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- Orquesta Aragon - En RouteThe venerable Orquesta Aragon has seemingly been around since the dawn of time (well, since 1939), and their influence covers many faces of Cuban music, including the popularity of the mambo in America in the '50s. But in spite of their history, they're far from a nostalgia act, as they prove with En Route, which offers a nod to the old doo wop style of rock & roll ("Guasabeando el Rock and Roll") but also takes in the present on "Cha Cuba," which includes the contributions of three young rappers. While the basis of their charanga style hasn't changed much over the years, still relying on the vocalists and front line of violins for its sound, the arrangements offer much more subtlety and freedom than their older material, keeping pace with the popularity of acts like the Buena Vista Social Club. The playing standards are, of course, impeccable throughout, whether on the cha cha, traditional son, the more countrified guaracha, or a formal danzon. These are past masters of every Cuban style, and are not afraid to show their versatility with real sparkle and flair. As an illustration of the breadth of the Orquesta's art, albums don't come any better than En Route. En route? More like arrived. ~ Chris Nickson, All Music Guide
01. Ahora Si Sabroseao - Orquesta Aragón, Gonzalez, Dagoberto
02. A Bailar Mi Cha Onda - Orquesta Aragón, Gonzalez, Lazaro
03. Si Envidia - Orquesta Aragón, Apeteguia, Rafael L
04. Guasabeanso el Rock and Roll - Orquesta Aragón, Suarez, Senen
05. Bailando Sucu Sucu - Orquesta Aragón, Perez, Orlando
06. Un Real de Hielo - Orquesta Aragón, Taño, Tony
07. Caserita Villareña - Orquesta Aragón, Ponciano, Emiliano
08. Di Que No Me Quieras Ya - Orquesta Aragón, Fernandez, Eugenio
09. No Quiero Lio - Orquesta Aragón, Jimenez, Udalia
10. Cha Cuba - Orquesta Aragón, Gonzalez, Mijail
11. Con Solo Una Sonrisa - Orquesta Aragón, Roca, Albis
12. La Gioconda - Orquesta Aragón, Rubalcaba, Jacobo
13. Ahora Es Cuando Canto Yo - Orquesta Aragón, Aranzola, Pedro
14. A Gozar la Vida - Orquesta Aragón, Martin, Victor
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Переслать - Ali Farka Touré & Toumani Diabaté - ALI AND TOUMANIDue to the international success of In the Heart of the Moon, Mandé lineage griot Toumani Diabaté wanted to make a follow-up with fellow Malaian, the legendary guitarist Ali Farka Touré. The first record had been cut in Niafunke, Touré's home village in the north of Mali, Diabaté contacted World Circuit's Nick Gold about doing the follow-up in London, where the pair was due to play a couple of concerts. Gold agreed and suggested they include Cuban bassist Orlando "Cachaito" Lopez on the session. There was some urgency: Touré was dying. The sessions were cut over four days in June of 2005; this is his last recording. The contents are made up of improvisations and new versions of old songs from both men's regions. Opener "Ruby" is a gorgeous improvisation, where Touré doesn't play the role of guitar slinger, but of a guitarist playing only for his own enjoyment, softly, gently, with his trance-like hypnotic rhythm, allowing Diabaté to let his kora flow over the modal pattern. Cachaito makes the first of five appearances here. "Sabu Yerkoy" is a proper entrance. It is Touré's take on Cuban salsa (with his son on congas). The rhythmic interplay between drums, bass, and acoustic guitar is intricate and subtle with its gentle, seductive approach. "Doudou" is a completely new take on an old Mandé song, weaving together a Senegalese mbalax rhythm and the kora's harmonic palette. Along the lines of the intricate melody, Touré layers one atop another from one of his own songs, with "Singya" on top. It's easily among the most beautiful thing here. Touré's rhythmic approach shines on "Samba Gerladio," another new version of a very old folk song. Touré introduces it and Diabaté eventually encounters him on the chorus, weaving a new melody based on Touré's blues. "Sina Mory" is the very first song Touré learned to play on the guitar -- this may have been the last time he played it. "Kala Djula," a griot's hymn, closes the set as a celebratory song. Its rhythmic feel -- held down by Cachaito -- is cut-time, but the pace is graceful, easy, relaxed. Diabaté's soloing is breathtaking, full of humor and warmth. Touré interjects his own slippery guitar pattern, creating a second-line melody. This self-titled album is a fitting tribute to Touré's and Diabaté's genius and friendship, and is a beautiful farewell. ~ Thom Jurek, Rovi
01. Ruby
02. Sabu Yerkoy
03. Be Mankan
04. Doudou
05. Warbé
06. Samba Geladio
07. Sina Mory
08. 56
09. Fantasy
10. Machengoidi
11. Kala Djula
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Переслать - Chants Kazakh et Tradition épique de L'OuestKazakh songs (Tracks 1 to 20)
The distinctive feature of the music of the Kazakhs is its use of a vast range of diatonic scales and a vigorous, varied rhythmic palette partly inspired by the different paces of the horse. The voices are strong, very timbred and yet nuanced. Singers accompany themselves on the dombra, a lute with a long, braided neck, belonging to the eastern tanbür family. An ancestor of the modern Russian balalaika, it has only two strings, originally in horsehair but now made out of nylon, which are tuned here to the fifth and plucked without a plectrum. Singers differentiate within their repertoire between the in category of songs with dombra accompaniment and the küy category which comprises all instrumental pieces, not only those destined for dance, but also those inspired by tales or legends. The recordings selected are representative of the art of these singers, all of whom, as it happens, are amateurs and from the province of Khovd.
Epic tradition of the West (Tracks 21 to 25)
Custodians of a millenary art passed on for generations in the heart of the Mongol steppes, epic singers, or bards, even though they have become scarce, are still called upon to accompany hunters or for important occasions of the Mongol calendar. But nowadays, epics live on only really in the form of long versified fragments, periodically including prose passages, whose performance can demand several nights. Mongols distinguish between different types of rhapsody, depending on the way the epic genre is to be recreated. A specialist in "recitation" of one or more epics is called tuul'č ("he who knows the epic" [tuul']), whereas someone else, who accompanies himself on the fiddle displaying his musical talent, will be called quurč ("he who knows how to play the fiddle" [quur]).
In the high Altay mountains, epic songs and songs of praise are performed by the tuul'č bards, in a tessitura restricted to a pentatonic scale. Vocal timbre can be natural (ayalaq style) or deliberately produced (qaylaq style). The rhythm is syllabic and reinforced by the instrumental accompaniment of a lute (tobšuur) with two nylon strings.
Mongolia Kazakh songs and Epic tradition of the West
The repeated waves of conquering Mongols commanded by Genghis Khan, the most famous of their leaders, which broke over Asia, the Middle East and mediaeval Europe were dreaded as a terrible scourge of God. The race was sadly notorious for sowing terror and disaster in its path. Less well known were their highly refined sense of organization and their severe discipline, qualities which, nonetheless, failed to prevent the disintegration of the immense empire at the "Great Khan's death. Collective historical memory of this ephemeral empire seems, justifiably, to remember only its ravaging violence, having forgotten the paradoxical religious tolerance, which reigned, scrupulous and exemplary, at the imperial court.
The Mongols live nowadays in three large geo‑political zones: in the ex‑Soviet Union are to be found the Bouriats, the Touvins and the Kalmuks; eastern and southern Mongols are centred in the autonomous region of Interior Mongolia in China, where the Autonomous Region of Xin‑jiang is also home to a few groups of western Mongols. And lastly, Mongolia, inhabited mainly by Qalq Mongols. A few other small groups of Mongols are scattered over the Asian continent, living vestiges of former conquests, mostly in Afghanistan and Tibet.
The Kazakhs have many different origins. They probably stem from the Persian speaking Sak tribes whom Herodotus called the Scythians of Asia, but since the 13th Century when Central Asia was dominated by the Golden Horde, they have also descended from Turks and Mongols. A Kazakh kingdom was even formed in the 15th Century, marking a decisive epoch in the formation of this people.
Thus, in this Central Asian zone, scene of so much cultural interaction, Kazakh music has deep affinities with that of the other Turkish peoples, both instrumentally and structurally.
The Kazakhs, singular in their language, tradition and customs, belong to the Qiptchaq branch of the great Turkish cultural and linguistic group. The Kazakh people is also geographically divided: a part lives in China, in Xin‑Jiang, another forms the quite recent, independent state of Kazakhistan, while another important Kazakh group inhabits the West of Mongolia, in the Bayan Olghi and Khovd region, since the second half of the 19th Century. Preserved by the Mongol milieu, the Kazakhs have been able to keep alive much of their authentic culture: they have their own schools, their own Kazakh local press and publishing house, a business manufacturing musical instruments, and their own mosque. Kazakhs have in fact been converted to Islam, while Mongols are of the Buddhist faith.
Traditionally nomadic, Mongols and Kazakhs, breeders of horses, camels, bovines like the yak, sheep and goats, have an almost identical life‑style, tied to the economic activities of pastoral nomads and moving according to the rhythm of the seasons.
1 Man‑man ker (My Bayhorse with the Peaceful Gait) A love‑song performed by R. Nurdqaan (vocals and dombra)
A young knight is going to meet his fiancee. On the way, he compares the majestic beauty of his horse's pace to the love he feels for the young girl.
2 Ala‑taw (The Varicoloured Mountain) A bucolic song, performed by Aqman (vocals and dombra)
The name of a mountain in Kazakhistan, to the Northwest of Alma Ata.
Your peak is covered with eternal snow
On your flanks, blooming red and green flowers,
You are the flower and song of life.
At the sight of you, my heart is overjoyed,
My beloved mountain.
Your imposing silhouette reaching up to the sky,
Makes Youth courageous,
But, no‑one knows your secret.
3. Aq Kŭy (The White Tune) Dombra solo performed by S. Toqtal.
A well‑known dance‑tune from the kŭy repertoire. The regular gait and poise of the ambling
horse is recreated through two alternating parts, which constitute the melody.
4 Aq bulaq (The White Spring) A song of filial love performed by R. Nurdqaan (vocals and dombra)
In the mountain, there's a spring...
I grew up on its water,
Cradled in my parents love.
Such a pleasant scene,
the lapping of the water, such pretty music.
My mother goes there to fetch water,
my father, bringing the horses to drink...
5 . Bi‑bi (Dance) Dombra solo performed by Aqman
A piece from the kŭy repertoire, dance accompaniment inspired rhythmically by the horse's gallop.
6 Asilim (My Truth) A plaintive love‑song performed by Aqman (vocals and dombra)
When in summer the mountain decks its green and flowery coat,
When the birds are singing, deep in the woods,
I think of you, my truth, who is away.
Flowers wilt and winter returns,
The mountain dons a white coat,
I think of You, My truth, who are still away.
The steppe is finally shrouded in snow,
Know, My truth, that there is no secret between lovers.
7 Irqŭzian (Irqŭzan's song) Song of celebration, a duo performed of by 0. Sayzada and R. Nureqaan (vocals and dombra)
How wonderful life is when our nearest and dearest
Are all joined to celebrate together.
When the time comes to suffer,
That will be the time to remember
These happy days, the beauty of life
And the closeness of loved ones.
8. Erkem‑ay (My Little Darling) Song of celebration performed by Aqman (vocals and dombra)
When they ask me to sing
I do it like a bird skimming over the lake.
Wherever I am, it's, without having to look, on the side of Good.
I sing, accompanying myself on the dombra.
May today's celebration be tomorrow's too.
You have to play the dombra like a virtuoso
To call your little darling to sing.
9 Sar biday (Grain of Wheat) A nostalgic song performed by Aqman (vocals and dombra)
I have settled in this part of the Bulboskin countryside,
On this piece of paper I'm writing.
I'm home‑sick. Here they don't sing with intelligence.
Visualising my respected elders, grain of wheat, grain of wheat,
I blossom when I am with my own people.
When, I think of my family, I sing, grain of wheat, grain of wheat.
10 Balburauyn (Dance in Twirling Movement) Dombra solo performed by S. Toqtal
A piece from the kŭy repertoire whose rapid rhythm is inspired by turbulent gusts of wind. A brilliant performance calling for a polyphonic playing technique.
11 Dedim ayaw (My Sweet Protected one) A plaintive love‑song performed by Aqman (vocals and dombra)
As soon as I saw your shining face, I melted inside,
My sweet darling, priceless as white gold.
An armful of gold kept for oneself loses its value,
But is sadly missed when it is no longer there.
My sweet protected one, we have no idea how quickly life passes by..
12 Balzin ker (My Chestnut Bayhorse) Dombra solo performed by S. Toqtal
A piece from the kŭy repertoire inspired, yet again, by a horse's gallop. A complex piece where the performer has to maintain a constant bass‑note on the low
string while playing the melodic line on the other string.
13 Dep saldim ay (This is how I say it) Nostalgic song performed by 0. Sayzada (vocals and dombra)
A caravan comes from the mountain
But 1 say that it carries nothing:
It's the inheritance of the Moslems, nomads in foreign lands.
This is what I said to my elderly parents.
I sang them this old song, telling it like this.
14 Gulder ayim (The Flower Season) Nostalgic song performed by Aqlman (vocals and dombra)
My brother, still an innocent lad,
I keep watch on your agitated youth.
Might I hear your voice in the flower season,
Like the moon at the height of day.
I have no wings. What can I do without wings?
Summer has come, a delight to all, it's the flower season,
When I think of you, little brother, I break into this song
When I stop singing, I hear your high-pitched voice...
15 Zaraii boken (The Wounded Stag) Dombra solo performed by T. Baydalda
A piece from the kŭy repertoire, the musical version of a tragic tale of fratricide: during a hunt, two brothers separate to increase their chances of catching game.
One hunts and kills a stag and, the weather being bad, covers himself with the animals' skin to keep the rain off. Shortly after, the other arrives at the spot and,
apparently shooting a stag, kills his own brother.
16 Adem aw (The Beauty)Love‑song performed by Aqman (vocals and dombra)
When you pass discreetly by,
Like a furtive flower,
I am like the nightingale
Swirling around the flowers of his native nest
If I don't come to pick you, who else will?
I am strong enough to bear your torment, Beauty, my Beauty,
Tell me if the songs I dedicate to you are pleasing to you,
Could it be that you love me?
You are the haven of my secret thoughts,
You, summer of my life, object of my love,
Wherever you are, my Beauty..
17, Quia ker (My Bayhorse) Dombra duo performed by 0. Sayzada and R. Nurclqaan
Dance music from the kŭy repertoire performed together by two instrumentalists. The horse, again, symbolically reproduced through the galloping rhythm, gives
energetic impulse to the melody.
18 Laylim siraq (My Inaccessible Love) Plaintive love‑song performed by R. Nurdqaan (vocals and dombra)
She cannot marry the man of her heart for she has been promised to another. Her lover sings for her and, bewailing his own fate, declares his love for her.
19 Pay‑pay (Fie!) Complaint performed by Aqman (vocals and dombra)
When you think how fleeting life is,
Every day should be an occasion for celebration
Bringing together a whole crowd of people, Fie!
It doesn't last forever like the moon!
I am asked to sing whether I like it or not, Fie!
That's not like the respect the moon gets.
20. Aq Bope (Aq Bope's song) Plaintive love‑song, a duo performed by 0. Sayzada and R. Nundqaan (vocals and dombra)
The song of Aq bope, lamenting her former love. Sun, sky and all living beings partake in her sorrow. She even beseeches those departed souls who never knew
the beauty of love to join in her sadness.
21 Altay magtaal (in Praise of Altay) Performed in ayalaq style by T. Enkbalsan (vocals and tobsuur)
Among the Uryanqai and Zaqchin Mongols, epic song is always preceded by a song of praise dedicated to the Master of Altay, a veritable natural reserve for
wild animals and, therefore, game. The voice's natural timbre gives the singing a melodious style (aya: melody), with rhythmic interest coming from its syllabic
form and instrumental accompaniment.
22 Altay magtaal (in Praise of Altay) Performed in qaylaq style by T. Enkbalsan (vocals and tobsuur)
The singer performs here with a deliberately produced timbre. A real vocal transformation, qaylaq style (lilt: to melt, pass from a solid state to a liquid one)
appears as tense, hoarse expression in the back of the throat, not far from the technique of diphonic singing that the performer uses at the end. The Altay eulogy,
like epic song, has a great wealth of poetic imagery
Their silhouettes are veiled in the morning haze,
They ripple at midday in the heat of the air,
From time immemorial, majestic and strong,
They are my two venerables, Altay and Qangay.
Mountain snow melts away, drops of tiny pearls,
The cuckoo, happy, calling out his slender song,
Blue grass, on the banks of streams, playing in the wind,
Such forceful vigour in Altay and Qangay,my two venerables.
The reddish mountain chain touches the clouds,
A scrambling of hooves and red ibex leap from one summit to another,
On the high, majestic rocky mountains,
Dapple‑brown ibex bounding onto crags,
What richness of energy, what astounding beauty they have,
Altay and Oangay, my venerables, so well endowed.
23 Altay magtaal (in Praise of Altay) Performed by a choir of four children: E. Gombosuren, E. Gombozav, Q. Andiav and D. Batmonk (vocals and tobsuur)
Children (these are between ten and fifteen years old) learn to sing the Altay eulogy in both ayalaq and qaylaq styles, singing simultaneously in chorus, and
whistling through the teeth in the finale.
24 Qar Kökö1 Baatar (The Hero with the Black‑tressed Hair) Performed by Q. Sesser (vocals and tobsuur)
This Uryanqai tuul'č bard performs, in qaylaq style, the first part of the first chapter of this epic, well‑known to the Mongols of Altay.
In the beginning of the living world,
When the great Exterior Ocean was but a puddle of water
When the sandalwood‑tree of the World was but a bush
When the great Milky Ocean was yet a tiny puddle
When the summits of the mountains were but mounds of earth,
He was born into the Sunlit World
And through his shadow the Sunless Continent was born.
At the sole utterance of his name
All living beings, even far away, bowed down.
His majestic bearing held all his own kind[in awe.
He has a horse whose body is long
As an entire day and night's journeying,
With six silver bridles,
With beautiful, large ears
And beautiful round eyes.
And he who owns this precious chestnut stallion,
Is the hero with the black‑tressed hair.
25 Qar Kökö1 Baatar (The Hero with the Black‑tressed Hair) Performed by D. Zanzancoy (vocals and morin quur horse‑hair fiddle)
Here, the same part of the epic is performed by a quurč bard famous for his talent throughout Mongolia. Passages in verse alternate with prose
passages. The instrumental accompaniment seems in perfect symbiosis with the voice.
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Переслать - Abdel Halim Hafez - Alkhataya
Abdel Halim Hafez: The Dark Nightingale, 1929-1977
On the anniversary of his death, Al-Masry Al-Youm remembers Abdel Halim Hafez, one of Egypt's most famous voices.
Hafez was born 21 June, 1929 and completed 15 movies and more than 206 songs before he died in 1977. His first musical hit came in 1951 when he stepped in for singer Kareem Mahmoud on Egyptian National Radio. He starred in his first movie, Lahn el-wafaa (The Song of Truth), in 1955. His last movie, Abi foq al-Shagara (My Father is on a Tree, 1969), still plays constantly on Egyptian television.
Hafez appeared on the Egyptian music scene at the end of the careers of two of Egypt's most famous singers, Um Kalthoum and Mohamed Abdel Wahab. With his sweet voice and shorter songs, he was considered a lighter and more modern voice than the classics.
Hafez was unwell for much of his life, after he was diagnosed with the parasitic worm bilharizia at age 11. Some, however, rumored that Hafez only pretended to be sick to elicit sympathy from women.
Hafez was actually not the celebrity's real family name. Hafez Abdel Wahab, a radio executive, discovered Hafez (then Abdel Halim Ali Ismail Shabana) and in turn, Hafez took Abdel Wahab's first name as his last.
According to John Storm Roberts, a writer for the All Music Guide, Hafez started to sing colloquial poetry and more meaningful folk songs in the 1960s. In doing so, he significantly influenced Egyptian popular music. He also founded Sout al-Phan, a recording and film production company, now EMI Arabia.
Hafez's funeral, held 33 years ago today, is said to have been attended by over 100,000 mourners.
Abdel Halim Hafez filmography:
1. Galal in Lahn el-wafaa (The Song of Truth, 1955)
2. Ali in Ayamna el-helwa (Our Best Days, 1955)
3. Ayyam wa layali (Days and Nights,1955)
4. Samir in Mawad gharam (Appointment with Love, 1956)
6. Mahmoud in Dalila (1956)
7. Adel in Fata Ahlami (Dreams of Youth, 1957)
8. Khaled in Banat el yom (Girls of Today, 1957)
9. Salah in El-wessada el khalia (The Empty Pillow, 1957)
10. Abdel Moneim in Sharia el hob (The Street of Love, 1959)
11. Ahmed Sami in Hekayet hub (A Love Story, 1959)
12. El banat wel seif (The Girls in Summer, 1960)
13. Salah in Yom min omri (A Day of my Life, 1961)
14. Hussein in Al-khataya (The Sin, 1962)
15. Ibrahim Farid in Mabodet el gamahir (The Diva, 1967)
15. Adel in Abi foq al-shagara (My Father is on a Tree, 1969)
Abdel Halim Hafez partial discography:
1. Al-khataya (The sin, 2009)
2. Abi foq al-shagara (My Father is on a Tree, 2009)
3. Maaboudet al-jamaheer (The Diva, 2008)
4. Yom min omri (A Day of my Life, 2008)
5. Lahen el wafaa/ El wesada al-khalia, Original Soundtrack (The Song of Truth/The Empty Pillow, 2008)
6. Maweed gharam (Appointment with Love, 2008)
7. Hekayet hub (A Love Story, 2008)
8. Kariat al-fengan (The Fortune Teller, 2008)
9. Karait al-fengan/Samra'a (The Fortune Teller/Brunette, 2008)
10. Zay el-hawa: Arabian Masters (Like the Wind, 2004)
11. Gana el-hawa live/Maddah el-amar (Love Has Come/Praiser of the Moon, 2003)
12. Arabian Masters: Mawood (Promised, 2003)
13. Arabian Greats (2003)
14. Anthology (2001)
15. 1976: The final performance (2001)
16. Le Youhou des amants (The Youhou of Lovers, 2000)
17. Les inedits (The Enedited, 2000)
18. Maddah el-amar (Praiser of the Moon, 2000)
19. Anthology 1950-1954 (2000)
20. Anthology 1954-1959 (2000)
21. Anthology 1960-1964 (2000)
22. Anthology 1964-1969 (2000)
23. Anthology 1976: The Final Performance (2000)
24. Legends of the 20th Century (2000)
25. Ya markabi siri (Sail, My Boat, 1999)
26. Hawel teftekerny (Try to Remember Me, 1999)
27. Layali el-hob/El-banat wel seif (Nights of Love/The Girls in Summer, 1998)
28. Dalila/Sharia el-hob, Original Soundtrack (The Street of Love, 1998)
29. Banat el-youm & Ayamna el-helwa (Girls of Today & 1998)
30. Ayam wi layali & Fata ahlami (Days and Nights & Dreams of Youth, 1998)
31. Al-adaaya (The Case, 1998)
32. Live concert at the Royal Albert Hall - London (1997)
1. Wehyat Albi Wafraho
2. Magrour
3. Lastu Adri
4. Oulli Haga
5. El Helwa
128 kbps including Covers
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Переслать - Oum Kalthoum - Robayat El Khayam, Chams El AssilEgyptian-born vocalist Umm Kulthūm (1904-1975) is considered perhaps the most famous singer in the modern Arab world. Her unique and masterful singing style appealed to her fellow Egyptians as well as to other Arabs due to its great range and virtuosity, and for many her singing was a symbol of the Egyptian national spirit during the period from Egypt's emergence from British colonial rule through the first decades of that country's independence.Om Kalsoum - Robayat El Khayam (1950), Chams El Assil (1955)
[01]. Robayat El Khayam / Khayyam's quatrains (36:50)
Composer: Riad al-Sunbati
Lyrics: Ahmad Rami
Genre: Qasidah Maqaam: Rast
Dialect: Fossha (Classical Arabic)
Alt. transcriptions: Sam'atu sawtan, Ruba'iyat al-Khayyam
Recorded live 1950, Egypt:
[02].Chams Al Assil (37:26)
Composer: Riad al-Sunbati
Lyrics: Bayram al-Tunsi
Genre: Ughniyah
Maqaam: Hijaz kar
Alt. transcriptions: Shams il-asil
Recorded live 1955, Cairo Egypt
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Переслать - Silent City
Kayhan Kalhor and Brooklyn Rider
Silent City
In January of 2008, Iranian kamancheh virtuoso Kayhan Kalhor performed a magnificent concert at the Brooklyn Lyceum, with New York City-based string quartet Brooklyn Rider. Presented by the World Music Institute and the "In A Circle" series, the concert featured material from new release Silent City, an album of cross-cultural landscapes, of evocations stretching from a dark night on a New York City street to the old world beauty of Vienna and beyond. Beginning with a soft, undefined buzzing, growing in sound and shape, until the kamancheh broke through with its lonely, wistful sound, the live program's theme was "Living Memory", an exploration of the meeting between folk, world, classical and modern music. On Silent City, the theme continues, with traditional Iranian folk melodies re-imagined by members of Brooklyn Ryder, after an inspirational trip to Iran. "Ascending Bird" and "Parvaz" are based on different versions of a myth about a bird who attempts to fly to the sun, and achieves spiritual transcendence; "Beloved, do not let me be discouraged" is Brooklyn Rider's Colin Jacobsen's compositional take on the popular Middle Eastern story of star-crossed lovers Layla and Majnun. The title track is a Kalhor composition originally featured on Yo-Yo Ma's New Impossibilities, and introduces the theme of life's continued renewal in the face of destruction, whether by humankind or by the forces of nature. Also joining Kalhor and Brooklyn Rider in this recording is the renowned santur performer Siamak Aghaei, founder of the group Santurnavazan, and an active lecturer and musician who tours around the world.
Kayhan Kalhor has performed and recorded with Iran's greatest singers and instrumentalists and toured the world as a soloist. He co-founded the Dastan, Ghazal and Masters of Persian Music ensembles and has appeared with the New York Philharmonic, the Orchestre National de Lyon, and others. In addition to his work as a performer, Kalhor's compositions have been used for various television and film projects. He is also is an original member of Yo-Yo Ma's Silk Road Project and his works are heard on all of the Ensemble's albums. Three of his recordings, including his two previous World Village releases, Faryad and Without You, were nominated for Grammy Awards. The innovative, genre-bending string quartet Brooklyn Rider (Johnny Gandelsman and Colin Jacobsen, violins, Nicholas Cords, viola and Eric Jacobsen, cello), is named for the members' beloved New York borough and Der Blaue Reiter (The Blue Rider) — a German expressionist movement that flourished during the early twentieth century. The quartet has been challenging and delighting audiences ever since its inception by dividing its time between exploring traditional classical repertoire, new music and fervently adventurous intercultural explorations. Aside from their affiliation with Yo-Yo Ma's Silk Road Project, Brooklyn Rider has worked with composers such as Chen Yi and Kayhan Kalhor and performers such as violinist Jenny Scheinman and visual artist Kevork Mourad.
Iranian kamancheh (spike fiddle) virtuoso and composer Kayhan Kalhor first encountered the string quartet Brooklyn Rider while participating in Yo-Yo Ma's Silk Road Project. Silent City was born of a growing friendship between Kalhor and the group. Reinterpreting classical and folkloric sources in a freewheeling, impassioned manner was already second nature for all concerned but, invigorated by shared connections between their respective traditions, the five musicians, along with Jeffrey Beecher (bass) and Mark Suter (percussion), found themselves communicating on a fresh and thrilling new wavelength. All four works on this recording were composed by the participants. The album opens with the Icarus-like, Zoroastrian imagery of Ascending Bird — a feverish, searing take on a tale ancient beyond recall that remains perpetually relevant. Although Silent City was written to commemorate the Kurdish village of Hallabja in Iraqi Kurdistan, Kalhor dedicated the piece to cities throughout history "destroyed by humanity, war, and natural disaster." Parvaz, another variant of the 'soaring bird' image, features a setar (a 4-string Iranian lute with movable frets) that, along with the bowed instruments, depicts frantically beating wings striving toward the light. On the final selection, the transcendent romance of Beloved, do not let me be discouraged inspires the participants to reach deep inside as many and one, rising to an ecstatic culmination of shared passion and imagination.
1. Ascending Bird (Traditional)
2. Silent City (Kayhan Kalhor)
3. Parvaz (Kayhan Kalhor)
4. Beloved, Do Not Let Me Be Discouraged (Colin Jacobsen)
* Kayhan Kalhor – kamancheh (spiked fiddle)
* Johnny Gandelsman – violin
* Colin Jacobsen – violin
* Nicholas Cords – viola
* Eric Jacobsen – cello
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Переслать - Larry Coryell - Moonlight WhispersConsidered by many as a worthy successor to Pandit Hari Prasad Chaurasia, bansoori exponent Pandit Ronu Majumdar has over the years recorded some of the most defining Indo-fusion music. The album "Moonlight Whispers" which features Majumdar alongside guitarist Larry Coryell is one that helped define the sound of Indo fusion music. Larry Coryell pushes his acoustic guitar into Hindustani music in Moonlight Whispers,his CD with Indian musicians, flutist Ronu Majumdar, tabla player Abhjit Bannerjee and Persian percussionist Keyvan Chemirani.
1. Ganjes (Ronu Majumdar)
2. Kawloon Jag (Larry Coryell)
3. Song Of The Swan (Ronu Majumdar)
4. Trem Brazil - India (Larry Coryell)
5. Sunrise (Ronu Majumdar)
6. Stoppin' Short (Larry Coryell)
7. Brothers (Abhijit Banerjee)
8. One-O-Eight (Larry Coryell)
9. Moonlight Whispers (Ronu Majumdar)
Larry Coryell (Acoustic Guitar)
Ronu Majumdar (Bansouri Flute)
Abhijit Banerjee (Tabla and Cajon)
Keyvan Chemirani (Zarb, Daf and Udu)
Sina Vodjani (Bass, Sythesizer, Shaker and Singing Bowls)
WV (EAC Rip): 380 MB | MP3 - 320 kbs: 200 MB | Booklet Scans
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Переслать - Kristinn Arnason - Giuliani Sor Aguado Carcassi
Kristinn Arnason
Giuliani Sor Aguado Carcassi, 2009
01. Fernando Sor - Variation on a Theme from The Magic Flute 9:31
Dionisio Aguado - Andante & Rondo op.2, No.1
02. I. Andante 2:48
03. II. Rondo 6:16
04. Fernando Sor - Andante Largo op.5 no.5 6:07
05. Mauro Giuliani - Grand Overture op.61 8:21
Fernando Sor - Three Studies op.31
06. No.4 2:04
07. No.5 1:47
08. No.2 2:02
Matteo Carcassi - Three Studies op.60
09. No.3 2:26
10. No.7 1:55
11. No.16 2:03
Fernando Sor - Two Arias from Mozart's The Magic Flute
12. Seid uns zum zweiten Mal willkommen 1:28
13. Marsch der Priester 3:40
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Переслать - Christophe Mad'dene - Totems of the Bush. Didgeridoo
Christophe Mad'dene
Totems of the Bush. Didgeridoo, 1988
01. Thunder & Light-Father
02. Earth-Mother
03. Wind-Spirit
04. Frogs & Toads
05. Crocodile
06. Ouakadu
07. Kookaburra
08. Boomer Angs
09. Wild Dog & The Wild Birds
10. Kangaroo
11. Dingoes
12. Mustang
13. Buffalo's Run
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Переслать - Hafiz. Masters from Ferghana Valley
Hafiz. Masters from Ferghana Valley, 1988
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