process may best start with one or two lines at a time.
Listeners often say that Umm Kulthûm never sang a line the same way twice. Performances differ; not every one is as effective as another. Umm Kulthûm herself was aware of this and tried to control which were released and which not, indeed which parts of performances were used in recordings and which not. Even recordings labeled "live" were often heavily edited and were sometimes composites of several performances. Re-presenting a performance from our present vantage point is difficult. Still, Umm Kulthûm did not succeed entirely in her efforts at control of quality; it is possible to purchase a relatively boring performance, and listeners should not assume that all releases are interchangeable. To complicate matters, the compact discs released by Sono Cairo, the Egyptian state record company, are not always the same performances available on cassettes from the same company in Cairo.
Om Kalsoum - Lailet Hob (1972)
Lailet hob / a love night (50:36)
Composer: Muhammad 'Abd al-Wahhab
Lyrics: Ahmad Shafiq Kamil
Genre: Ughniyah
Maqaam: Nahawand
Dialect: Egyptian colloquial
alt. transcriptions: Leilet Hobb, Laylit il-hubb, Yalli 'umrak ma khalaft ma'ad
HERE
Переслать - Cape VerdeSimilar in scope and tone to Putumayo's Brasileiro collection, Cape Verde presents the music of the islands just 300 miles off West Africa's Senegalese coast. Drawing from Portuguese and African influences, the music of Cape Verde is most often rooted in a sensually languid and rhythmically complex cousin of the blues called morna. Largely popularized on the international scene by the meteoric popularity of Cesaria Evora (who contributes here with "Cabo Verde Manda Mantenha"), Cape Verdean music has enjoyed a wider listenership. This collection, however, cleverly balances the alluring minor key of morna with the lesser-known merry festivity of coladeira, the Cape's party music, and a jazz-tinged dance music called funana. Mysteriously bewitching, Cape Verde is a gorgeous melange of elegant piano, acoustic strings, rousing horn sections, propulsive drumming, flamboyant keyboards, and superb vocalists.
[01]. Chico Malandro
[02]. Cumba Iêtu
[03]. Pays Sol
[04]. Nha Fe - Chantre, Teofilo
[05]. Cabo Verde Manda Mantenha
[06]. Cabinda a Cunene - Mendes, Ramiro
[07]. Solna Tchada
[08]. Injúria
[09]. Cinderela - Vierira, Paulino
[10]. Tchon di Massa Pe
[11]. Nha Cumpadre Faustine
[12]. Calo Bedjo
FLAC tracks (EAC Rip): 340 MB | MP3 - 320 kbs: 115 MB | Front Cover
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Переслать - Luís Delgado - As-Sirr
Luís Delgado
As-Sirr (Nube Negra, Spain)
This exploration by noted musician and scholar Luís Delgado centers on the medieval muwaxahas: a poetic form originating in Al-Andalus, which within a short time extended all over the medieval world.
The new adventure of Luis Delgado centers on medieval music that led him to the muwaxahas: a poetic form originating in Al-Andalus, which within a short time extended all over the medieval world. A poetry that influenced not only Arabic-speaking poets but also German Minnesingers, Troubadours Occitains, the Cantigas of King Alfonso X and the Franciscan Jacopone da Toddi in the XIVth century.
The muwaxahas on this album present a very particular characteristic: they are written in different languages. The poems close with a verse called "jarcha" that sometimes shows certain similarities in different muwaxahas as well as specific popular elements; frequently interpreted by women.
Until today hundreds of investigations concerning the muwaxahas have been published; but there are only a few which followed the way back to their original environment: the music. And although "jarchas" have been used in a handful of compositions, until today no musician has interpreted a complete muwaxaha.
Once again Luis Delgado decided on a Moroccan singer, his habitual collaborator Mohamed Seghini el Arabi, who for the first time should give voice to these poems. While listening to the CD and crossing the soundscapes of the ancient Moslem Spain resounds the echo of the jarcha: "Ya mamma, mew el habibe, bais e no mas tornarade."
On the album we will find five muwaxahas with their correponding jarchas, whose lyrics trace back to Spanish poets from the XIth to the XIVth century. The music composed by Luis Delgado follows the aesthetic structure of Al-Andalus. The album includes two instrumentals as well as two songs based in the traditional Al-Andalus Moroccan repertoire.
* El Jazminero
* Albo Diya
* Asa Sanarey
* ¡Ya Corazón!
* El Tesoro de Fustat
* Bilaya
* As-Sirr
* Gaybatuk
* Duna Luminosa
* El Increíble Viaje de
* Musicians: Luís Delgado: oud califal, oud oriental, laud español, guitarra ebow, bandurria, cumbuç, guimbri, saz, santur sampler, suissen, teclados, mellotron, dohola, darbuka, tar, bendhir y karakebs
* Mohamed Serghini el Arabí: voz, alto aldalusí, darbuka, tarija y tar andalusí,
* María Luisa García Sánchez: voz
* Yammal Eddine ben Allal : violín y oud oriental
* Jaime Muñoz: kaval, murali, axabeba, clarinete y bansuri
* César Carazo: viola de brazo y coros
* Cuco Pérez: piano
* Javier Bergia: darbuka solista
MP3 224 kbps, no scans
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Переслать - R. Pichumani - Tanjore Vani. La tradition carnatique de la vina 1
R. Pichumani
Tanjore Vani. La tradition carnatique de la vina 1, 1996
1. Varnam - Sahana - Adi
2. Cande Nisamaham - Hamsadhwani - Adi
3. Aparama Bhakti - Pantuvarali - Rupakam
4. Ragam, Tanam - Sankarabharanam
5. Etuta Nilachite - Sankarabharanam - Adi
6. Shuddha Satvananda - Revati - Adi
7. Turupugar - Sivaranjani - Misra Chapu
S. Karthick - ghatam
320 kbps including full scans
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Part Two
Переслать - Cheikh El Afrite - Trésors de la chanson judéo-arabeLike its Maghreb neighbours, Algeria and Morocco, both larger and more populated, Tunisia has a very rich musical heritage. - Born in Tunis in 1884, Issirene Rozia, aka Cheikh El Afrite ('the little devil') was a brilliant representative of one the most splendid periods in the history of Tunisian music. His amazing voice excelled in the various style of that great epoch : malouf, zajal, hilalian, fondo, fezzani and tripolitan. Cheickh El Aftite, who passed away in 1939, had a repertoire of over four hundred songs. This collection presents the best of his work.
01. Layam Kif Errih
02. Kif Konti Sghira
03. Gued Maâmelt Maâk
04. Ya Nass Hmelt
05. Ach Bik Ghaghbana
06. Ya Rebbi Hnini
07. Ya Li Rajalha M'Ghayer
08. Qalat Ou Mellite
09. Hasna Jarti
10. Megouani
11. Lay Guella
12. Tasfar
320 kbps including full scans
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