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- Afro-LatinoFar from a typical salsa release, Putumayo Presents: Afro Latino is an intriguing compilation that examines the relationship between African music and Afro-Cuban music in the 1990s. African rhythms were instrumental in the development of son, cha cha, mambo, guaguanco, and other Cuban styles that came to be called salsa, and things really became ironic when artists in different parts of Africa started embracing salsa. Spanning 1995-1998, this 12-song CD boasts salsa recordings by both African and Cuban artists. Tam-Tam 2000's "Me Vuelvo Guajiro," Ricardo Lemvo's "Mambo Yo Yo," and Africando's "Yah Boy" reveal how exciting it can be when artists from Senegal and the Congo combine modern African pop (especially soukous) with salsa, while Cuban recordings like Papi Oviedo's "Vivo en el Monte," Cuarteto Oriente's "Mueve la Cintura Mulata" and Conjunto Céspedes' "Aideu" can serve as reminders of the rhythmic debt that Cubans owe to Africans. And to make things even more interesting, Putumayo also includes Peruvian singer Julian Avalos and Afro-Andes' "Mujer Magica," an engaging combination of Afro-Cuban and South American elements. Full of surprises, this is a superb collection that lovers of both African and Afro-Cuban music shouldn't miss. ~ Alex Henderson, All Music Guide
[01]. Me Vuelvo Guajira - Tam-Tam 2000
[02]. Mambo Yo Yo - Ricardo Lemvo
[03]. Yay Boy - Africando
[04]. El Son De Llama - Orchestre Baobab De Dakar
[05]. Galo Negro - Sam Mangwana
[06]. Viva En El Monte - Papi Oviedo
[07]. Magic Woman - Julian Avalos
[08]. Mueve La Cintura Mulata - Cuarteto Oriente
[09]. Adama Coly - 4 Etoiles
[10]. Kolonial - Ruy Mingas
[11]. Me Dieron La Clave - Vieja Trova Santiaguera
[12]. Aideu - Conjunto Cespedes
FLAC tracks (EAC Rip): 370 MB | MP3 - 320 kbs: 140 MB | Covers
Archives have 5% of the information for restoration
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Переслать - Laxman Krishnarao Pandit - Epitome of Gwalior Gayaki
Laxman Krishnarao Pandit
Epitome of Gwalior Gayaki
Pt Laxman Krishnarao Pandit is an illustrious Indian Classical Musician for whom `Music is life and tradition, the soul`. Through out his years devoted to music, he has never shown any kind of compromising attitude towards the classicism of the Indian art of music. That is how Pt Laxman Krishnarao Pandit has gained estimation in the realm of Indian music. Today he has been regarded as the only true exponent of his Gwalior gharana.
Pt Laxman Krishnarao Pandit was born on 5th March in the year 1934. He was born into the family of musician and he bears the `unbroken lineage of legendary musicians`. He was born to far famed father Padma Bhushan Pt Krishnarao Shankar Pandit, and he was inducted to the world of music with the hands of his father. From the tender age of Pt Laxman Krishnarao Pandit, he has been receiving training in khayal. tappa, tarana, ashtapadi and thumri.
Through his performances, Panditji always exhibited a unique style of singing by following strictly the tradition of Gwalior Gharana. He has created ragas to his own credit. Ashtaang gayaki, which means a systematic eight-fold elaboration of the raga, has been the foundation of his creation.
Today Pt Laxman Krishnarao has been counted as one amongst the rare musicians who can exhibit the tappa. Tappa has been considered as one of the most difficult genre of music. Pt Laxman Krishnarao Pandit not only execute Tappa with excellence but also with such kind of fluidity that is quiet difficult for any other to execute. Tappa has been reckoned as the `most taxing form of singing and demands instant, protracted moves up and down the octave, which calls for constant innovation, apart from superb breath-holding capacity`.
As recognition to the astonishing expertise of Pt Laxman Krishnarao Pandit and his contribution to the domain of music, he has been conferred many highly esteemed accolades. He has been conferred the Tappa Samrat, Gayak Shiromani, Swar Vilas, Pt Omkarnath Thakur Award, Sangeet Natak Akademi Award, Communal Harmony Award and Ustad Hafiz Ali Award by the Prime Minister, Atal Bihari Vajpayee (Dec. 2001) .
1. Puriya - Vilambit Tilwadatal: Sughar Bana Sapane Main Aaye
2. Des - Chaturang Tintal
3. Yaman Kalyan - Tarana Ektal
4. Bhairavi - Tappa Punjabital
320 kbps no cover available
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Переслать - Badi Motibai - Poorab Thumri Vol.1
Badi Motibai
Poorab Thumri Vol.1, 2004
1. Bageshri - Vilambit Ikvaital: Vasant Ritu Bahaar & Drut Trital: Piya Sang Karat Boli Tholi
2. Thumri Dipchandital: Bahiyaan Naa Maroro Giridhaari
3. Dadra Dadratal: Paani Bhare Ri Kaun Albele
4. Tappa Sitarkhanital: Saiyaadaman
Rec. November 1963
Ram Narayan - sarangi
Nizamuddin Khan - tabla
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Переслать - Kesarbai Kerkar - Alladiya Gharana Vol.4
Kesarbai Kerkar
Alladiya Gharana Vol.4, 2005
1. Raga Khat - Khyal Jhaptal 29:35
2. Raga Kafi - Thumri Deepchandital 25:14
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Переслать - Gajananrao Joshi - Maryada
Gajananrao Joshi
Maryada, 2004
It is rare to find a good vocalist who is also a good instrumentalist and vice versa. The only name that comes to mind is that of Pandit Gajananrao Joshi: Although he was 76 and remained mostly indoors because of old age, he would conduct tuitions to a large number of his young students till about three months ago.
Panditji can be rightly described as a musicians' musician cast in the traditional mould. He had made his mark both as an eminent vocalist and also as an equally noted violinist. In this sense, he was a rare example of versatility in music.
Traditional music has run in Panditji's family for three generations. His grandfather, Manoharbuva, was-a leading exponent of dhrupad and dhamar, while his father, Anantbuva was an outstanding disciple of Balkrishnabuva Ichalkarnajikar who is credited to have brought the khayal style of Hindustani music from Gwalior to Maharashtra.
Anantbuva was under the patronage of the ruler of the erstwhile princely state of Aundh, in south Maharashtra, and it was here that he initiated young Gajanan into vocal music from the age of 7. The father also managed to send his son to school at the same time.
Although the youngster showed good progress in his music and school lessons alike, he was mischievous and once ran away from home. The father brought him home after a long search. In the process, the boy's school education suffered a permanent break. Later, however, as he grew in age, teenaged Gajanan devoted all attention to learning singing diligently under his father's guidance and direction.
It is interesting to know how and when Gajananrao took to violin playing. The ruling prince of Aundh, Balasaheb Pant Pratinidhi, was a man of letters, a perceptive painter, and erudite musical kirtankar rolled into one. It would appear that the prince set his heart on the violin - of all instruments - and decided to include it in the repertory of Indian vadyas, like the pakhavaj, and handed a violin over to Gajananrao, with a command that he should first try to understand its basics to prepare himself as an accompanist at the regular kirtan sessions.
Although the violin had made its entry into Indian music in the South, it had not found exponents in this part of the country. Gajanan himself was a total stranger to the western instrument, nor could he find anyone to guide him in the technique of playing it. But in the face of the princely command, he had no alternative but to accept the instrument and spend hours in experimenting on it. Gajananrao's sound musical background as a vocalist obviously stood him in good stead in his determination to learn and master the mechanics of its playing.
In time to come, the self-taught teenager matured into an artiste capable of providing perfect support at the kirtan performances of his hard-to-please patron.
Strange but true, Gajananrao Joshi made his mark in Hindustani music first as a violinist and then as a vocalist. But this success did not lead him to neglect vocal music. In fact, his quest for gaan-vidya inspired him to widen the horizons of his khayal gayaki. Even while maintaining his unshakable moorings in the Gwalior gharana, he sought tutelage with the leading lights of other gharanas such as Agra and Jaipur gharanas. As a result, the kind of style he embodied was a very ingenious blend of grace from other leading gharanas.
So much is made of gayaki-ang these days by instrumentalists like Vilayat Khan. One had only to listen to Gajananrao Joshi, both as a violinist and as a vocalist, to rasp the true significance of gayaki-ang, which is one of the most widely misused terms in musical parlance today.
Panditiji's command over ragadari was as impeccable as that on layakari. He had earned unstinted praise from percussion maestros, like Ahmedjan Thirakhwa, acknowledged as the greatest Tabla stalwart of this century. He held responsible positions in AIR and several other cultural and educational institutions. He set up a foundation, known as Shivanand Swami Sangeet Pratishthan, at Dombivli with the object of promoting the cause of traditional music and encouraging young and deserving talent.
All said and done, vidya-daan remained his mission. He has groomed an impressive number of vocal and violin disciplies. To name a few, these include, the late violinist, Shridhar Parsekar, G.R. Nimbargi and Gajanan Karned. Leading the list of vocalists is D.R.Nimargi, followed by Koushalya Manjeshwar, Padma Talwalkar, Kunda Weling, Ulhas Kashalkar and Jayshree Patkar, most of whom have made their mark on the concert scene. He has also trained his sons and daughters in singing and violin-playing to carry on his family tradition. - Mohan Nadkarni
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Переслать - Blues Around the WorldFrom Buenos Aires to Barcelona, Mississippi to Mauritania this collection documents the trials and tribulations expressed through the blues from a global perspective. Despite language or lyrics, nationality or ethnicity, the blues speak to everyone.
Highlight performances include The Unseen Guest, who formed when an Irish musician traveled to southern India and began playing on the streets accompanied by a tabla-toting native. Big Mama, who you might think must be from the Mississippi Delta, but she'll demonstrate that you can live in Barcelona and still know how to sing the blues. Spain's Jarabe de Palo contributes "La Flaca" ("The Skinny Girl"), which was a huge hit in Spain and Latin America. The legendary Bonnie Raitt is featured with longtime friend, Malian musician Habib Koité on "Back Around " from her 2003 album Silver Lining. From Mauritania, Amar Sundy demonstrates the kinship between West African music and the blues. Eric Bibb, Rory Block and Maria Muldaur are no strangers to the blues. This trio of friends grew up together in New York City's Greenwich Village during the turbulent 1960's and incorporates the spiritual side of the blues on "Don't Ever Let Nobody Drag Your Spirit Down." Taj Mahal partners with The Culture Musical Club of Zanzibar to weave a narrative of melody and rhythm on "Catfish Blues." The Brazilian blues group Blues Etílicos brings their unique Brazilian-flavored blues to the table. Recognizing the blues was born in the Mississippi Delta Otis Spann, who played piano in Muddy Waters' band for more than 20 years, belts out "I Got a Feeling".
John Lee Hooker used to say "the blues is a feeling," but this collection is proof that it's also a universal language. These 11 songs by musicians from South and North America, Europe, Asia, and Africa are a thoroughly enjoyable summation of the genre's ability to cut through cultural barriers to touch the heart. "Slide Blues" by Argentina's Botafogo could be a Delta relic if not for its Spanish lyrics. And singer Big Mama with harp man Victor Uris beautifully blur the lines between Catalonia and Chicago. The great pianist Otis Spann and the trio of Eric Bibb, Rory Block, and Maria Muldaur provide two straight-up shots of the style. The best tunes are outright cross-cultural collaborations.
Bonnie Raitt and Mali's Habibe Koité take the music to its deepest roots thanks to Koité's graceful kora-like acoustic guitar on "Back Around." The Unseen Guest, an Irish-Indian duo, bring microtonality to a blend of guitar, banjo, mandolin, and tabla in "Listen My Son." And Taj Mahal with the Culture Music Club of Zanzibar turn the standard "Catfish Blues" into a midnight howl that echoes from the Gulf of Mexico to the coast of the Indian Ocean. Mahal's guitar, a squeeze box, and a clutch of African stringed instruments pass rhythmic phrases and bursts of melody back and fourth until their musical points of origin are as delightfully blurry as a moonshine-fueled night in a Mississippi juke joint--or a dance hall in Zanzibar's Stone Town. --Ted Drozdowski
[01]. Listen My Son - Murray, Declan
[02]. Canceriano Sem Lar (Clínica Tobias Blues) - Seixas, Raul
[03]. No Way Out - Big Mama
[04]. La Flaca - DePalo, Jarabe
[05]. Back Around - Koité, Habib
[06]. Ouallache - Sundy, Amar
[07]. I Got a Feeling - Spann, Otis
[08]. Don't Ever Let Nobody Drag Your Spirit Down - Bibb, Eric
[09]. Playing Mahjong - Long-ge
[10]. Slide Blues - Pappo
[11]. Catfish Blues - Mahal, Taj
FLAC tracks (EAC Rip): 260 MB | MP3 - 320 kbs: 95 MB | Front Cover
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Переслать - Ahmed El Kalaï - Great Mediterranean MastersAhmed El Kalai is one of the most prominent figures to leave their mark on contemporary Tunisian music. He served as Director of the Radio Orchestra, taught as a Proessor at the Higher Institute for Music in Tunis and was a unique virtuoso who pioneered the use of the ud as a solo instrument, composing works specially for it. His numerous students today constitue a dynamic school of the Ud in Tunisia.
Ahmed El Kalaï, est une des figures les plus importantes de la musique tunisienne contemporaine. I la été Directeur de l'orchestre de la radiophonie, professeur à L'institut supérieur de Musique de Tunis et un virtuose sans pareil qui a révolutionné le rôle de oud comme un instrument soliste, écrivant des œuvres spécialement pour lui. Ses nombreux élèves représentent une école dynamique du oud en Tunisie aujourd'hui.
[01]. Maqâm Nahawand - Taqsîm
[02]. Maqâm Nahawand - Sama'i
[03]. Maqâm Hijâz Kâr Kurdî - Taqsîm
[04]. Maqâm Hijâz Kâr Kurdî - Lûngha
[05]. Maqâm Hijâz Kâr Kurdî - Al-Qalb al-Hair
[06]. Maqâm Bûsalik Nawâ - Taqsîm
[07]. Maqâm Bûsalik Nawâ - Al-Rabi
[08]. Maqâm Bûsalik Nawâ - Al-Ahd al-Jadid
[09]. Maqâm Bûsalik Nawâ - Sibâq al-Khayl
[10]. Maqâm Râst - Taqsîm
[11]. Maqâm Râst - Sa'îda
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Переслать - Oum Kalthoum - LESSA FAKEROum Kalthoum - Lissah fakir, 1960
Composer: al-Sunbati
Lyrics: 'Abd al-Fattah Mustafa
Genre: Ughniyah
Maqaam: Jihar kah
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Переслать - Omkarnath Thakur - Sunshine. Classical Vocal
Omkarnath Thakur
Sunshine. Classical Vocal, 2005
1. Shuddh Kalyan
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Переслать - Omkarnath Thakur - Varadaan. Live, 1961
Omkarnath Thakur
Varadaan. Live, 1961, 2003
1. Raga Komal Rishabh Asawari - Vilambit Ektal & Madhyalaya Tintal & Drut Tintal
N. Rajam - violin
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Переслать - Carlo Domeniconi - El Trino del Diablo
Carlo Domeniconi
El Trino del Diablo, 1999
El trino del Diablo (The Devil's trill) (Concerto No. 12) (Berlin, 1996). 12 musical pictures after the novel of the same name by Daniel Moyano. It was premiered on the composer's 50th birthday in the Passionskirche, Berlin. A year later it was performed in the Philharmonie Berlin, and in 1999 at the Istanbul Festival.
Carlo Domeniconi - El Trino del Diablo (Concerto No.12), Op.84
01. Ouverture sobre el arte de fundar ciudades (Concerning the art of founding cities)
02. Triclinio
03. Los padres de triclinio desaparecen (The disappearence of Triclino's parents)
04. Un secreto tremendo (A tremendous Secret)
05. Buenos aires - la ciudad de los violines (Buenos Aires - the city of violins)
06. Carta al presidente bueno (A letter to the good president)
07. Audiencia con el presidente (The audience with the president)
08. El instrumento estatua (The construction of the grand instrument)
09. El increíble concierto de los artiticos (The incredible concert of the arithritics)
10. UFA
11. El trino del diablo (The devil's trill)
12. Divertimento
Maren Ritter-Pichl - Solo Violin
Barbara Hoos de Jokisch - Soprano
Matthias Leupold - Violin
Renato Bandel - Viola
Efe Baltacigil - Cello
Laurie Randolph - Viola da Gamba
Yaz Baltacigil - Contrabass
Ricardo Moyano - Guitar
Carlo Domeniconi - Guitar
Claudia Buder - Accordion
Emin Mamedov - Piano
Claudia Sgarbi - Percussion
Martin Lonak - Percussion
Il-Ryun Chung - Percussion
Francisco de Galvez - Conductor
320 kbps including full scans
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Переслать - Aka Gündüz Kutbay & Kani Karaca - MeşkKlasik Türk musikisinin iki önemli isminin; Kâni Karaca ve Aka Gündüz Kutbay'ın birlikte yaptıkları meşklerin kayıtları, Kalan Müzik tarafından 2 CD'lik bir albüm olarak yayınlandı.
'Meşk'e Gündüz'ün 37 ney kaydından oluşan 'Aşk' albümü eşlik ediyor. Meşk albümünün ilk CD'si Aka Gündüz Kutbay'ın anonsu ile başlıyor. Sonrasında hiçbiri harc-ı âlem olmayan eserler, makam tarifleri birbiri ardınca geliyor. Arada Abdi Coşkun ile Nezih Uzel'in de sesleri duyuluyor. Bazen söz eski geçmiş üstadlara uzanıyor.
Aşk olmadan meşk olmaz." Çok kullanılan, fakat günümüzde anlamını yitirmiş bir söz... 'Aşk-meşk işi' deyince zihinde uyanan çağrışımlar ne yazık ki farklı noktalara kaymış. Oysa meşk, güzelliğin zirve noktasında tecelli eden sanatın bir hocadan öğrenilmesini ifade ediyor. Osmanlı'nın son zamanlarında bu tabir, daha ziyade hat ve musiki alanında kullanılmış. Bir sanatı, diyelim ki musikiyi gerçek mânâsıyla meşk için evvelâ aşkınız olacak, yana yakıla üstadını bulacaksınız, onu kabiliyetinize ve samimiyetinize ikna edeceksiniz. Ardından dersler başlayacak, hocanın dizi dibinde bıkmadan, usanmadan tekrar tekrar aynı eseri, parçalar halinde ve bütün olarak geçeceksiniz. Eseri üstadından alıp hafızanıza kaydederken onun musiki tavrını, sabrı, edebi, erkânı, oturmayı, kalkmayı, konuşmayı, o sanatla ilgili kayda geçmiş-geçmemiş bilgileri, hatıraları, kısacası bütün bir geleneği de kabiliyetiniz nisbetinde tevarüs edeceksiniz. Eseri, hocanızın hocasından aldığı şekliyle öğrenip meşk zincirine yeni bir halka olarak ekleneceksiniz.
Bunun küçük çaplı da olsa örneğini görmek isteyenler için güzel bir imkan var şimdi. Klasik Türk musikisinin iki önemli isminin; Kâni Karaca ve Aka Gündüz Kutbay'ın birlikte yaptıkları meşklerin kayıtları, Kalan Müzik tarafından 2 CD'lik bir albüm olarak yayımlandı. 'Meşk'e Gündüz'ün 37 ney kaydından oluşan 'Aşk' albümü eşlik ediyor.
Meşk albümünün ilk CD'si Aka Gündüz Kutbay'ın anonsu ile başlıyor. Sonrasında hiçbiri harc-ı âlem olmayan eserler, makam tarifleri birbiri ardınca geliyor. Arada Abdi Coşkun ile Nezih Uzel'in de sesleri duyuluyor. Bazen söz eski geçmiş üstadlara uzanıyor. Mesela Nühüft Durağı icraya başlamazdan evvel Kâni Karaca, 'Bunu ben rahmetli Kaynak'tan meşk ettim." diyor: "Kendi ağzından meşk ettim. 'Halk içre âyineyim herkes bakar bir an görür/ Her ne görür kendi yüzün ger yahşi ger yaman görür.' Güftesi Niyazi Mısrî'nin, beste Ali Şîr ü Ganî'nin."
İki sanat âşığının meşki
Film gibi derler ya, öyle bir hikâye Kâni Karaca'nın hayatı. Babası çocuğu olmadığı için ikinci kez evlenmiş. Bu evliliğinden 1930'da Adana'da Kâni doğmuş. Üvey annesi kıskanıp ilaçla gözünü kör etmiş. Bir müddet sonra babası ölmüş. Bu kez öz annesi evlenmesine mani olmasın diye diri diri gömmeye kalkmış. Kurtarıp halasına vermişler. Köyün imamından hıfzını tamamlamış. Derken İstanbul'a gelmiş. Sene 1950. İstanbul henüz İstanbul. Kâni Karaca, Yeraltı Camii Şerifi imamı Üsküdarlı Ali Efendi'den kıraat dersleri alırken, bir yandan da Sadettin Kaynak'tan meşk eder. Hafız Sadettin'in ardından Sadettin Heper'den ders alır. Müdhiş hafızası ile Türk musikisinin arşivi olur. Mükemmel bir enstrüman gibi kullandığı sesiyle en ağır eserleri başarıyla icra eder.
Aka Gündüz Kutbay ise 1934'te Eyüp'te dünyaya gelmiş. Ortaokulu ikinci sınıfındayken terk edince kundura atölyesine çırak olarak verilmiş. Yenikapı Mevlevihanesi Şeyhi Abdülbaki Dede'nin oğlu Gavsi Baykara'dan meşke başlamış. Doğan Özeke, Neyzenler Kahvesi isimli hatıralarında o zamanları şöyle anlatıyor: "Onu tanıdığım zaman ufacık, tombul bir oğlandı. Kir pas içindeki ellerini saklamaya çalışırdı ama, vücuduna iki numara büyük gelen o yaralı kürekleri saklaması imkânsızdı. Mansur tutmaya boyu yetmiyordu. Yıllar sonra şah ney vız geldi de davut bile üflediğini gördüm. 'Hu' dediği günden itibaren Gavsi Hoca'dan başka kimsenin önünde diz çökmedi. Fakat o herkesten, ama herkesten bir şeyler öğrenen, sormaktan asla sıkılmayan koca yürekli bir insandı."
Kutbay, 1960 yılında İstanbul Radyosu'na girer. Mevlânâ ihtifallerinde 'neyzenbaşılık' vazifesini üstlenir. Ney üflemede klasik tavrı en mükemmel şekliyle yaşatan Kutbay, pek çok ülkede caz sanatçılarıyla birlikte konserler de verir. Cinuçen Tanrıkorur, onun hakkında "Batı'nın budala bir hayranı ve taklitçisi değil, şuurlu bir güzel düşkünü idi; dünyanın ünlü müzik ustalarının Türkiye'ye gelir gelmez onu aramaları bundandı." diyor.
'Ben güzel sevmeye geldim, değil ekmek yemeye' demiş ya hani Neyzen Tevfik. Aka Gündüz Kutbay ise hem güzel sevmiş hem de ekmek yemiş. Bir dostunun yeni açtığı şarküteri dükkanından siftah olsun diye aldığı 750 gram pastırmayı iki paket sana yağda pişirip üzerine 35 yumurta kırıp 3 ekmek beraberinde tüketmesi bu konuda en güzel örnek olsa gerek. Neye nefes veren bu 'şuurlu güzel düşkünü', son nefesini 1979 yılında bir radyo programında kayıt sırasında verir.
Gelelim iki sanat âşığının 'meşk' hikâ-yelerine. Sadettin Heper, yaşlanıp takatten düşünce Kâni Karaca, bizzat onun desteğiyle meşke Aka Gündüz Kutbay'la devam eder. Heper'in verdiği notalardan istifade ile Kutbay pek çok eseri Harbiye'deki evinde Kâni Hoca'ya geçer. Kutbay, bir yurt dışı konserinden gelirken getirdiği AKAI marka teybiyle gece yarılarına kadar süren meşklerin bir kısmını kaydeder. Böylece bugün çok az musikişinasın bildiği bazı makamların çok değerli örnekleri ilk kez kayda geçmiş olur.
İkişer CD'den oluşan 'Aşk' ve 'Meşk' albümlerinin yanında yine özenle hazırlanmış iki de kitapçık bulunuyor. Keşke bu çalışmaların devamı gelse de Türk musikisinin zenginliği ve nadide eserleri –en azından unutulup gitmemişleri- kayıt altına alınabilse...
CD 1:
01. Kar-i Natik (Hatibzade Osman Efendi)
02. Makam Tarifi
03. Eviç-Buselik Taksim
04. Eviç-Buselik I. Beste (Ismail Dede)
05. Eviç-Buselik II. Beste (Ismail Dede)
06. Eviç-Buselik Agir Semai (Ismail Dede)
07. Eviç-Buselik Nakis Yürük-Semai (Ismail Dede)
08. Hicaz Durak (Haci Arif Bey)
09. Nühüft Durak
Güfte: Niyazi Misri Beste: Ali Sir ü Gani
10. Ferahfeza Sarki (Fehmi Tokay)
CD 2:
01. Sultani-Irak Taksim
02. Sultani-Irak I. Beste (Abdülhalim Aga)
03. Sultani-Irak II. Beste (Küçük Mehmed Aga)
04. Sultani-Irak Agir-Semai (Abdülhalim Aga)
05. Sultani-Irak Nakis Yürük-Semai (Küçük Mehmed Aga)
06. Sevk-u Tarab Mevlevi-Ayini (Ismail Dede Efendi)
07. Bayati Beste (Moris Kordova) / Ibranice
08. Hüzzam Beste / Ibranice
09. Segah Sarki (Kani Karaca)
10. Kürdilihicazkar Sarki (Kani Karaca)
MP3 320 kbps including Covers
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Part Two
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