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- Patato & ToticoThe landmark recording Patato & Totico belongs neither entirely to rhumberos nor to jazzers. The musical style will feel very familiar to those familiar with Cuba's rhumba tradition, which springs from the ritual songs of Yorubans and their descendants who found themselves sold into servitude to Cuba's sugar and tobacco plantations. The ensemble consists of tumbadora, tres golpes, quinto, shekere, clave, and voice, just as it would have a hundred years before in Havana basements or Matanzas slave quarters. The musicians, however, are no strangers to Manhattan jazz clubs, and that sensibility shines through. From the bass master Israel "Cachao" Lopez, who was a budding talent at the time, to the legendary Arsenio Rodriguez on tres, to Patato, who went on to become one of the most influential voices on his instrument, this band of rhumberos was a force in the jazz world as well. This sensibility shines through in their renditions of "Mas Que Nada" and "Ya Yo E." The fidelity is not the best, and future Patato recordings like Authority shine through as stronger on the whole. However, as one of the first New York contributions to the rhumba world, Patato & Totico is a very pleasing, rich piece of history. ~ Evan C. Gutierrez, All Music Guide
1. Mas Que Nada
2. Ya Yo E
3. Ingrato Corazon
4. Que Linda Va
5. Nuestro Barrio
6. Aqua Que La Caer
7. En El Callejon
8. Caridad Malda
9. Rezo Abuca
10. Dilo Como Yo
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Переслать - Ali Akbar Khan - Garden of DreamsThe son of influential Hindustani musician Allaudin Khan, Ali Akbar Khan was one of the Eastern world's greatest musicians. A master of the sarod, a 25-stringed, lute-like, Indian instrument, Khan brought the Northern Indian classical music to the international stage. A five-time Grammy nominee, Khan was called, by Yehudi Menuhin, "an absolute genius, the greatest musician in the world." Tracing his ancestral roots to Mian Tansen, a 16th century musician in the court of Emperor Akbar, Khan began studying music at the age of three. Initially studying vocal music with his father, he studied drums with his uncle, Fakir Aftabuddin. Although he tried playing a wide variety of instruments, he felt most comfortable on the sarod. Training and practicing 18 hours a day, he slowly mastered the instrument. In 1936, he made his public debut during a concert in Allahabad. In the early '40s, Khan became a court musician for the Maharaja of Judhpur. He soon acquired the title "Ustad" (master musician).
In 1955, Khan accepted an invitation from Menuhin to perform in the United States. In addition to performing at the Museum of Modern Art in New York, he recorded the first Western album of Indian classical music and became the first Indian music on an American television when he appeared on Alistair Cooke's Omnibus. In 1971, Khan performed with his brother-in-law, Ravi Shankar, during George Harrison's Concert for Bangladesh at Madison Square Garden. Khan received numerous awards including the President of India Award in 1963, the Padma Vibhusan in 1988, the Bill Graham Lifetime Achievement award in 1993, and the Asian Paints Shiromani Hall of Fame Award in 1997. He received the Kalidas Sanman from the Madya Pradesh Academy of Music And Fine Arts and became the first Indian musician to be awarded a MacArthur Foundation "Genius Grant" in 1991. Khan received a National Heritage Fellowship from the National Endowment of the Arts in 1997.
In 1956, Khan founded the Ali Akbar Khan College of Music in Calcutta. Teaching in the United States since 1965, he opened the Ali Akbar College of Music in Berkeley, CA, two years later. (In 1968, the school moved to a new site in San Rafael.) Khan taught six classes a week for nine months a year. In the early '90s, the school opened branches in Fremont, CA, and Basel, Switzerland. The lengthy list of films featuring Khan's music includes Chetan Anand's Aandhiyan, Satyajit Ray's Devi, and Bernardo Bertolucci's Little Buddha. He received a Best Musician of the Year award for his soundtrack for the film Khudita Pashan. ~ Craig Harris, Rovi
1. Two Lovers [Mand]
2. Garden of Dreams [Madhu Malati]
3. The Emperor [Darbari Kanra]
4. Power of Joy [Kaushi Kanra]
5. Water Lady [Panihari]
6. India Blue [Dhani]
7. Blessings of the Heart, Pt. 1 [Iman Kalyan]
8. Blessings of the Heart, Pt. 2 [Iman Kalyan]
9. Mother Goddess [Bhairavi]
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Переслать - Dhafer Youssef - Abu Nawas RhapsodyAcclaimed for his fusion of world music with jazz, vocalist and oud player Dhafer Youssef now focuses more on the acoustic side of jazz with an exciting new quartet that includes pianist Tigran Hamasyan, bassist Chris Jennings and drummer Mark Guiliana. This new recording contrasts the sense of calm and serenity created by Dhafer's mesmeric voice and oud playing with Guiliana's trademark combination of energetic rhythmic multiple layers. The very special mix of musical elements and creative talent produces a new and original soundscape. With the musicians' commitment to exploring and experimenting paired with their subtlety and courage to be silent, it is sure to catch the ear of any attentive listener. Born in Tunisia, Youssef has been living in Europe since the 1990s working with an eclectic mix of musicians including Nguyen Le, Markus Stockhausen, Renaud Garcia-Fons, Wolfgang Muthspiel, Nils-Paetter Molvaer and Eivind Aarset. His recent recordings, 'Divine Shadows' (2006), with musicians from the Norwegian nu-jazz scene and 'Glow', a collaboration with Wolfgang Muthspiel, have been acclaimed by the critics and his live performances in the UK have attracted large audiences. Personnel: Dhafer Youssef (vocals, oud), Tigran Hamasyan (piano), Chris Jennings (bass), Mark Guiliana (drums)
01. Sacre 'The Wine Ode Suite'
02. Les Ondes Orientales
03. Khamsa 'The Khamriyat of Abu Nuwas'
04. Interl'Oud
05. Odd Elegy
06. Ya Hobb 'In The Name Of Love'
07. Shaouk
08. Shatha
09. Mudamatan 'The Wine Ode Suite'
10. Hayastan Dance
11. Sura
12. Profane 'The Wine Ode Suite'
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Переслать - Premkumar Mallik - The Prince of Love. Vocal Art of North India
Premkumar Mallik
The Prince of Love. Vocal Art of North India, 2004
The Prince of Love: Vocal Art of North India is the first co-production between Celestial Harmonies and Rundfunk Berlin-Brandenburg. Dhrupad originated in the 15th century in the pastoral landscape of Braj situated between Delhi and Agra, where the blind poet Surdas and his contemporaries had envisioned and re-enacted the childhood of the cowherd god Krishna and his beloved Radha.
The rise of dhrupad was the birth of what is called North Indian classical music in modern parlance. Characterised by slow movements and deep registers, dhrupad has always been considered an exclusively masculine art. Moreover, dhrupad is mainly a vocal art; the only instrument which could adequately reproduce the movements and range of a deep male voice was the sonorous rudra vina, an instrument which was said to have been shaped by Shiva itself. Within a very short time, dhrupad and its counterpart dhamar, became so immensely popular that the nawabs and maharajas, the rulers of the country, invited the musicians from their secluded ashrams and temples on the banks of the Jamuna river into their courts. Even if the royal patrons were devout muslims, the content of the songs, telling about Krishna and other gods and godesses, always remained the same.
By the 19th century, it had been eclipsed by khyal - a new performance style which allowed the artists more room for showing off their virtuosity. Unknown to Western musicologists, the art of dhrupad had survived in such remote places as Darbhanga in North Eastern Bihar, close to the Nepalese border and in the temples of Varanasi. Shri Amarnathji, the head priest of the Shankat Mochan temple, had the idea to summon all the musicians he knew of to revive the ancient tradition at a festival at Tulsi Ghat. It proved to be a tremendous eye-opener to the few Westerners who gathered there, including Peter Pannke, this recording's Producer.
The Mallik family's musical history starts with the two brothers Radhakrishna and Kartaram who arrived at the court of Darbhanga in what is nowadays Northern Bihar, close to the Nepalese border, around 1775. The Mallik's, one of only two families who have managed to keep alive dhrupad, the most ancient and austere style of North Indian music, are famous for their unique, very rhythmically accentuated style of dhrupad singing and their rich repertory of compositions, including rags which are sung exclusively by their own family.
They have toured Europe and the United States and thanks to a new generation of curious listeners and the growing interest of contemporary composers who were fascinated by the subtleties of intonation, dhrupad came back into the concert halls. Their particular skills have made the family famous among Western scholars and lovers of North Indian vocal music. Not wanting to distinguish between 'higher' and 'lower' styles, as they did not want to differentiate between richer and poorer patrons of their art, they performed with equal willingness and grace in the biggest concert halls and in the most modest temple or private house when they felt their music was received with love, singing dhrupad and all the other styles of North Indian music - khyal, tarana, thumri and bhajan, the musical forms you can hear on this CD - with equal competence and ease.
Premkumar, the youngest son, teaches vocal music at the University of Allahabad. Prem, the first part of his name, means 'love'; Kumar is a title given to a person of noble descent.
1. Rag Todi - Alap 11:39
2. Rag Todi - Dhrupad 6:37
3. Rag Abhogi Kanhada - Alap 12:53
4. Rag Abhogi Kanhada - Dhamar 5:49
5. Rag Basant - Sultal 6:59
6. Rag Jog - Chota Khyal 11:26
7. Rag Jog - Tarana 6:38
8. Rag Misra Pahadi - Thumri 8:30
9. Kabir Bhajan 7:40
Premkumar Mallik - vocals, harmonium
Ravishankar Upadhyaya - pakhawaj, tabla
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Переслать - Hirayama Michiko - Giacinto Scelsi, Canti del Capricorno
Hirayama Michiko
Giacinto Scelsi, Canti del Capricorno, 2007
Michiko Hirayama inspired Giacinto Scelsi to write his twenty-part cycle "Canti del Capricorno" between 1962 and 1972. To this day the Japanese singer (b. 1923) is a unique performer of this spiritual yet energy-filled work for solo voice, with instrumental accompaniment for certain songs: Scelsi's notes in his own hand in the score; that is her treasure, when she comes to Ulm in May 2006 to give a concert in the series neue musik im stadthaus. Michiko Hirayama is a vocal power station; she is once again very young. On this WERGO CD, it has been recorded: a document of lived, immediate music. This is to be her legacy, she says openly.
The legendary vocalist Michiko Hirayama makes her first Los Angeles appearance with a must-hear performance of Giacinto Scelsi's Canti del Capricorno—the spellbinding 20-song cycle written expressly for her between 1962 and 1972. Now in her 80s, Hirayama is one of the last living links to the eccentric Italian composer and poet whose works are seldom performed live in the United States. Though cited as a key influence by György Ligeti and French spectralists Gérard Grisey and Tristan Murail, Scelsi's revolutionary Eastern-inflected soundscapes were not widely recognized until late in his life in the 1980s. The wordless songs of Canti del Capricorno each obsess over a single pitch or small groups of notes, on occasion punctuated by drums, gongs, bass or a wailing saxophone. Hirayama's singing, meanwhile, delivers an otherworldly spectrum of vocalization—with microtonal pitch differentiations, glissandi, constantly shifting vocal attacks, sudden leaps of tessitura, and surprising breath production.
Giacinto Scelsi schuf seinen 20-teiligen Zyklus 'Canti del Capricorno' zwischen 1962 und 1972. Dazu inspiriert und begleitet hatte ihn die japanische Sängerin Michiko Hirayama. Die inzwischen über 80-jährige Künstlerin ist bis auf den heutigen Tag die herausragende Interpretin dieses spirituellen und zugleich hoch energetischen Werks für Stimme solo (nur an wenigen Stellen durch Instrumente begleitet). Wie einen Schatz bewahrt Hirayama die Partitur der 'Canti' mit Scelsis eigenhändigen Notizen auf. In einer mehr als einstündigen Konzertperformance hat sie den gesamten Zyklus im Rahmen des Festivals neue musik im stadthaus ulm im Mai 2006 realisiert ein vokales Kraftwerk, das Michiko Hirayamas wirkliches Alter vergessen ließ. Bei WERGO erschien ein Jahr später die CD ein Dokument gelebter, unmittelbarer Musik von höchster Intensität.
01. Canto No. 1 for voice and gong
02. Canto No. 2 for voice
03. Canto No. 3 for voice
04. Canto No. 4 for voice and double bass
05. Canto No. 5 for voice
06. Canto No. 6 for voice
07. Canto No. 7 for voice and saxophone
08. Canto No. 8 for voice
09. Canto No. 9 for voice
10. Canto No. 10 for voice
11. Canto No. 11 for voice
12. Canto No. 12 for voice
13. Canto No. 13 for voice
14. Canto No. 14 for voice
15. Canto No. 15 for voice and percussion
16. Canto No. 16 for voice with live electronics
17. Canto No. 17 for voice
18. Canto No. 18 for voice
19. Canto No. 19 for voice and percussion
20. Canto No. 20 for voice and recorder
Michiko Hirayama - voice, gong, recorder
Ulrich Krieger - saxophone
Matthias Bauer - double bass
Jürgen Grözinger - percussion
Roland Neffe - percussion
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Переслать - ONCE UPON A TIME IN SENEGAL 1979-81
Etoile de Dakar featuring Youssou N'Dour
Once Upon A Time In Senegal: The Birth Of Mbalax 1979-1981
There are not many African artists whose names are as well-known as Youssou N'Dour's. And it's not just his '7 Seconds' duet with Neneh Cherry, or his frequent collaborations with Peter Gabriel and others. No, you don't reach his status just by who you hang out with, you get there by who you are and what you do. On one level these 2 CDs form a chapter in the story of who Youssou N'Dour is. But on another they show him simply as an equal member of a band … a band in the right place at the right time and doing the right things. That brief but vital moment in time is captured in these 23 tracks selected from the cassettes that Etoile de Dakar recorded between 1979 and 1981. Several have never been released outside of Senegal, and all have been sensitively re-mastered from the earliest available audio source. These are the best sounding recordings of this material available.
From the Guardian, UK:
This is the second outstanding Youssou N'Dour album released this year. First came I Bring What I Love, with its live reworking of songs from across his career. Now follows this two-CD set chronicling "the Birth of Mbalax 1979-81" and the history of the band that launched N'Dour's career, before he left with other musicians to form Super Etoile. In the Etoile era, Senegalese music was in transition, and the songs here include echoes of lilting African-Cuban fusions made famous earlier by Orchestra Baobab, along with bursts of western-influenced psychedelia (listen to the wailing guitar work on Tolou Badou Ndiaye), and of course the new driving Mbalax style, with its emphasis on the tama talking drum. The young N'Dour was just one of the lead vocalists and songwriters with this band, and can be heard performing alongside El Hadji Faye and the late Eric M'Backe N'Doye, two sturdy singers who would never match his success. N'Dour was already in a league of his own, as shown by his thrilling, declamatory performances on M'Badane, or the intense and commanding Sama Guenth-Gui. It's an impressive compilation that's helped by the remastering of the original recordings, and by well-researched sleeve notes.
CD1
01. Thiely 05:15
02. Dom Sou Nare Bahk 05:14
03. Esta China 05:08
04. Mane Khouma Khol Thi Yan 04:52
05. Jola 06:30
06. Absa Gueye 05:25
07. Thiapa Thioly 12:02
08. Dagotte 07:28
09. Dounya 06:46
10. Diandioli 05:48
11. Kine Kine 04:48
12. M'badane 07:56
CD2
01. Tolou Badou N'Diaye 07:00
02. Nit Kou N'Gnoul 06:45
03. Yalay Dogal 06:11
04. My Wa Wa 08:24
05. Lay Suma Lay 04:35
06. Diankha Demal 06:47
07. Khaley Etoile 07:41
08. Sama Guenth-Gui 07:20
09. M'Baye Gueye 07:33
10. Titeur 06:40
11. Maleo
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Переслать - Paul Mauriat - Love is blueIn early 1968, with rock music of all kinds pushing new experimental boundaries, an entirely different kind of song rose to the number-one position on music sales charts in the United States and remained there. "Love Is Blue," recorded by French orchestra leader Paul Mauriat, was an easy listening instrumental, instantly recognizable many decades later even for listeners who were unable to identify the name of the artist who had recorded it. Yet Mauriat's contribution to popular music did not begin or end with "Love Is Blue." By the end of the 20th century he was largely forgotten except among chroniclers of pop trivia, but his influence was greater than the size of his reputation would suggest.
Paul Mauriat (More-ee-AH) was born in the southeastern French city of Marseille on March 4, 1925. His father was a postal inspector who played classical piano on the side. When Mauriat was three or four, his father spotted his ability to play tunes straight through on the piano, and, Mauriat told Emmanuel Legrand of Billboard, "had the wisdom not to show me around like one of those brilliant young puppets." Mauriat took lessons from his father, and then, when he was ten, enrolled at the Marseille Conservatory of Music, studying violin as well as piano.
By the time he was 15, Mauriat had earned the school's top prize. At that point family finances interrupted his budding classical career; he had to take a job as a postman. He had also begun to get interested in popular music and in American jazz that had acquired a strong French following. In 1942, with the ranks of French musicians depleted by World War II, Mauriat was offered a job as a band conductor at a salary higher than his father was making. With his father's blessing, he embarked on a musical career.
For many years, Mauriat was based in Marseille and worked behind the scenes in the French music industry. He honed his skills as an arranger, and in the 1950s he toured with and worked as music director for Charles Aznavour and Maurice Chevalier, two of France's top male vocalists. He was particularly closely associated with Aznavour, for whom he eventually made a total of some 135 arrangements. In 1958, with help from bandleader and fellow Marseille native Franck Pourcel, Mauriat moved to Paris. Beginning around that time, he made occasional recordings for small French labels. Depending on the flavor of or intended market for the song he was recording, he used one of a variety of pseudonyms that included Willy Twist, Eduardo Ruo, Nico Papadopoulos, and Richard Audrey.
Among the other young arrangers working in Paris at the time was future American pop giant Quincy Jones, who was studying with French music teacher Nadia Boulanger. Jones encouraged Mauriat's efforts, which by this time had branched out into composition as well as arranging. In 1963 he scored his first major hit as a writer (under the pseudonym Del Roma, and with Pourcel and others as co-writers) with a song called "Chariot," recorded (in French) by British pop star Petula Clark. Retitled "I Will Follow Him," given new English lyrics, and recorded in the United States by teen pop singer Little Peggy March, the song topped Billboard magazine's Hot 100 chart. Like "Love Is Blue," "I Will Follow Him" had a long life as a pop standard, appearing in a spoof choral arrangement in the 1992 film comedy Sister Act.
In 1965 the easy listening genre was selling strongly worldwide, and the recordings of Mauriat's associate Pourcel, many of which resemble Mauriat's own, were hitting a peak of popularity. Mauriat, at the request of the Philips label, formed Le Grand Orchestre de Paul Mauriat in order to compete with Pourcel and began a busy recording schedule that often included three albums a year. No systematic discography of Mauriat's work exists, and he himself eventually lost track of the total number of his album releases, but he estimated in his interview with Legrand that he had recorded more than 1,000 individual songs. Mauriat's albums were released in the United States, but, facing strong competition from those by homegrown orchestra leaders such as Ray Conniff, they notched modest sales totals of around 25,000 copies.
In 1967 Mauriat was given a minor-key song called "L'amour est bleu" ("Love Is Blue"), written by André Popp and Pierre Cour. In a version sung by pop star Vicky Leandros, it had nearly won the 1967 Eurovision Song Contest as an entry from Luxembourg, but was edged out by Pourcel's French entry. "To be honest, I wasn't very fond of the song," Mauriat told Legrand, but since it had been issued by Philips' publishing arm he agreed to cover it. In France, Mauriat's record stalled after sales of 30,000 copies, but Minneapolis disc jockey Alan Mitchell aired the song and asked listeners to comment on it. Flooded with calls, he passed on news of his success to other radio personnel, and on February 10, 1968, the song settled in for a five-week run at the top of the charts. The album containing "Love Is Blue," entitled Blooming Hits, also rose to the number-one spot. "Love Is Blue" was the first instrumental to hit Billboard's top spot since the Tornados' "Telstar" in 1962, and it remains the only French release ever to have accomplished the feat.
Mauriat had a few other small American hits, including "Love in Every Room" and the theme song for the film Chitty Chitty Bang Bang. He never duplicated the massive success of that single song, but "Love Is Blue" cemented his international fan base, and as late as 1996 Mauriat estimated his worldwide sales at 800,000 recordings a year. In the late 1960s and early 1970s, Mauriat applied his arranging skills to the careers of a new generation of French singers, serving for several years as musical director for vocalist Mireille Mathieu. He and his orchestra toured the United States, Mexico, and the Far East.
Japanese (and Taiwanese) audiences had special affection for Mauriat's sentimental but very precise music, and he eventually performed over 1,000 concerts in Japan. Mauriat claimed to be the first Western performer to announce all his songs in Japanese while performing there, and in 1994, after his nearly three-decade association with Philips (and its successors) ended, he signed with a Japanese label, Pony Canyon. Mauriat chose Osaka, Japan, as the site of his final concert, in 1998. His orchestra continued to tour under the conductorship of his protégés. In 2002 a French-language biography of Mauriat, Un vie en bleu (A Life in Blue), was issued by author Serge Elhaik. Mauriat's compositional legacy lived on in the song "Guilty Conscience," modeled by rapper Eminem partly on "I Will Follow Him," but above all in the immortal melody of "Love Is Blue." Mauriat died in Perpignan, France, on November 3, 2006.
(01) [Paul Mauriat] Love is Blue
(02) [Paul Mauriat] Somethin' Stupid
(03) [Paul Mauriat] Lara's Theme (Somewhere My Love)
(04) [Paul Mauriat] Un Homme Et Une Femme
(05) [Paul Mauriat] San Francisco
(06) [Paul Mauriat] This is My Song
(07) [Paul Mauriat] The Summer Knows
(08) [Paul Mauriat] Mamy Blue
(09) [Paul Mauriat] Feel Like Making Love
(10) [Paul Mauriat] Bridge Over Troubled Water
(11) [Paul Mauriat] Don't Cry for me Argentina
(12) [Paul Mauriat] Love Story
(13) [Paul Mauriat] The Way We Were
(14) [Paul Mauriat] Ebony and Ivory
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