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- Gordon Odametey - Power to the Soul
Gordon Odametey
Power to the Soul, 2000
Also from Gamton but a different order of thing entirely, Gordon Odametey's album just exploded out of my speakers like several simultaneous earthquakes, frightening the dog and me out of our skin. I have to say that the title track - violent, visceral and explosive - is one of the most thrilling demonstrations of percussion I've heard. And so it proceeds - it's rare for a drumming album to approach the spiritual, and anyone who's ever tried to assemble a band knows the difficulty of finding a drummer who also understands music. But this prodigious Ghanaian (based in Berlin for 15 years) provides a glowing lesson of what can be achieved by holdness, intuition and good hands. At times, the effects are thunderous, other times more conversational. But always I think the riffs and rhythms derive directly from spoken phrase and sentence, the mind leading the hand. Rattling beads, a backdrop of human voices, barking dogs, and didgeridoo - this is a beautifully recorded aural canvas that just might do your head in. - Rick Sanders
With his second album "Power To The Soul" Gordon Odametey summarizes his experience as a drummer and presents an artistically well balanced result of 20 years of drumming. The 'classical' use of traditional patterns of rhythm is accentuated, however, the musician' s preference for free drumming is easily to be recognized. Gordon Odametey has been living in Germany for 15 years.
He comes from a Ghanian family of musicians and healers and combines experiences made in the diaspora with those of the origins of drumming. In addition to the aesthaetic effect of sounds "Power To The Soul" deals with the power inherent in music: the freeing of emotions and being aware of them. Gordon Odametey works with the music's effects on the soul and feelings of his audience. His music translates and causes emotions: "You feel that you are being cured ... in a way that you cannot describe and you feel happiness ... , an overwhelming joy of life."
01. Power To The Soul 4'15
02. Assase 3'54
03. Warrior - Kpalogo Live Solo 3'35
04. Okemi Ekpe 3'52
05. Noko Ye Dzen - Djembe Live Solo 5'07
06. Flying Gods 5'01
07. My Hometown 7'48
08. The Queen Is Born 4'00
09. Jungle Walk 8'53
10. Aseriso 7'26
11. Nana 2'44
12. Ogidi Gidi 4'28
13. Wala Aba 5'01
320 kbps mp3, including full booklet scans
Part One
Part Two
Переслать - Tabla Tornado - The Legacy of Ustad Ghulam Hussain
Faryaad Hussain Khan
Tabla Tornado. The Legacy of Ustad Ghulam Hussain, 2003
Born in 1948 in a village called Mand near the industrial city of Sialkot, the late Ustad Faryaad Hussain Khan was the foremost disciple of Ustad Ghulam Hussain Khan. Having followed an arduous period of practice, Faryaad Hussain Khan, popularly known as Bhulli Khan was regarded amongst the dexterous tabla players of the world, particularly for his mastery over difficult tabla strokes such as 'Dhire Dhire'. Bhulli Khan had provided accompaniment to the leading classical musicians of Pakistan and performed at various venues internationally. The maestro sadly passed away on 3rd January 2004. In his only tabla solo release, Ustad Bhulli Khan has paid tribute to his mentor, the great Ustad Ghulam Hussain Khan.
1. Jhaptal
2. Rupaktal
3. Tintal
4. Dus Ungliyon ka Tabla
Faryaad Hussain Khan - tabla
Imdad Hussain Khan - harmonium
320 kbps including full scans
Part One
Part Two
Переслать - Ensemble Essoundoussia & Ensemble Ahbab Cheikh Larbi Bensari
Ensemble Essoundoussia & Ensemble Ahbab Cheikh Larbi Bensari
Algérie. Anthologie de la musique arabo-andalouse, Vol.4-5
This album concludes the anthology of Arab-Andalusian music of Algeria, with two ensembles paying tribute to women singers.
1. Nûba Çika
2. Nûba Zidane
3. Nûba des Înklabat', mode Moual
320 kbps, no scans, sorry
Part 1 | Part 2 | Part 3
Переслать - Qeshm Island
Qeshm Island, 2002
The unique nature and culture of the fascinating Island of Qeshm (in the Persian Gulf) with its strong influences from Iranian, Arabic as well as East-African traditions is the main theme in the production of an Album based on Qeshm's musical textures, traditions, culture and nature.
Mohammad Reza Aligholi, Saeed Ansari, Christophe Rezai, Peter Soleimanipour, Reza Asgarzadeh, Ali Boustan, Frahad Asadian & Karan Homayounfar have depicted their own interpretation on this theme, resulting in the production of the qeshm project.
1. The Sun (Ali Boustan)
2. Ya Telab Blues (Christophe Rezai)
3. Zaar (Mohammad Reza Aligholi)
4. Daryadaad (Peter Soleimanipour)
5. Roof Of Qeshm (Farhad Asadian)
6. Hara Suite (Saeed Ansari)
7. Simin Beah (Karan Homayounfar)
8. Khorma (Reza Asgarzadeh)
Mohammad Reza Aligholi - vocals
Christophe Rezai - vocals
Peter Soleimanipour - saxophone, flute, kalimba, bass guitar
Reza Asgarzadeh - percussion
Ali Boustan - setar, ud, divan, percussion
Farhad Asadian - guitar
Darshan Jot Singh Anand - udu, tabla
Arash Mitouee - guitar
Majid Esmaeili - cello
Mostafa Mahmoudi - vocals
Shahram Rokouee - flute
Ali Charkhi Nafar - double pipe
Shidrokh Mohaghegh - tar
Homayoun Nasiri - guitar
Shabnam Zamani - vocals
Roza Giyahi - vocals
Karan Homayounfar - piano
320 kbps mp3; including full booklet scans
Part One
Part Two
Переслать - Vilayat Hussain Khan - An All India Radio Archival Release Vol.2
Vilayat Hussain Khan
An All India Radio Archival Release Vol.2, 1997
1. Raga Gaud Malhar
2. Raga Hem Kalyan
320 kbps including full scans
Part One
Part Two
Переслать - Sharkiat - Camel RoadBetween puristic ethno music and pop pepped up with folklore elements, there are only few convincing examples of an updated folk music. The Egyptian group Sharkiat presents an album entitled "Camel Dance" which is an impressive example of a continuing combination of folklore and pop. Starting from the musically rich local folk music tradition, various elements of Arabic styles are woven together and combined with western jazz runs and pop rhythms. The result is an atmospheric music which in comparison to the similar Algerian Rai is surprisingly varied and yet homogeneous, combining the expressive power of folklore with the catchiness of pop. Accordingly, apart from traditional instruments such as violin and Arabic lute, a sampling keyboard and a saxophone are used.
- Ethno or rock, folk or pop? - (Bündner Zeitung, Aug. 26, 1991)
The most impressive groups on Friday evening undoubtedly were "Sharkiat" and "Shikisha". They were announced as "The Beat from Cairo", featuring a conglomerate - according to the programme brochure - of "the roots of their native folk music" and "modern, dynamic pop". This mixture of North African sounds with funk, jazz and a rich groove proved to be a rather wholesome blend at the Stadtgarten. The Israeli Ofra Haza may be used as a comparison. "Sharkiat" is also on a similar tightrope walk between traditional and modern times. Kept in this balance, this does good to our ears which have been trained in the west. This music was for the belly and the legs and created a first highlight on Friday evening.
The leader "Fathy Salama," was born in Cairo on 13th February 1954, started making music very early in life. He was already playing the piano at the age of 6, starting by teaching himself classical Arab music. He has been working since 1980 as a full-time composer and arranger for well known singers within the Arab region and for the National Theater in Cairo, but has also taught jazz and improvisation in the United States with such well known musicians as Barry Harris, Pat Patrick (Sun Ra), Hal Galper, and Osman Kareem.
His experience with Arab and western music now forms the background for the roots which he has now developed further with Sharkiat. It was with Sharkiat that he first presented his compositions in 1989 and in 1991 found friends in Switzerland who produced his first CD, entitled "Camel Dance".
In 1994 Fathy founded his second group, and called it "Gouzour". It performs traditional Arab music with percussion, traditional instruments, and vocalists, and presents the Arab rhythms and melodies of the Sudanese and Nubians and from the Persian Gulf, as well as classical Arab music.
Fathy took his first bold step of presenting an international project when he appeared at the 1994 Berlin Jazz Festival together with Roman Bunka.
Sharkiat means: "Coming from the East".
It is with Sharkiat and Gouzour that Fathy is making his dreams come true of merging modern and traditional music together, thus expressing both a message from his home country and his love of music. His music reflects his experience from the Orient and from Europe. His "success" on the music market plays a secondary role; first and foremost he wants to be understood, and so he works tirelessly on this bridge linking traditional and modern music from the Orient.
Fathy has given guest performances at club concerts and festivals in such diverse countries as Japan, Spain, Italy, France, Austria, Belgium, Germany, Slovenia, Croatia, Poland, Estonia, and Switzerland.
A group which devotes itself particularly to Arabian music beyond the borders of their own country Egypt. The group attaches special importance to working from the roots of that music. Yet do this in a way which is not antiquated at all. On the contrary: thanks to the use of additional contemporary modes of expression (by including guest musicians as well) and of a wide spectrum of sound a musical style is created which is more than just contemporary. This record is way up front with the interesting and varied productions which leave ample space to actual folk music. It nevertheless cannot be consumed like any impersonal popular music. It requires an active critical examination by listeners. Peter Dürsteler
[01]. Nahawand
[02]. Al Kabil - Nubi
[03]. Amm
[04]. Fire Dance
[05]. Rast
[06]. A Night in Cairo
[07]. Yalla Nezu
[08]. Sultany
[09]. Ilaria - Intro
[10]. Camel Road
[11]. Rast - Trio
Fathy Salama - keyb
Gamal Lotfy - oud, kanun, voc
Said El Artist - perc
Yahia El Moogy - viol
Gamalat Shiha - lead voc
APE+CUE+LOG files | 320 MB | Scans
Part 1 | Part 2 | Part 3 | Part 4 | Covers
Переслать - ORIENT - Traditional Music and Voices (Egypt,Pakistan,Turkey,...)
Track Listing
-------------
[01]. Omar Faruk Tekbilek - 'Hasret'(Turkey)
[02]. Aida Parween - tere ishq nachaaya (Pakistan)
[03]. Ala Kartch (Egypt)
[04]. Gulam Ali - hngman hai yon barra (Pakistan)
[05]. Sanyaj Mishra - For Julia (India)
[06]. Traditional - 'Ya rabbat el-hussen' (Yemen)
[07]. Fawzy Hafez - Tala ala bedr aleyna
[08]. Eshbehayn (Morocco)
[09]. Taqsim cura - Love song from Usbekistan
[10]. Hamza Shakkur - Ghayri ala s-sulwan qadir (Syria)
[11]. Nusrat Fateh Ali Khan - Rahway wasdi jhok faridan di (Pakistan)
[12]. Omar Faruk tekkbilek& Brian Keane - Bridge
[13]. Traditional - 'Bent el balad' (Egypt)
MP3 192 kbps including Covers
HERE
Переслать - Eduardo Paniagua Group - Danzas Medievales EspañolasThis recording stands out as the best in a growing range of CD's of medieval Iberian music, which mixes Arab, north African, and European themes. The music itself is spellbinding. There's nothing else quite like these songs' melding of sounds and tempos from early European and African/Arab instruments. But it's also true that Paniagua and friends are super interpreters, setting a wide variety of moods that all get resolved by the end of the CD, for a satisfying listen.
The repetory artists get from this period is both rich and overplayed--the common appearance of the Red Book themes in recent recordings a case in point. That makes intelligent interpretation crucial. The distinction of Paniagua's group is their truly new renditions of common tunes with the addition of deep skill in contemporary north African music. Purists might look askance at the way the CD intersperses modern Bedouin and Arab instrumentals with the ancient Andalusian songs. Yet many of the old songlines that migrated into Spanish Muslim society never got transcribed, certainly not in later European texts, making modern plugs essential to a complete recording. Now, in other hands, it would be Orientalist of the artists if they were suggesting that north African music hasn't changed significantly in over seven hundred years. But I think the group decided that some continuities--inside north African music, among Meditteranean musics-- merit being recognized and argued today, and as a result (2) give hope for building conversations that defy seemingly irreconcilable divisions of Africa from Europe, Christianity from Islam.
So what might make this CD stand out best is its subtle take on the culture, or politics, of this genre of recordings. Paniagua's group does far and away the best job I've seen of explaining, through the music itself, why today's north African and Spanish artists want to make it come alive again. National leaders and major media like to tell us that Islam and Christianity repel like opposed magnets, that they form separate "civilizations" that inevitably "clash." This music suggests that history tells a different story. More importantly, the effort the artists take to play it suggests that the present also deserves a different story. The music is both harmonious and dissonant, suggesting both the troubles and the promise that emerge in a truly heterogenous society, especially when people embrace a mixed culture. I get inspired to do that work when I hear how it happened in the past, or how people try to create new links in the present.
`Danzas Medievales Espanolas' and `Calamus, The Splendour of Al-Andalus' are both performed by the Eduardo Paniagua Group which, I believe, is based in Spain. Both albums were recorded at the Monasterio de la Santa Espina, Valladolid, Espana and both ensambles of musicians are lead by Eduardo Paniagua, although there is some difference in the personnel between the two albums.
Andalucia is the most southwesterly province in Spain and therefore the one under control of the Moors for the longest time. The latter of the two albums specifically offers us music of `Arab-Andalusian Music of the 12th to the 15th centuries', after which the Moors were kicked out of Spain by Isabella and Ferdinand. As I listen to this specifically Arab music, I hear virtually nothing which tells me that it is music performed in Spain. It is certainly old, but not too different from the Arab music I hear on Sunday's on my local NPR radio station. You can almost hear the influences of the Levant which are shared by both Arab and Israeli musical styles. I am constantly looking around to find the sources of all the clicks and rattles as I do my gardening with Walkman in full throat. Turns out, it is all from the rich family of Middle Eastern percussion instruments on this album. Looking at the names of the tracks, they too all seem to be in a Latinized spelling of a Middle Eastern language.
The first album of Medieval dances with largely the same instruments and a very similar ensemble sounds quite different. This music is quintessentally European Renaissance, with strong similarities to other recordings of Renaissance music by French, English, Dutch, German, and Italian influenced performers. The titles to these pieces have a much more pronouncedly Spanish look to them. Some even seem to be titled in Latin, which seems odd, but maybe not that odd, as the two strongest influences on popular music through the ages is dance and liturgical (nee gospel) music. So, one shouldn't be too surprised to see a little Kyria slip into the vernacular.
One thing which really impresses me is that while western music has changed so much over the last 6 centuries, the Arab music sounds so much like it does today, and yet in the 15th century, it sounds a lot more sophisticated than the native European music.
01. Calenda maia - Eduardo Paniagua Group, Raimbaut de Vaqeira
02. Ben vòlgra (13th century) - Eduardo Paniagua Group, Anonymous
03. La La mora de Borja, CSM-167 - Eduardo Paniagua Group, Alfonso X
04. Nawâ Shanbar - Eduardo Paniagua Group, Anonymous
05. Portum in ultimo - Eduardo Paniagua Group, Ato Bishop of Troye
06. Las Las Mayas, CSM-406 - Eduardo Paniagua Group, Alfonso X
07. Rasd al-dhîl Bashraf Sammâi - Eduardo Paniagua Group, Anonymous
08. Li Rosignox - Eduardo Paniagua Group, Thibault IV, King o
09. Caballero de França, CSM-281 - Eduardo Paniagua Group, Alfonso X
10. Phelipe, je vous demand - Eduardo Paniagua Group, Thibault IV, King o
11. Dame - Eduardo Paniagua Group, Thibault IV, King o
12. Gratulantes celebremus festum - Eduardo Paniagua Group, Magister Goslenus
13. Maqam Hedjaz - Eduardo Paniagua Group, Anonymous
14. La La mujer de Lérida, CSM-168 - Eduardo Paniagua Group, Alfonso X
15. Asbasayn Mosaddar - Eduardo Paniagua Group, Anonymous
16. Quantas sabedes amar - Eduardo Paniagua Group, Codax, Martin
17. Polorum Regina (Anónimo libro bermejo; 14th Century) - Eduardo Paniagua Group, Anonymous
MP3 VBR kbps including Covers
HERE
Переслать - A Jazz & Blues ChristmasPutumayo delivers the perfect package of soulful jazz and blues to liven up the holiday season. A Jazz & Blues Christmas offers a memorable array of classic holiday songs by jazz and blues legends and lesser-known artists. B.B. King opens the album with "Christmas Celebration," a rollicking, up-tempo tune cheerfully punctuated with bursts of brass from an energetic horn section. Ray Charles tells the story of Rudolph the Red-Nosed Reindeer to a soulful beat. Ramsey Lewis plays "Here Comes Santa Claus," simulating the ring of sleigh bells on the upper registers of his keyboard. And, young Canadian chanteuse Emilie-Claire Barlow offers a new take on the old holiday favorite "Santa Baby."
With other exceptional tracks by rhythm and blues veteran Riff Ruffin, iconic blues crooner Charles Brown, jazz vocalist Topsy Chapman and the traditional New Orleans jazz band, The Dukes of Dixieland, A Jazz & Blues Christmas is sure to join Putumayo's other collections New Orleans Christmas and Christmas Around the World as Yuletide classics.
01. Christmas Celebration - B.B. King
02. Santa's Blues - Charles Brown
03. Wrap Yourself in a Christmas Package - Randy Greer & Ignasi Terraza Trio
04. Santa Baby - Emile - Claire Barlow
05. Rudolph the Red-Nosed Reindeer - Ray Charles
06. Here Comes Santa Claus - The Ramsey Lewis Trio
07. Merry Christmas Baby - The Dukes of Dixieland
08. The Christmas Blues - Topsy Chapman & Lars Edegran
09. Xmas Baby - Riff Ruffin
10. All I Ask for Chirstmas - Mighty Blue Kings
FLAC tracks (EAC Rip): 195 MB | MP3 - 320 kbs: 75 MB | Covers
FLAC
HERE | Covers
OR MP3 320 kbps
HERE
Переслать - Guitar LatinoTrack Listing
-------------
[01]. Oreiga
[02]. Please Release Me
[03]. If I Give My Heart To You
[04]. Let Me Go
[05]. Ya Lai Sian
[06]. Return To Me
[07]. Buona Sera
[08]. Soanish Harlem
[09]. Yours
[10]. Begin The Bequine
[11]. Yellow Bird
[12]. Sway
[13]. The Breeze And I
[14]. Innamorata
MP3 VBR kbps including Covers
HERE
Переслать - Vilayat Hussain Khan - An All India Radio Archival Release Vol.1
Vilayat Hussain Khan
An All India Radio Archival Release Vol.1
1. Raga Bageshri Bahar
2. Raga Jog
320 kbps including full scans
Part One
Part Two
Переслать - Grigore Lese - Le Chant de Lapus
Grigore Lese
Le Chant de Lapus, 2009
Chants a cappella du pays de Lapus, dans les Maramures en Roumanie. Chants longs, chants de gorge, chants de Noël ou liés à la vie agraire, pastorale et sociale. Livret très complet en français et anglais.
01. La Horea lapuseneasca [Le chant de Lapus]
02. Vine cucu de trei zile [C'est le coucou qui vient depuis trois jours]
03. Este-un camput lung si lat [Un petit champ, long et large]
04. Pe unde calca doru [La nostalgie ou le dor envoutant]
05. Maieran in cornu mesii [Belle rose, a la place d'honneur, a la table de la mariee]
06. Pasarica di pa munte [Petit oiseau de la montagne]
07. Doina din fluier [Doina a la flute]
08. Dragu-mi-i mie vara [Comme j'aime l'ete!]
09. Miorita
10. O Evara ma-nselai [Comme tu m'as trompe, Eve!]
11. Cand imi vine dor de duca [Quand je voudrais m'en aller]
12. Sa ma vad unde-i luna [Si j'etais pres de la lune]
13. Codrule cu frunza verde [Epaisse foret au feuillage toujours vert]
14. Primavara, Primavara [Printemps, o, printemps!]
15. Batranit-t-am da nu-i modru [J'ai vieilli comme tout le monde]
16. Cand m-o facut mama-n lume [Quand maman m'a mis au monde]
320 kbps including full scans
Part One
Part Two
Переслать - Canê - Vegere. Reviens
Canê
Vegere. Reviens, 2006
01. Bilbil (Le Rossignol)
02. Efrin
03. Miho
04. Hoy Yarê (La Bien-Aimée)
05. Delal
06. Vegere (Reviens)
07. Sukraye
08. Rengê Min (Ma Couleur)
09. Lê Lê Bêmal (Ô La Vagabonde !)
10. Yar Wezo
11. Yar Koçerê (Belle Nomade)
320 kbps including full scans
Part One
Part Two
Переслать
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