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- Gipsy Kings - Golden HitsThe Gipsy Kings are largely responsible for bringing the joyful sounds of progressive pop-oriented flamenco to the world. The band started out in Arles, a village in southern France, during the '70s when brothers Nicolas and Andre Reyes, the sons of renowned flamenco artist Jose Reyes, teamed up with their cousins Jacques, Maurice, and Tonino Baliardo, whose father is Manitas de Plata. They originally called themselves Los Reyes and started out as a Gypsy band traveling about playing weddings, festivals, and in the streets. Because they lived so much like Gypsies, the band adopted the name the Gipsy Kings. Later, they were hired to add color to posh parties in St. Tropez. Popularity did not come to Los Reyes right away, and their first two albums attracted little notice. At this point the Gipsies played traditional -- albeit passionate -- flamenco music punctuated by Tonino's precise guitar playing and Nicolas' exceptional voice. Though they had devoted fans, they still had yet to gain wider recognition until 1986 when they hooked up with visionary producer Claude Martinez, who could see that the Kings had the makings of a world-class band.
Thanks to Martinez, the Kings began to relax a bit and take on a more contemporary edge, combining their traditional songs with sounds from the Middle East, Latin America, North Africa, a hint of rock, and their inimitable joy. It was, in a music industry filled with flamenco purists who resisted any kind of change, a very daring move, and many felt the Gipsy Kings would fall flat and disappear. But the naysayers were wrong. In 1987, they released "Djobi Djoba" and "Bamboleo" on an independent label and scored two smash hits in France. Their success led them to sign with Sony Music and release their eponymous debut album later that year. Again, they had tremendous sales in France, and then found their album was appearing on the Top Ten album charts in 12 European countries, including England, which is traditionally unreceptive to international music.
In the late '80s, the Gipsy Kings, debuted in the U.S. at the New York New Music Seminar. This led them to sign to Sony in America. In 1989, they were invited to perform at the inaugural ball for George Bush, but they chose to return home to rest and be with their families. Later that year, they held an SRO concert at the Royal Albert Hall, where the Gipsy Kings hobnobbed with some of the world's biggest pop stars, including Elton John and Eric Clapton. To top off their great year, the Kings' debut album spent 40 weeks on the U.S. charts and went gold, becoming one of the few Spanish albums to do so. The Kings have had an active release schedule ever since, including the albums Mosaique (1989), Live! (1992), Love & Liberte (1994), Tierra Gitana (1996), Cantos de Amor (1998), Somos Gitanos (2001), Roots (2004), and Pasajero (2007). ~ Sandra Brennan, All Music Guide
CD 1
01. Un Amor
02. Djobi Djoba
03. Escucha Me
04. Viento Del Arena
05. Este Mundo
06. Trista Pena
07. Galaxia
08. Tu Quieres Volder
09. Habla Me
10. A Me Manera
11. Volare
12. Pida Me La
13. La Dona
14. Ternuras
15. Baila Me
16. Madre Mia
17. Inspiration
CD 2
01. Bamboleo
02. Medley
03. Caminando Por la Calle
04. Vamos A Bailar
05. No Volvere
06. Love And Liberte
07. Bem,Bem,Maria
08. Camino
09. Oy
10. Passion
11. Moorea
12. La Quiero
13. Allegria
14. Quero Saber
15. Soy
APE (EAC Rip): 800 MB | Covers
CD1: Part 1 | Part 2 | Part 3 | Part 4 | Part 5
CD2: Part 1 | Part 2 | Part 3 | Part 4
Переслать - Ritual Music of the Kayapó-Xikrin, Brazil. Traditional Music of the World, Vol.7
Ritual Music of the Kayapó-Xikrin, Brazil. Traditional Music of the World, Vol.7, 1995
The Xikrin villages of the Kayapó, located in the Brazilian Amazon, perform long and elaborate ceremonies to initiate their youth and to renew their relations with the natural world, with one another, and with spirits. Powerful choral music, performed by groups of men and women, characterizes the music of these communities. Xikrin music provides a strong community support for their continuing resistance to invasions and abuse of their traditional lands. These 1988 digital recordings include selections from several Xikrin ceremonies. Xikrin culture and mythology is presented by Brazilian specialists in a 76-page booklet. Royalties from this recording are directed to the Xikrin community Catate.
01. Takak 15:42
02. Nhiok: Ngrere, Min ngrere, Nhuti ngrere 6:56
03. Nhiok: Ngrere, Min ngrere, Nhuiti ngrere 10:16
04. Nhiok: Ngoi ngrere 4:54
05. Nhiok: Okkaikrikti 2:17
06. Morning twilight: forest and village sounds 1:35
07. Krua aben muru 7:40
08. Krua aben muru 3:35
09. Angró metóro 9:51
10. Ngo kadju metoro 7:16
320 kbps including pdf-booklet and cover scans
Part One
Part Two
Переслать - Bhimsen Joshi - Ethereal
Bhimsen Joshi
Ethereal, 2004
1. Raga Puriya Dhanashree - Vilambit Ektal: Ab to Ritu Maan & Drut Tintal: Paayaliya Jhankar
2. Raga Bageshri Bahar - Drut Rupaktal: Ay Ambuva Kahi Kahi Daar Daar
Rec. 1950's (1) and 1968 (2)
320 kbps including full scans
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Part Two
Переслать - Inde du Sud. Les fleurs et les cendres, hymnes à Shiva
Inde du Sud. Les fleurs et les cendres, hymnes à Shiva, 2009
Ces hymnes à Shiva, interprétés par les chantres oduvar, sont chantés lors des rituels quotidiens (puja) et des fêtes calendaires (utsava) des temples de Tamil Nadu : reposant sur les systèmes des raga et des pan, ces hymnes brefs s'élèvent pour le plaisir des fidèles et des dieux.
01. Puliyarkon
02. Pidi-adan-uru umai
03. Vandu ar kulal
04. Karu urra nal
05. Mankaiyarkkaraci
06. Per ayiram paravi
07. Vedattil ulladu niru
08. Arral adal
09. Perumbularkalai mulki
10. Ullam ulki ugandu
11. Immai vanavar
12. Pitta! Piraisudi!
13. Maluval valan endi
14. Kar ur punal eyti
15. Madar madappidiyum
16. Alamtan ugandu
17. Tan enai mun
18. Paninaindu uttum
19. Vananga talai vaittu
20. Em panda valvinai noy
21. Sivasiva engilar
22. Tandatu un tannai
23. Annamay visumbu
24. Sirum tiruvum poliya
25. Unnai oliya
26. Nanattin tiruvuruvai
27. Kalanidat tanugade
28. Arpuda teyvam
29. Kulal oli yal oli
30. Tiruvadiyum tandaiyum
31. Ariru tadandol
32. Edu pilai seytalum
33. Tullu mada vel kai
S. Tirugnanasambandan - vocals (1-8,16-21,25-33)
V. Tyagarajan - vocals (9-12,22-24)
P. Shanmugasundaram - vocals (13-15)
320 kbps including full scans
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Part Two
Переслать - Latin JazzIt goes without saying that the entire history and stylistic diversity of Latin jazz cannot be encapsulated on one ten-track CD. But like all of Putumayo's compilations, that was the task the label was faced with: representing the chosen genre adequately and accurately while understanding that much more would necessarily be omitted than included. So will Putumayo Presents: Latin Jazz -- the label's first jazz compilation -- give the uninitiated listener a sufficient crash course? Further exploration would, of course, be wise, but for all that it isn't, the set does provide a satisfactory, superb quality introduction. Name-checking major artists, it won't take long to determine that many are missing: Cal Tjader, Paquito d'Rivera, Arturo Sandoval, Airto Moreira and Flora Purim, Chico O'Farrill, Gonzalo Rubalcaba, and many others. But for such a compact package, it does get to a good number of the pioneering trendsetters: Machito (who opens the set with "Congo Mulence," in tandem with Cannonball Adderley), Ray Barretto (with a smooth, breezy "Sumemrtime"), Eddie Palmieri, Poncho Sanchez, and, of course, the all-time Latin jazz legend, Tito Puente, whose "Cha Cha Cha" sums it all up about as succinctly as anything can. The late pianist Hilton Ruiz, on his "Steppin' with T.P.," bridges standard tropical Latin rhythms with increasingly complex instrumental work, while Icelandic bassist/composer Tómas Einarsson, the only artist here not from Cuba, Puerto Rico, or the U.S., ably demonstrates on his "Rumdrum" that the genre's reach is continually expanding beyond its usual geographic borders. ~ Jeff Tamarkin, All Music Guide
A mixture of Afro-Cuban rhythms and jazz style come together on Latin Jazz, a lively collection of songs by masters of the genre.
The artists featured on Latin Jazz represent an honored cast of musicians ranging from early pioneers of the genre to those who have helped it remain a viable force for more than 60 years. Machito, a contemporary of Dizzy Gillespie and Duke Ellington, was a pioneering bandleader who helped deepen the bond between Afro-Cuban music and American jazz. His classic track "Congo Mulence" opens the album and features fellow jazz legend Cannonball Adderley. Other legendary figures on the album include Tito Puente, whose mastery of the timbales combined with old-fashioned showmanship kept his music fresh and relevant over the years, and Eddie Palmieri, whose piano techniques put him in the same league as jazz legends Thelonious Monk and McCoy Tyner. He teams here with Brian Lynch on "Guajira Dubois," a game of musical tag between Palmieri's piano and Lynch's trumpet.
The driving rhythm behind most Latin jazz comes from its powerful percussion, and Latin Jazz showcases some of the finest in this field. Master conguero (congo player) Poncho Sanchez leads one of the most popular Latin jazz groups in the world. His seasoned ensemble contribute the cool energy of "El Sabroson", while Ray Barretto covers the classic "Summertime." Considered the "godfather of Latin jazz," Barretto was the first Latino to have a Latin hit on the American Billboard Charts.
Other luminaries on the album include Hilton Ruiz, a former child prodigy who appeared at Carnegie Hall at the age of 8, Chocolate Armenteros, the legendary Cuban trumpet player, and Manny Oquendo & Libre, who represent a multigenerational dynasty of Latin music. Icelandic double-bassist Tómas R. Einarsson, and New York icon Chico Alvarez round out the collection.
[01]. Congo Mulence - Machito
[02]. El Sabroson - Poncho Sanchez
[03]. Rumdrum - Tomas R. Einarsson
[04]. Cha Cha Cha - Tito Puente
[05]. La Clave, Maraca Y Guiro - Chico Alvarez
[06]. Summertime - Ray Barretto
[07]. Steppin' With T.P. - Hilton Ruiz
[08]. Cuando Se Acabara - Manny Oquendo & Libre
[09]. Trompeta En Montuno - Chocolate Armenteros
[10]. Guajira Dubois - The Bryan Lynch/Eddie Palmieri Project
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Переслать - Şevval Sam - SekŞevval Sam'ın, Türk Sanat Müziği'nin en seçkin eserlerinden oluşan ilk albümü "Sek", Kalan Müzik tarafından yayınlandı. Oldukça sade ama güçlü bir düzenleme ile klasik Türk müziği sazlarıyla icra edilen eserler arasında "Muhabbet bağına girdim"den "Kimseye etmem şikayet"e, "Söyleyemem derdimi"den "Benzemez kimse sana"ya, bir zamanlar çok popüler olmuş Türk sanat müziği eserlerinin farklı bir yorumu yer alıyor. Müzik yönetmenliği Fahrettin Yarkın tarafından yapılan albümde Şevval Sam?a şu müzisyenler eşlik ediyor:
Şükrü Kabacı (klarinet)
Baki Kemancı (keman)
Ahmet Meter (kanun)
Yurdal Tokcan (ud)
Uğur Işık (çello)
Oğuzhan Balcı (piyano)
Fahrettin-Ferruh Yarkın (perküsyon)
01. Hicaz Peşrevi
02. Söyleyemem Derdimi
03. Şimdi Uzaklardasın
04. Kapıldım Gidiyorum
05. Hastayım Yalnızım
06. Ah Edip İnlerim (Neyleyim Köşkü)
07. Bir Fırtına Tuttu Bizi (Selanik Türküsü)
08. Muhabbet Bağına Girdim
09. Klarnet Taksimi
10. Ömrümüzün Son Demi
11. Böylemi Esecekti
12. Talihin Elinde Oyuncak Oldum
13. Ölürsem Yazıktır
14. Güzel Bir Göz Beni Attı
15. Kimseye Etmem Şikayet
16. Kanuni Taksimi
17. Benzemez Kimse Sana
18. Menekşe Gözler Hülyalı
19. Ninni (Ah O Menekşe Gözler)
20. Bir Bakış Baktın (Bağdat Yolu)
MP3 320 kbps including Covers
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Переслать - Unforgettable Hits (8) (Panpipes)TRACK LISTINGS
[01]. Sailing
[02]. Morning Has Broken
[03]. When A Child Is Born
[04]. Malaika
[05]. Because
[06]. Speak Softly Love
[07]. El Condor Pasa
[08]. Sound Of Silence
[09]. A Whiter Shade Of Pale
[10]. Killing Me Softly
[11]. Greensleeves
[12]. Yesterday
[13]. Woman In Love
[14]. Home On The Range
[15]. Banks Of The Ohio
[16]. The Long And Winding Road
MP3 VBR kbps including Covers, 2007
HERE
Переслать - Abdullah Ibrahim - ZimbabweThe melodic sounds of South Africa are fused with the improvisation of jazz and the technical proficiency of classical music by South Africa-born pianist Dollar Brand or, as he's called himself since converting to Islam in 1968, Abdullah Ibrahim. Since attracting international acclaim as a member of the Jazz Epistles, one of South Africa's first jazz bands, he has continued to explore new ground with his imaginative playing. Exposed to a variety of music as a youngster, including traditional African music, religious songs, and jazz, Brand began studying piano at the age of seven. Becoming a professional musician in 1949, he performed with such South African groups as the Tuxedo Slickers and the Willie Max Big Band. Ten years later, he joined the Jazz Epistles, a group featuring trumpet player Hugh Masekela and alto saxophonist Kippi Moeketsi. The band, which had been formed in 1959 by American pianist John Mehegan for a recording session, Jazz in Africa, had recorded the first jazz album by South African musicians.
In 1962, Brand left South Africa with vocalist Sathima Bea Benjamin; the two were married in 1965, and temporarily settled in Zurich. Performing with his trio, which featured bassist Johnny Gertze and drummer Makaya Ntshoko, Brand was heard by Duke Ellington at the Africana Club. Ellington was so impressed that he arranged a recording session for Brand and the trio. The resulting album, Duke Ellington Presents the Dollar Brand Trio, was released on the Reprise label in 1963. He continued to be supported by Ellington following the album's release. In addition to being booked to play (at Ellington's urging) at the Newport Jazz Festival in 1965, Brand served as Ellington's substitute and performed five shows with the Ellington Orchestra the following year. Shortly afterwards, he disbanded the trio and accepted an invitation to join Elvin Jones' quartet. The collaboration with Jones lasted six months. After leaving the Jones quartet, he continued to be involved with a variety of projects. Besides touring as a soloist in 1968, he worked with bands led by Don Cherry and Gato Barbieri. Briefly returning to South Africa in 1976, the now Abdullah Ibrahim settled in New York the same year. Although he returned to South Africa to live in 1990, he continued to divide his time between his birthplace and his adopted home in New York.
In 1997, Ibrahim collaborated on an album and tour with jazz drummer Max Roach. The following year, Swiss composer Daniel Schnyder arranged several of his compositions for a 22-piece orchestra for a Swiss television production, and for a world tour undertaken by the full-sized Munich Radio Philharmonic Orchestra, conducted by Barbara Yahr of the United States. Ibrahim continued to perform and record for the remainder of the 1990s and throughout the 2000s, releasing such notable albums as African Suite (1999, Enja), Cape Town Revisited (2000, Enja; recorded in 1997), Ekapa Lodumo (2001, Enja/Tiptoe), African Magic (2003, Enja/Justin Time), Senzo (2008, Sunnyside), and Bombella (2009, Intuition). Ibrahim has also composed the scores for such films as Chocolat and No Fear No Die. ~ Craig Harris, All Music Guide
This was a nicely blended, somewhat mellow and seemingly quite finished recording by Abdullah Ibrahim with Carlos Ward (alto sax, flute), Essiet Okun Essiet (bass), and Don Mumford (drums) called Zimbabwe. Interspaced with non-originals were four Ibrahim compositions, most of which were inspired by the imagery from Ibrahim's South African roots. ~ Bob Rusch, Cadence
Personnel: Abdullah Ibrahim (piano), Carlos Ward (alto saxophone, flute), Essiet Okun Essiet (bass), Don Mumford (drums).
Personnel: Abdullah Ibrahim (soprano saxophone, piano); Dollar Brand (soprano saxophone, piano); Carlos Ward (flute, alto saxophone); Essiet Okon Ossiet (bass instrument); Don Mumford (drums).
[01]. Kramat (A. Ibrahim)
[02]. Guilty (Kahn - Akst - Whiting)
[03]. Bobmella (A. Ibrahim) - 6:26
[04]. Don't Blame Me (Fields - McHugh)
[05]. Zimbabwe (A. Ibrahim)
[06]. It Never Entered My Mind (R. Rogers - L. Hart)
[07]. For Coltrane, No 11 (A. Ibrahim)
FLAC tracks (EAC Rip): 240 MB | Scans
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Переслать - Oum Kalthoum - LEL SABR HDODMatsabbarnish bi-wu'ud (Lil-sabr hudud), 1964
Composer: Mohamed al-Muji
Lyrics: 'Abd al-Wahhab Muhammad
Genre: Ughniyah
Maqam : Rahit al-arwah
HERE
Переслать - The Strings Of Paris Orchestra - Romantic MelodiesTRACK LISTINGS
01. The Lonely Shepherd
02. Michelle
03. Moon River
04. Yesterday
05. Sailing
06. Girl From Ipanema
07. Love Story
08. Johnny Guitar
09. Il Silenzio
10. Feelings
11. The Fool On The Hill
12. Tea For Two
13. Concierto De aranjuez
14. Theme From Midnight Cowboy
15. Lili Marlene
16. My Way
17. Evergreen
18. Something
19. Easy To Love
20. Let It Be
MP3 320 kbps including Covers
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Переслать - Turquie. Le baglama des yayla
Turquie. Le baglama des yayla, 2008
Ramazan Güngör
01. Air long
02. Zeybek de Mugla
03. Zeybek
04. Air long
05. Zeybek
06. Zeybek
07. Throat song (Bogaz)
08. Bogaz
09. Zeybek
10. Airs rapides
Ali Kivrak
11. Air long et Bogaz
12. Teke zortlatmasi
13. Zeybek
Hayri Dev
14. Bogaz
15. Zeybek de Masit
16. Suite de üçtelli solo: Deux anciens airs de gorge
17. Suite de üçtelli solo: Bogaz, suivi de Oyun Tasi
18. Suite de üçtelli solo: Bogaz et teke zortlatmasi
19. Suite de üçtelli solo: Zeybek lent
20. Suite de üçtelli solo: Deux chansons
21. Suite de üçtelli solo: Zeybek de Tavas / Acipayam
22. Suite de üçtelli solo: Deve zili / Katir zili
23. Suite de üçtelli solo: Bogaz (Air de gorge)
24. Suite de üçtelli solo: Bogaz et air de danse de Kolak
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Переслать - The Mazeltones - Meshugge For You
The Mazeltones
Meshugge For You, 1989
The third album from the Seattle-based group the Mazeltones. Here, they present a number of relatively traditional works, along with some new compositions. The musicians largely have day jobs, as it were, so they are perhaps not all of the caliber associated with some of the virtuosos on the neo-klezmer scene, but they're still fully competent, and a number of them actually have some serious playing credit under their belts. The vocals are worthwhile in and of themselves, really, as the vocalists (the violinist and the the trombonist) perform some outstanding scat spreads here and there within the structure of the album. The album starts out with a few more or less standard numbers, including a tribute to clarinetist Sid Beckerman (who taught one of the clarinet players in the Mazeltones). It then moves through a mix of lively pieces and more nostalgic works (Yiddish Radio Medley, Labor Ballads). Near the end, the group hits upon the uber-standard "Hava Nagila," then works their way into the title track: "Meshugge (Crazy)." It's a clever little series of Yiddish/English puns with a little rhythm behind it. Pick up this album as a nice example of the more nostalgic end of the neo-klezmer scene, but for the high-end virtuosity available, hit up other bands such as the Klezmatics and the Klezmonauts. ~ Adam Greenberg
01. Philadelphia Sher
02. Salute to Sid
03. Dem Trisker Rebn's Nign
04. Second Hand Rose
05. Yiddish Radio Medley
06. Tantz Yidelach
07. Di Sapozhkelach
08. Alevai
09. Labor Ballads
10. Doina, Romanian Hora, Varshaver Freylekhs
11. Shtoliner Nign/Hava Nagila
12. Bilbilicos
13. Meshugge
Bob Meyer - Percussion
Margot Leverett - Clarinet
Wendy Marcus - Violin, Vocals
Marc Smason - Trombone, Vocals, Hand Drums
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Переслать - Musique des pêcheurs de perles (Anthologie musicale de la peninsule arabique, Vol.2)
Musique des pêcheurs de perles (Anthologie musicale de la peninsule arabique, Vol.2)
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Переслать - Jacaranda Ensemble - Continental
Jacaranda Ensemble
Continental, 2006
Five young musicians, principals of the Brandenburg Symphony, have put together an unusual ensemble as a result of a desire to experiment with new sounds. The instrumentation of this ensemble clearly demonstrates this idea: Alpenhorn, didgeridoo, saxophone and percussion, instuments whose origins often are thousands of miles apart, which are woven through a mixture of composed and improvised music into a musical tapestry.
Through its music, the Jacaranda Ensemble builds a bridge between the cultures of the world. The positive response of the public as well as international respect has confirmed the unusual concept of the Jacaranda Ensemble. Concert tours within Germany and abroad, as well as a positive reaction from the media are the visible results of this artistic endeavor.
Sebastian Pietsch - Saxophone
born in Berlin, he was engaged by the Brandenburg Symphony while still a student at the Berlin Musikhochschule. Besides his commitments as solo bassoonist, since 1986 he has been increasingly interested in the saxophone, playing in various jazz bands and recording film and theatre music. It was the opportunity of being involved in a dynamic new ensemble which led him to join "Jacaranda" in 1988. The impressions gathered on concert tours form his main musical motivation in this ensemble.
Richard Mosthaf - Didgeridoo, Alpenhorn
born in Stuttgart, he studied at the Nuremberg Musikhochschule and was engaged as hornist by the Brandenburg Symphony in 1991. Concert tours with the orchestra awakened an interest in the sounds of other peoples, Didgeridoo and Alphorn fascinating him in particular. He began to learn the complicated techique of the didgeridoo even before "Jacaranda" was founded, studying with several masters of the instrument. He became a founding member of the ensemble in 1997, attempting to combine the special qualities of Alphorn and Didgeridoo, and developing the unique sound of the "Alpendidg" which can regularly be heard at "Jacaranda" concerts.
Thomas Hoffmann - Alpenhorn, French Horn
born in Berlin, his parents were instrumental in introducing him to music's magical powers. He studied at the Berlin Musikhochschule and was immediately engaged by the Brandenburg Symphony. His work as solo horn player involves orchestral touring and solo concerts worldwide, besides which he also finds time to dedicate to his own musical projects. Since 1997 playing the Alphorn has become his second most important activity, along with frenchhorn. His contact with musical ideas from all over the world led him to become a founder of "Jacaranda" in 1997.
Thomas Ringleb - Percussion
born in Berlin, he studies at the Berlin Musikhochschule "Hanns Eisler Berlin". He has made numerous recordings for film, television and CD with ensembles ranging from roch, classical to jazz. It was this work which brought him to Jacaranda in 2004. His own special contribution is the "Afro-beat": he sought out the origins of this particular type of percussion on various journeys through Africa, and now he weaves the resulty of this experience into the total sound of the group.
Matthias Dressler - Percussion
born in Berlin, he was engaged by the Brandenburg symphony as solo percussionist immediately after his final examinations in 1986. He frequently takes part in experimental and crossover music productions: besides major projects such as the legendary "The Wall" concert by Pink Floyd in Berlin in 1990, or the Europa Concert by "Metallica and Symphony" in Berlin in 1999 it is the many smaller productions for which he has repeatedly gained notice as an artist. In order to develop and focus his music-making he became a founder-member of the group in 1997.
01. Color Of Earth
02. Schega
03. Mauna Kea
04. Step By Step
05. Derwisch
06. Canto della Luna
07. Karry-Dance
08. Madrugada
09. Mountaindream
10. 3rd Street Promenade
11. Heartbeat
12. Little Princess
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Переслать - Hussein Al A'dhami - Maqams in Divine Enchantment
Hussein Al A'dhami
Maqams in Divine Enchantment, 2006
Iraqi Maqam
Thanks to the invention of the cassette recorder, Iraqi maqam as a genre of Iraqi music and song tradition is presented to the present day. Iraqi maqam has passed through major developments till it reached its present forms. So, what is the Iraqi maqam?
In fact, there is no one simple view to answer this question. In general, however, it is agreed upon by those concerned with the Iraqi music and song tradition, that Iraqi maqam is a collection of musical tone scales and singing forms connected with each other to form elements based on certain standard rules. In addition to this, however, the Iraqi maqam is regarded as a specific mode of an intricate system of equable musical and singing principles. It is a work of art whose components are combined to form an integral whole of structure that is susceptible to modification and change.
Iraqi maqam can also be looked at from a functional angle. It is, accordingly, a genre of music and song tradition which is Iraqi localized, and which is performed in different forms and song themes reflecting Iraqi ways of life.
An Iraqi maqam is essentially composed of five musical component:
(1)"Al-Tahrir" (prelude) which is the introduction to, or the beginning of maqam. It often contains words that are not part of the original text of the maqam such as "amaan..amaan" or "weelaab..weelaab", etc.
(2) "Al-Qita" or "Al-Awsaal" (lit. bits and pieces) which is a variety of musical scales that fall within the coherent main musical scale of a particular maqam type.
(3) "Al-Djalsa" (lit. sitting) is a sound movement or a musical note where a maqam singer descends to a note at the maqam base (known as "qaraar") in order to ascend to the higher notes in singing; which is known, in the terminology of maqam, as "mayanat".
(4) "Al-Mayaanat" refers to the part of maqam when a maqam singer uses high voice layers above that of the original maqam "base" and directly after it. It is not necessarily the case that every "Mayaanat" follows a "Djalsa" while the opposite is always the case.
(5) "Al-Tasliim" which is the final part of the maqam. It often contains words that are not part of the original text of the maqam.
In addition to the above, Iraqi maqam differs in many respects from the modern Iraqi song and music. Modern Iraqi song and music reflects, I believe, an individualistic and limited experience within a limited time limit. This applies to all of the essential components of the modern Iraqi song or music; the text writer, the singer, as well as the music composer or the melodist.
Iraqi maqam, on the other hand, reflects deep roots within Iraqi heritage.
Hussein Al-Adhami
Mr. Hussein Al-Adhami is regarded as one of the most renowned Iraqi maqam singers of the modern age, Indeed, he has played an important role in the preservation of this genre of Iraqi song and music tradition. He has also played an important role in the spread of this genre all over the world; hence the Iraqi Ministry of Culture has bestowed him with the title "The Ambassador of Iraqi Maqam".
In addition to this possession of the most distinguished voice and a great musical talent, Mr. Al-Adhami enjoys a distinguished academic musical background and knowledge. He is a graduate of the Iraqi Music Institute and became the first teacher in the institute to teach Iraqi maqam after the late Sha'ubi Ibrahim. After his graduation, Mr. Al-Adhami together with his colleague Mohammed H. Gomar got the BA degree in Musical Siences from the Iraqi Academy of Fine Arts to become the first two graduates of the Institute to own this degree from the Academy.
Mr. Al-Adhami enjoys a very pleasant and modest personality. Those who know Mr. Al-Adhami see in him an eloquent speaker and a good reader of cultural and literary works. He himself has published many articles and books in the field of Iraqi and Arab music. The Arab Establisbment for Studies and Publications published his first book entitled "Iraqi Maqam; Where to?" His second book is "Iraqi Maqam by Women Singers" in which he sheds light on the role of Iraqi female singers in maqam performance. The importance of this book derives from the fact that Iraqi
maqam is usually associated with male performers.
This CD was recorded in January of 2004 during Mr. al-Adhami's visit to the Netherlands on the invitation of the Iraqi Maqam Ensemble. During his visit, Mr. Al-Adhami gave a concert through RASA (Center for World Cultures) in Utrecht.
The CD contains a collection of distinguished Iraqi maqams and songs recorded under the direction of Sylvia Vermolen and the supervision of the Iraqi Maqam Ensemble in the Netherlands with the cooperation of the Dutch BlueCap. It contains maqams Djabarga, Dasht, Nahawand, and Pendjka. The director of the Iraqi Maqam Ensemble, Mohamed Hussein Gomar, wishes to introduce to the public, through this CD, Iraqi maqam in the best technical quality available.
Mohamed Hussein Gomar
Iraqi Maqam Ensemble, Netherlands
1. maqam Bandjka
(Classical poetry for Elias Abu Shabaka)
I wonder why my heart is set ablaze,
whenever I look into your eyes!
Is there no cause, oh my tormentor?
The fruits of some hearts have the odour of paradise,
whilst some other hearts are just wood.
Pour the wine and do not spare our souls a drop,
for, the bloom of youth is, on your feet, raped.
Pour the wine; this is the age of wine;
drunkards are its noble sons.
Despair not when you see an empty cup,
grapes ripe at all times.
Tell him "you have come to the age of wine;
Drink nothing, therefore, but liquor,
and be pale as is its colour."
2. Tonight's Lovely
(Iraqi Vernacular)
Tonight's lovely;
Lovely and beautiful.
Welcome to you who was away.
My heart, because of your departure,
he tasted all bitterness.
Welcome to you and your companions.
My heart, before my eyes, embraces you.
3. Maqam Dasht
(Classical Poetry for Wadhah Al-Yaman)
She said, "Beware of entering our house; my father is a fighter"
I said, " I am after a cause and my sword is very sharp".
She said, "There is a sea between you and me".
"I am a skillful swimmer", I answered.
She said, "There is also this huge palace".
I replied, "I know how to enter it",
She said, "I have seven brothers".
I replied, "I am a resilient swordsman".
She said, "I have no other excuse;
Come like the fall of dew,
when all are asleep and no vigilant is there to watch!"
4. Her Parting Made me Cry
(Iraqi Vernacular)
Her parting made me cry.
You occupied my thought.
They say my love is crossed with me.
My spoiled love is at Azzawi's cafe;
He's crossed with me.
From a distance, she greeted me.
Like the feast's crescent are her eyebrows.
I'm at your disposal;
tell me whatever your wish.
Salman's betrayed me!
They say my love's at Azzawi's cafe;
he's crossed with me.
Bare-foot I go after my love,
throwing my gown on my shoulders.
Just one look at my love would satisfy me.
Salman's betrayed me!
They say my love's at Azzawi's cafe;
He's crossed with me.
5. Solo Improvisations on Djooza
6. Maqam Djahaarga/"Love is my Religion"
(Classical Poetry)
Love is my religion, and love can not be denied.
Your beauty and prettiness are incomparable.
My eyes look at no other beauty but yours.
Nor does any one other than you pass by my conscience.
I spent my years hoping for your love and affection.
In love you are my life.
I told my heart about you and it answered,
"No longer can I endure".
How am I to find my way to your love?
I am void of any thought;
whilst my passion increases.
Out of despair and yearning, I tell my beloved,
"If I see you not,
I will be lost, and I will die loving you".
All are asleep but me.
I struggle with the yearning of love.
When you ask about my state,
I say, "I'm enchanted and distracted by love".
All are asleep except me.
I want to take you away,
and save you the burden of reproaches.
I don't blame you, oh my soul!
Have mercy on an enchanted,
who made even the hard-heated cry.
7. "Every Moment I Come to you"
(Iraqi Vernacular)
Every moment I come to your place,
hoping of seeing you.
I won't leave you,
even if they cut my hands into pieces.
You've set my heart ablaze, oh black-eyes beauty!
Whenever you pass by,
peoples's hearts beat hard.
My love lives in Baghdad.
Take the beauty far away,
least I might be enchanted.
Her cheeks are like cold buttermilk,
quenching the thirsty in a summer's day.
8. Solo Improvisations on the Santur
9. Maqam Nahawand
(Classical Poetry for Yazid bin Mu'awiya)
She spread her plaits like a net,
to hunt my heart.
her beauty renders sunshine dispensable.
I made advances to her.
She warned me:
"Whoever seeks my love is doomed to gloom".
She left me motionless;
"Look what has a deer done to a lion!"
After a moment's reflection,
she asked about me.
"He has no spark of life," she was told.
She cried; rains of pearls, pouring out of narcissus,
watered her rosy cheeks, and hails so white,
bit lips like jujube!
"No sister has ever been grieved for the loss of a brother,
nor a mother has ever been bereaved,
are as sad as me, "she said.
People envy me even for my death!
10. Al-Bazringuush
(Traditional Song)
You who plants al-Bazringuush, plant henna instead!
Our cameleers carrying gold and henna,
have gone to the Shaam,
they came back not!
Strike iron upon iron;
it'll resonate.
Hussein Al A'dhami - vocals
Mohammed H. Gomar - djoze
Wisam Al-Azzawi - santur
Abdul-Latif Al-Ubaidi - tabla, riqq, nakkara
Karim Darwish - tabla
320 kbps including full booklet scans
Part One
Part Two
Переслать - Ensemble Tumbash - Urtyn duu, Vol.3
Ensemble Tumbash - Urtyn duu - long song - Vol. III
- Trasitional songs from Mangolia, 2000
The ensemble was founded in June 19999. All members have studied at the academy of music in Ulaanbaatar.
Tumbash is a symbol for four animals, which live peacefully and happily together.
According to an Indian fairy-tale, a pigeon, a hare, a monkey and an elephant lived peacefully and happily together and respect the older. Thanks to their friendship and peaceful togetherness, they had been able to achieve a lot. These animals helped an oppressed people to free themselves from the authorities. By holding together with this people, they could overcome the evil prince and chase away.
The word "tumbash"is also mentioned in the ancient Sutra " Subashid", the Treasure of Wisdom.
1. Tungalag tamir - long song - urtyn duu
- Batgerel: morin khuur
This is a wishing song. A Mongol takes a rest on the Tamir River (his place of birth), in which clear (tungalag = clear) water is flowing. While looking at the flowers and the nature along this river, he wishes everlasting friendship with his beloved one and that he may be happy and in love for all his live. He also wishes to remain young forever and so everything should be as in his youth together with his friends.
2. Dorvon tsag - long song - urtyn duu
- Enkhjargal: limbe, Selenge: yoochin(Four seasons = dorvon tsag). The Mongols compare their partners with the four seasons. If someone chooses a bad partner, this is stupid and usually leads to troubles. A tree can produce good fruit and nuts and like this it can be with the chosen partner.
3. Tooroi bandi - long song - urtyn duu
A Mongolian woman misses her bright lover called Tooroi bandi. She sings passionately about his special character, his particular qualities and his heroic deeds.
He had refused to render homage to the authorities (the Manchu) and had resisted their oppression. He doesn't fear the punishment and he doesn't feel cold. When the sun shines, he doesn't feel its heat. She brings him a piece of cheese with a file inside and she says to him: You must know for yourself how to get out of here.
Everybody esteems him for his defying the authorities. Therefore, people love and honour him.
4. Tsevtsger khurdan sharga - long song - urtyn duu
- Enkhjargal: limbe
(Tsevtsger Khurdan sharga = a beautiful, light brown racehorse).
A Mongol is preparing himself and his racehorse for a meeting with his beloved one.
He adores her cleverness and compassion and enjoys her beauty. He compares her beauty with the beautiful landscape, the mountains and the rivers. He wants to ride with his horse along the valleys and lead a happy live with his beloved one, without boredom and never forgetting her.
- Urtyn duu - long song are melismatic and richly ornamented, in a slow tempo, with long melodic lines, wide intervals and without any fixed rhythm.
They are sung in verses, without any regular refrain and with full voice in the highest register. The melody has a coat that covers over three octaves. This requires a strict observance of the breathing rules. The breathing is actually free, but the singer has to keep to the strict rules of performance, making only the absolutely necessary breathing breaks without interrupting the melodic ornaments. The richer the voice is and the longer the singer can hold it, the more intensive is the attention paid by the auditors and the more his performance is appreciated.
The people practise these long songs mostly while being alone in the open steppe and riding along slowly. The repertory is an expression of the liberty and the vastness of the Mongolian steppe and is used to accompany the rites of the seasonal cycles and the ceremonies of everyday life. Long songs are an integral part of the celebrations held in the round tents and they must be sung after the strict rules of performance.
There are three categories of long songs:
-The extended ones with uninterrupted flowing melodies, richly ornamented, containing long passages in falsetto.
-The usual ones are shorter, less ornamented and without falsetto.
-The shortened ones have short verses, refrains and melodic courses full leaps and bounds.
Instruments:
- Morin Khuur (string instrument - horse-head-violin)
The morin khuur is a typical Mongolian two-stringed instrument. The body and the neck are carved from wood. The end of the neck has the form of a horse-head and the sound is similar to that of violin or a cello. The strings are made of dried deer or mountain sheep sinews. it is played with a bow made of willow, stringed with horsetail hair and coated with larch or cedar wood resin.
This instrument is used to play polyphonic melodies, as with one stroke of the bow the melody and drone-strings can be played at the same time. The morin khuur is the most widespread instrument in Mongolia, and is played during celebrations, rituals and many other occasions, as well as an accompaniment for dances or songs. Even the sound and noises of a horse herd are imitated on the morin khuur.
People say that it is connected with a handsome man. it is also played when a ewe doesn't want to suckle her lamb.
There is a legend about the origin of this instrument. A Mongol missed his dead horse so much that he used its head, its bones and its hair to build an instrument on which he started to play the familiar noises of his beloved horse.
- Yoochin (string instrument)
The yoochin is a box zither, a dulcimer with 13 double-wire strings. The strings are struck with two wooden sticks, so-called little wooden hammers (it is comparable with the santur of the Persians). it has a black wooden soundboard richly decorated with ornaments.
The instrument was only familiar to townspeople and in the beginning of all only they played it.
- Limbe (wind instrument - transverse flute)
This instrument is frequently used in accompaniment< occasionally also as a solo instrument. In former times it was made of bamboo or wood, nowadays mostly of plastic, particularly the instrument that are imported from China. These flutes are closely bound up with the nomads of Central Asia. The length of the instrument is approx. 64 cm, with nine holes, whereof one is the blowhole and two others are reserved for the tuning. it is often played with circular breathing*. The sound reflects what is heard in the nature or the sounds of the natural and social environment. -*Circular breathing: one note is blown, while the musician inhales through his nose. The air is collected inside the cheeks and exhaled by the tongue is used as a valve. Credits: -Ts. Batgerel - morin khuur - (string instrument - horse-violin) -Z. Selenge - yoochin (string instrument) -Ch. Enkhjargal - limbe (wind instrument)
1. Tungalag tamir
2. Dörvön tsag
3. Tooroi bandi
4. Tsevtsger khurdan sharga
320 kbps including full booklet scans
Part One
Part Two
Переслать - Medievo. Obras Maestras de la Música medieval española
Eduardo Paniagua
Medievo. Obras Maestras de la Música medieval española, 2001
01. CSM 145 Alexandria 2:52
02. CSM 257 Las Reliquias 3:52
03. Ben volgra. Danza virelai 3:00
04. Cantiga 10 Rosa das rosas 3:46
05. Oh la mansion del trono real. Puerta del Mexuar 2:53
06. CSM 173 Tantas en Santa Maria 6:30
07. Murakkaz Ah ya muddasin 3:25
08. Abinu Malkenu 2:11
09. Ki eshmera shabat 3:54
10. De manu inferni, Responsorio 1:47
11. Muwwal Muestrales altivo y coqueto 3:28
12. Gradual Sederunt principles 3:22
13. Basit, In kunta Tunsifuhu Si a su amistad llegaras 3:07
14. Hymnus Ave Maris Stella. Modo I 2:18
15. ¡Consoladme ninas al alba! (Uaddaauni) 4:00
16. Prosa, Flavit auster 3:07
17. Mizan Btayhi, San'a Gaybatuk 3:11
18. Va t'en mon cuer 3:44
19. Tempus est iucundum 3:53
20. Ecco la primavera 2:54
21. Cantiga 1 de Alfonso X 2:50
22. La Rotta 0:51
23. Principium effectivum 1:16
24. Ara lausat, lausat, lausat 4:41
320 kbps mp3 including full scans
Part One
Part Two
Переслать - Caucasia. Crossroads of East & West
Caucasia. Crossroads of East & West, 2001
01. Ensemble Tbilisi - Ocheshkhvei
02. Ensemble Tbilisi - Shori Gzidan
03. Ensemble Tbilisi - Varado
04. Ensemble Tbilisi - Doluri
05. Ensemble Tbilisi - Tushuri
06. Ensemble Tbilisi - Mravalgamier
07. Trio Liudvig Garibian - Howem Enkan
08. Trio Liudvig Garibian - Mirzei
09. Jabbar Karyagdy - Simai Shems
10. Ensemble Ay Lazzat - Ay Lazzat
11. Ensemble Ay Lazzat - Turnalar
12. Ensemble Ay Lazzat - Sabantuy
13. Ensemble Ay Lazzat - Anama
14. Ensemble Dede Gorgud - Tanzara
15. Ensemble Dede Gorgud - Osmanli
16. Ensemble Dede Gorgud - Djamo
17. Aydin Aliev - Mugham Chahargah (Trad.)
18. Chkotua Family - Azar
19. Chkotua Family - Arkuashaga
20. Ensemble Tbilisi - Gmerto, Gmerto
21. Ensemble Tbilisi - Kakhuri Nana
320 kbps including full scans
Part One
Part Two
Переслать - Beihdja Rahal - Nouba Dhil. Musique arabo-andalouse
Beihdja Rahal
Nouba Dhil. Musique arabo-andalouse, 2001
Unfortunately there's a ripping problem on my side: track 7 is just static noise. I don't know why - when listening to the album itself, everything is fine, but I tried ripping in several speeds, into flac, wav, mp3, and all I got is that noise every time.
01. Inkilab maoual: Koum tara
02. Improvisation maoual au oud
03. M'cedder dhil: Oua housnek kad ichtahar
04. B'taïhi dhil: Kad kountou khatir
05. Istikhbar maoual: Khayaloukoum fil'âïni
06. Derdj dhil: Adir el-kass
07. Insiraf dhil 1: Malakni l'haoua kahra
08. Dlidla: Âlikoum tefna el-âïne
09. Insiraf dhil 2: Lach tenhajeb
10. Khlass dhil: Rimoun ramatni
11. Qadria: Mahla w'soulek
320 kbps including full scans
Part One
Part Two
Переслать
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