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- La Vienta - JazzmencoStraddling the border between the world fusion of Nova Menco and the new age jazz style of Pat Metheny, la Vienta's debut album combines elements of flamenco and jazz for a pleasant Southwestern sound diversion. Guitarists Stefan Schyga and Mario Otero drive through the songs with their masterful work, yet it is a long trip, with the disc lasting over an hour in which songs tend to sound similar and blend into each other. Exceptions to this are the reflective "Summer Rain" and "Train to Paris," a song that could find its place on an Ennio Morricone soundtrack. Aaron Latham, All Music Guide
La Vienta is an exciting and original group that blends the passion and fire of flamenco, the spontaneity of jazz, and the broad appeal of world music and rock. Hailing from the American southwest, the band's eclectic style has attracted the attention of both musicians and listeners worldwide.Sandra LaBriere from St Louis rural area: "I run a small horse and carriage business and was looking for some instrumental romantic music to play for our guests. I accidentally stumbled upon this album, and was blown away by how great it sounds. It will really put you in the mood for warm summer nights with a gentle breeze. I absolutely love this album, and wish I could find more like it. I never tire of listening to this music!"
The guitar duo of La Vienta was formed after a chance meeting in a hallway at the University of Texas at El Paso. Hispanic guitarist Mario Otero and European-born Stefan Schyga melded their individual talents to make their 1993 debut, Jazzmenco, an album that combines elements of jazz, flamenco, classical, Brazilian, and rock. They continued their successful formula with Night Dance in 1994 and Forgotten Romance in 1996. ~ Aaron Latham, All Music Guide
01. Tu Sonrisa
02. Train to Paris
03. Skeleton Samfa
04. San Miguel
05. Summer Rain
06. Mecca
07. My Desert Home
08. Moroccan Face Dance
09. Isle of Hope
10. Spanish Invasion
11. Paisano
12. Legend of Triana
13. Paco's Night Out
14. Shores of Spain
320 kbps including H.Q scans
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Переслать - Tecsöi Banda - Vertek engem, vertek. Rusin Folk Music
Tecsöi Banda
Vertek engem, vertek. Rusin Folk Music, 2004
They are Gypsy musicians from the Hutsul region of Karpato-Ukraine, from the village of Tjaciv (Tetch, in yiddish) just across the Tisza river from Maramures in Romania, and near the border of Hungary. The band consists of the Csernovics brothers - Joska on accordion, Yura on drum, and Mishka on small tsymbaly (cimbalom) with Ivan Popovics on fiddle. They are one of the last real traditional bands to maintain any active Jewish repetoire (alongtside the Ruthenian, Hungarian, and Romanian tunes that are their bread and butter)...
The Técsö Band – playing the traditional Rusin music of the Máramarosians, the "unknown land" – is one of the best-known bands of the crown town, which lies on the upper part of the river Tisza. The accordionist Jóska Csernavec and his brothers are the descendants of a reputed gypsy dynasty, but the band's violinists are not family members. Somehow playing violin was not inherited within the family. All of them learnt the musical style from their ancestors. Their diverse repertoire – because of the strong interethnic influence – features local Romanian, Gypsy, Jewish, Russian and Hungarian songs.
The second record of the Ukrainian band growingly popular abroad as well, includes dances and songs that have already disappeared from the daily use by the Ruthenian village people living around Técsö, but are still remembered by the musicians and some of the elderly people.
01. Nagyon regi tanc (2'17")
02. Rahoi hucul asztali (2'32")
03. Verhovina mati maja (3'13")
04. Katerinka maja (2'39")
05. Sidaricska drena (1'45")
06. Bila ruzsa lelija (2'49")
07. Okormezoi lemak tanc (2'50")
08. Drombojka (2'03")
09. Roman tanc (2'27")
10. Roman tanc (2'17")
11. Erdelyes (2'08")
12. Okormezoi ruzsin kolomejka (2'38")
13. Roman ciganytanc (2'26")
14. Ruzsin tanc a Huszti jarasbol (1'58")
15. Huculka Xenga (2'11")
16. Regi Karpati kolomejka (2'04")
17. Draga Katya (1'55")
18. Roman tanc (2'20")
19. Roman valasztos, kendos tanc (2'12")
20. Ukran hopak (1'39")
21. Roman kalactanc (1'28")
22. Voloska (olah tanc) (3'28")
23. Vertek engem, vertek (1'09")
24. Roman lakodalmi tancok (5'53")
25. Rahoi ciganytanc (3'24")
Joszip Csernavec Georgijovics „Jóska" (1945) – bajan
Mihailo Csernavec Jurijovics „Misu" (1947) – little cimbalom
Jurij Csernavec Olexandrovics „Júra" (1951) – drum, plonka, Jew's harp, voice
Ivan Popovics Mikolajovics „Iván" (1958) – violin
320 kbps including full scans
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Переслать - Ensemble Bürler - Traditional Songs of the Kazakhs, Vol.1
Ensemble Bürler
Traditional Songs of the Kazakhs, Vol.1, 2000
01. Ahau - arman - oh, dream of mine - traditional - 3:19
02. Buldirgen - strawberry - traditional - 3:33
03. Asykpa balam - do not hurry, my sonny - traditional - 3:57
04. Esem enem syrnaidai - a song as beautiful as my accordion - traditional - 2:26
05. Akbakai - traditional - 3:04
06. Gulderaiym - moonflower - traditional - 2:13
07. Biz zhurmiz, osy Chuide - we live in the Chuia - traditional - 2:56
08. Elim menin - my people - music: B. Tileuhan, text: N. Nazarbaev - 3:24
09. Gigigai - music and text: Nartai - 3:06
10. Kaneki tilim soileshi - do tell my tongue - music and text: Nurtugan - 2:15
11. Ezhelerge arasha - defending the mothers - music and text: B. Esekaliev - 4:51
12. Irkuzhan - traditional - 2:29
13. Elge selem - regards to the home country - music and text: A. Korazbeav - 2:48
14. Meiram basy - beginning of the celebrations - instrumental - music: Turkesh - 2:17
15. Adai - instrumental - music: Kurmangazy - 1:52
16. Samaltau - traditional - 4:52
17. Bastau - opening part of a song - traditional - 2:22
18. Zhan-kisa - if one gives away his soul - music and text: E. Zhakypbekov - 3:36
19. Jebren Altai - ancient Altai - music: A. Tozyiakov, text: L. Kokyshev - 2:53
20. Erke sylkym - frolicsome - instrumental - music: Zheldibaev - 1:33
21. Bos oramal - light grey kerchief - music: trad., text: T. Rahimov - 3:31
22. Kairan Edil - my poor Edil - traditional - 3:28
23. Azamat bolsan ayauly - if you want to be a good fellow - music and text: Nurtugan - 1:53
24. Ai karangi, tan zharyk - dark moon, light morning - traditional - 2:30
For more details on the songs etc. s. http://www.face-music.ch/catalog/buerlervol_1songs.html
The Kazakh vocal ensemble Bürler (= rungs) was founded in 1995 by the music teacher Victor Fomin, who holds the chair of folk choir singing at the College of Art and Culture in the West-Siberian Barnaul.
The ensemble won a price at the competition for young performers "Yrystu-95" and the first price at the festival-competition "Art of Young People" (Barnaul), several prices at the regional folklore-festivals "Young Siberia 99" (Gorno-Altajsk) and the competition of "Festy-98" (Barnaul). The ensemble performed at festivals in Mongolia and at the "Days of the Altai Republic" in Moscow and it is the prizewinner of the festival "Pokrowskaja ossenj" (Autumn in Pokrow) in Novosibirsk.
The members of the ensemble, Jerkin Ashimkanov, Gulschat Ashimkanova and Gausa Amenova, were students at the Kosh-Agash high school of the Altai Republic. They began with their studies in 1995 at the Faculty for Music education of the Altai Institute of Art and Culture in Barnaul and graduated in 1999 in the subjects folk choir singing, choirmaster and leader of folklore-clubs.
Shanajdar Nurslaijev studied from 1990 till 1997 at the State Conservatory in Almaty (ex. capital of Kazakhstan) at the Department for folk music instruments, in the dombra (2-3 strings long- necked luth) class. He got prices at the "Yrystu-95 " competition and at the regional folklore-festivals "Young Siberia-99 ".
The ensemble has specialized as a performer of authentic Kasakh folk and traditional music, in keeping to storing methods, tricks and peculiarities that are characteristic in the authentic tradition. However, they also sings stylized folk songs and works of contemporary authors.
320 kbps including full scans (poor quality - from xerox copies)
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Переслать - The Violin Trio
The Violin Trio
L. Vaidyanathan; Dr. L. Subramaniam; Dr. L. Shankar
The violinists L. Subramaniam, L. Shankar and L. Vaidhyanathan popularly known as The Violin trio learnt music from their father Lakshmi Narayana lyer. They started their musical career at young age. They are also profficient in western music besides Hindusthani. They came to limelight when they performed a trio violin concert at a function organised by Ravel krishna lyer which was presided over by the former President of India Dr. Radhakrishnan at Chennai. They have travelled widely throughout the world. The brothers performed in perfect unison. Their advanced violin techniques and vigorus practice have attributed to their success.
(01) Saami Ninne Kori (Varnam)
(02) Siddhi Vinayakam
(03) Samayamide
(04) Toli Janmamu
(05) Idi Samayamura
(06) Ragam - Tanam (Sankarabharanam) - Pallavi - Lambodara
(07) Kavadi Chindu (Folk)
(08) Koorvel Pazhitha
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Переслать - Renaud Garcia-Fons - Oriental BassPlaying a five-string acoustic bass, Renaud Garcia-Fons offers a type of global music that owes some of its potency and stylistic flexibility to jazz improvisation. But Garcia-Fons writes in the short liner note to Oriental Bass that his dream of a bass "half Gypsy and half Mauretanian" takes the instrument through Andalusia and the Mediterranean. His compositions travel the same routes, drawing in trombone, flutes, accordion, flamenco guitar, tablas, lute, derbouka, daf, and more. The mix of hand percussion from Eastern Europe and North Africa with flamenco flairs makes Garcia-Fons's music dizzying. This is very springy music, bouncing and bounding with choruses of horns pulsing powerfully. Few composers can balance, much less thrive in, the panoply of national styles that Garcia-Fons draws in with Oriental Bass. --Andrew Bartlett
01. Oriental Bass
02. San Juan
03. Goodjinns
04. Oryssa
05. Ghazali
06. Jullundur
07. Hommage À Ost Ad
08. Bajo Andalúz
09. Jam Buleria
10. Djani
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HERE
Переслать - Mongo Santamaria - Afro Cuban Drum BeatersAfro-Cuban percussionist and bandleader Mongo Santamaria is one of the most influential players of his generation. A popular performer since 1963, the year the Herbie Hancock-penned "Watermelon Man," reached the pop charts in the United States, Santamaria has explored his own Cuban musical roots throughout his career and has blended elements of jazz, rhythm and blues, rock, and popular music with the traditional sounds of his homeland. A "mesmerizing spectacle for both eyes and ears" in concert, the master percussionist "creates an incantory spell rooted in Cuban religious rituals, quietly seating himself before his congas and soloing with total command over the rhythmic spaces between the beats while his band pumps out an endless vamp," asserted All Music Guide contributor Richard S. Ginell. In addition to his ability to captivate an audience (evidenced on the hypnotic "Mazacote," from his 1972 African Roots album), Santamaria has proven himself a powerful bandleader as well. Many future notables have passed through Santamaria's ranks or collaborated with the conga player, from Nat Adderly and Jimmy Cobb, through Chick Corea, Hubert Laws, and Bob James. According to music historians, no Cuban percussionist, with the exception of Santana's Armando Peraza (and not counting Desi Arnaz), has reached as many listeners as Santamaria.
Touring and recording songs well into his late seventies, Santamaria in his later years has expressed his annoyance over the name given to his generation's music by critics and the press when several entertainers revived Cuban-influenced music during the 1990s. "What they call 'salsa' is the Afro-Cuban music that we did 50 years ago," he told Aaron Cohen of Down Beat in November of 1999. "I don't see calling it a new thing. We used to call it mambo, guaracha, guanco, and every other name. Today they take everything and just call it salsa. It's an economical thing—with the Cuban Revolution, they tried to forget the music had anything to do with Cuba."
Ramon "Mongo" Santamaria was born on April 7, 1922, in Havana, Cuba. Raised in the city's Jesus Maria district, Santamaria was exposed to all kinds of Afro-Cuban rhythms—rumbas and Santeria rituals were everywhere. During his childhood, Santamaria first played the violin, but eventually switched to drums, dropping out of school in his teens to become a professional musician. In spite of his youth, he played in some of the city's most famous pre-Castro clubs, especially the Tropicana. By the early 1940s, Santamaria had established himself as one of Havana's leading percussionists, participating in an array of bands that drove the city's flourishing nightlife. One such group, the Orquestra Casino de la Playa, counted another famous Cuban, Perez Prado, among its members. When Prado took his
own band to Mexico City in 1948, he took young Santamaria with him.
In 1950, Santamaria moved to New York City, where he made his American debut with Prado. After spending a total of three years on the road with Prado's orchestra, he left the ensemble to work with Tito Puente and his band. During the six years spent as a percussionist for Puente's orchestra, Santamaria eventually became well-known throughout California, earning him a position in 1957 with a pioneering Latin-American jazz band in San Francisco led by vibraphonist Cal Tjader that also featured bassist Al McKibbon, pianist Vince Guaraldi, and a percussion section consisting of Willie Bobo, Louis Kant, and Santamaria's cousin Armando Peraza.
It was during his tenure with the Tjader group (which lasted until 1960) that Santamaria penned the piece "Afro Blue," a springboard for the formation of his own ensemble, a traditional Latin charanga band billed as Mongo Santamaria y Sus Ritmos Afro-Cubanos. With this group, Santamaria as a bandleader made an impressive debut for the Fantasy label in December of 1958 entitled Yambu, a collection of percussion songs, including the musical highlight "Timbales y Bongo," reflecting religious thought and music in the African tradition. The conga drummer returned in 1959 with a second Fantasy album entitled Mongo, which contained Santamaria's "Afro Blue," composition. The song immediately became a Latin jazz standard taken up by trumpeters John Coltrane, Dizzy Gillespie, and others. Afro-Cubanos soon evolved into the Mongo Santamaria Afro-Latin Group, which included the likes of saxophonist Pat Patrick, who had worked with Sun Ra, and a promising young keyboard player named Armando "Chick," Corea. This group's first album, Go, Mongo! (first released in 1962 and later packaged with the band's final Riverside album as Skins in 1976), further cemented Santamaria's reputation and included his own standout composition "Carmela.,"
Although by now an important figure in both Latin and jazz circles, Santamaria would break through into the mass market in a moment of consequence—the result of a bad night at a Cuban nightclub in the Bronx, New York, in 1962. When only three people showed in the audience for a scheduled gig, the musicians held a bull session, and when a substitute pianist named Herbie Hancock performed a new tune of his entitled "Watermelon Man," all of the band members gradually joined in. Santamaria, for his part, brought his own Afro-Latin rhythmic flourishes to Hancock's design. Eventually, Hancock's song became a regular part of Santamaria's repertoire, and after record producer Orrin Keepnews heard the composition, he immediately pulled the musicians into the studio to record a single. Released in 1963, "Watermelon Man" rose to number ten on the pop charts, and more importantly, pointed to the development of funk music in the 1970s, helping to broaden the fusion of pop and Latin influences.
Upon the success of "Watermelon Man," Santamaria went on to become one of the most prolific composers and recording artists of his generation, producing a lengthy catalog of staggering variety and musical depth that was considered the definitive textbook on Afro-Cuban styles. An essential introduction to anyone wishing to explore the performer's history can be found in 1972's Afro Roots, a two-record set that contains tracks recorded between 1958 and 1959. After recording several acclaimed albums for the Riverside label and its subsidiaries, Santamaria signed a high-profile contract with Columbia Records. His association with this label resulted in a wave of danceable albums between 1965 and 1970 that often covered hits of the day. Although these records offered a brighter, brassy sound, aided by trumpeter Marty Shelley, Santamaria never completely let go of his roots and continued to mix genres into the early 1970s.
Subsequently, Santamaria focused on the Afro-Cuban tradition for much of the remainder of his career. In 1987, he released Soy Yo, which found Santamaria bridging the gap between contemporary black pop and AfroCuban music, while 1988's Soca Me Nice explored the soca, or soul calypso genre. Despite his successes in the studio, however, Santamaria favored producing live records, using this type of recording opportunity to advance his multicultural musical agenda. Some of his most recognized live outtakes include 1963's Mongo at the Village Gate; 1981's Summertime, a live gig with Gillespie and Toots Thielemans recorded in 1980; 1990's Live at Jazz Alley; and 1994's At the Black Hawk, a CD compilation of two 1962 live releases, Mighty Mongo and Viva Mongo, both recorded at the legendary Black Hawk club in San Francisco.
In 1995, he returned to the Fantasy label, via its subsidiary Milestone, with the release of Mongo Santamaria; Mongo Returns. A two-disc compilation, Skin on Skin: The Mongo Santamaría Anthology, 1958-1995 arrived in 1999 on the Rhino label. By the late 1990s, Santamaria was unable to tour because of health problems. He continued to live in the same apartment that he moved into back in 1964 on New York's Upper West Side. "I'm not a hero, but I did my best to make everybody happy," the percussionist told Cohen. "Everything I did, I did it with con mucho amor.,"
(01) [Mongo Santamaria] Druma kuyi
(02) [Mongo Santamaria] Consejo al vive bien
(03) [Mongo Santamaria] Moforiborere
(04) [Mongo Santamaria] Oromiso
(05) [Mongo Santamaria] Congo mania
(06) [Mongo Santamaria] Margarito
(07) [Mongo Santamaria] Caumbia
(08) [Mongo Santamaria] Columbia
(09) [Mongo Santamaria] Abacua
(10) [Mongo Santamaria] Yroco
(11) [Mongo Santamaria] Ochun
(12) [Mongo Santamaria] Bembe kinigua
(13) [Mongo Santamaria] Chango
(14) [Mongo Santamaria] Conga callejera
(15) [Mongo Santamaria] Meta
(16) [Mongo Santamaria] Guaguanco
(17) [Mongo Santamaria] Fiesta Abacua
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Переслать - Kasyna - Songs for Dshamilja
Kasyna
Songs for Dshamilja, 1995
Ensemble Kasyna
01. Zhez Kiik
02. Bosingen
03. Myn Zhylky
04. Daydidau
05. Kambar Batyr
06. Kasan
07. Kenes
08. Schalkyma
09. Bipyl
10. Arbakesch Eni
11. Dayrabay
12. Ordabassy Sasy
Ensemble Adyrna
13. Abyl
14. Boz Zhorganyn
15. Sekssen Jer
Ensemble Sazgen
16. Kara Zhorga
Otrar Sasy
17. Kerbesim
18. Ata Tolgauy
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Переслать - The Mallik Family - Darbhanga Dhrupad Collection
The Mallik Family
Darbhanga Dhrupad Collection, 2003
CD 1
Raga Bhairav
1. Alap
2. Dhrupad
Raga Ramkali
3. Alap & Dhamar
4. Bol
Ram Chatur Mallik - vocals
Abhay Narayan Mallik - vocals
Ram Ashish Pathak - pakhawaj
CD 2
Raga Malkauns
1. Alap
2. Dhrupad
3. Dhamar & Sul
Ram Chatur Mallik - vocals
Abhay Narayan Mallik - vocals
Ram Ashish Pathak - pakhawaj
CD 3
Raga Megh
1. Calan
2. Alap
3. Bol
4. Dhamar
5. Jhaptal
Ram Chatur Mallik - vocals
Ramji Upadhyay - pakhawaj
Raga Malhar
6. Intro
7. Alap
8. Dhamar
Ram Chatur Mallik - vocals
Abhay Narayan Mallik - vocals
Ram Ashish Pathak - pakhawaj
CD 4
Raga Shri
1. Intro
2. Alap
3. Bol
4. Dhrupad
Raga Purvi
5. Intro
6. Alap
7. Dhamar
8. Jhaptal
Ram Chatur Mallik - vocals
Abhay Narayan Mallik - vocals
Ram Ashish Pathak - pakhawaj
CD 5
Raga Hindol
1. Intro
2. Alap
3. Dhrupad
4. Jhaptal
Ram Chatur Mallik - vocals
Ramji Upadhyay - pakhawaj
Maqbul Hussain Khan - sarangi
Raga Vasant
5. Intro
6. Alap
7. Dhamar
8. Jhaptal
Ram Chatur Mallik - vocals
Abhay Narayan Mallik - vocals
Ram Ashish Pathak - pakhawaj
CD 6
Raga Dipak
1. Intro
2. Alap
3. Dhrupad
4. Holi
5. Ragamala
Ram Chatur Mallik - vocals
Ramji Upadhyay - pakhawaj
Maqbul Hussain Khan - sarangi
Raga Dipak
6. Intro
7. Alap
8. Calan
9. Dhrupad
Vidur Mallik - vocals
Ramji Upadhyay - pakhawaj
Rec. Vrindavan, 1985
320 kbps including full scans
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Переслать - NORIG - GADJI
Norig
Gadji
Collection Voyage en Tziganie
This young French singer of Spanish background performs traditional gypsy songs with a voice full of pain, love and rebellion. Norig, a sensitive, passionate and intense performer, has an extensive repertoire of Balkan music and gypsy jazz.
Nombreux étaient les fans qui comme moi attendaient avec impatience la sortie du premier album de la belle et talentueuse Norig.
C'est désormais chose faite, puisque le label Tzig'Art (jusqu'alors surtout connu pour l'organisation de ses spectacles slaves et tziganes...Voyage en Tziganie, c'est eux !) vient de produire pour sa toute nouvelle collection ce premier album très réussi.
Norig, chanteuse française d'origine catalane qu'à priori rien ne disposait au chant tzigane à embrassé cette discipline après avoir été séduite par Le temps des gitans de Kusturica. A l'écoute de l'album, on peut dire que la demoiselle maîtrise parfaitement son sujet. Portées par une voix éblouissante, au timbre animal parfois très étrange amenant sont lot de fantastique et de merveilleux (et qui rappelle celle de Mitsou de la formation hongroise Ando drom, déjà entendue chez Gatlif...), les émotions se bousculent au fil des plages : joie, mélancolie, desespoir ou passion... Qu'elle soit criée ou murmurée, cette musique des tziganes est tout sauf tiède !
Le répertoire, varié puisqu'on y trouve même une reprise des Petits Papiers de Gainsbourg ( !), alterne originaux, morceaux traditionnels, poèmes "en-chantés", puisant son inspiration à diverses sources musicales : l'Europe de l'Est, évidemment, mais aussi l'Inde et le jazz manouche, le tango argentin et la musique classique.
Parfaitement épaulée par d'excellents musiciens apportant chacun leur lot de couleurs et d'émotions (on pourra entendre un kaval et un cymballum...), l'album permet également d' apprécier le talent de l'étonnant Sébastien Giniaux, figure bien connue des boeufs manouches parisiens (et entendu cet été à Samois au côté du Taraf de Haidouk). Il signe sur l'album de Norig de superbes arrangements (co-signés de Victor Coman) et assure également de magnifiques parties de violoncelle baroque ainsi que quelques solides chorus de guitare.
On suivra ces deux-là de très très près...
D'origine ibérique, Norig a ravaillé les techniques vocales propres au monde Rom. Avec son complice Sébastien Gignaux, aussi fabuleux guitariste que violoncelliste, entourée d'une plaïade d'autres remarquables musiciens, elle nous emporte par la qualité de son chant et la sincérité de son investissement. Ecoutez-la moduler sur des pizz' de violoncelle ; on monte au ciel ! Il faut l'écouter en concert ; on ne résiste guère à cette voix aussi touchante qu'envoutante. Allez l'écouter !
01. Ederlezi (trad) 7'50
02. Abeav baro te keras (poème tzigane) 3'53
03. Jag cumidos (C. Daroczi) 4'14
04. Gilaban gili ! Rromalen (R. Demeter/S. Giniaux/V. Coman) 4'13
05. Zuvli rromanen (N. Braidic/S. Giniaux) 3'44
06. Tutti frutti (trad.) 5'32
07. Fericit e omun pe lume (trad.) 8'58
08. Gadji (Babx-Norig/S. Giniaux) 4'06
09. Soven chave soven (trad.) 4'35
10. Tbiliso (trad.) 5'36
11. Me chajorri (trad./S. Giniaux) 3'23
12. Hajri ma te dike (S. Teodosievski/E. Redzepova) 4'47
13. Les p'tits papiers (S. Gainsbourg) 3'51
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Переслать - Nagwa Fouad - Princess Of Cairo
Nagua Fouad was very popular the 70's and 80's. Nagwa's fame started to rise in the sixties. By the seventies Nagwa Fuad was the top belly-dancer in the Arab world and beyond. She was on the cover of Egyptian magazines like the one of 1966 of "Al Kawakeb" (showed on the next page). Dancing has always been her priority above anything else: "To be a dancer, a respected, famous dancer was my dream since I was about six, when I started dancing...".
Nagua Fouad was born in 1943 in Alexandria under the name Awatef. Her father was Egyptian and her mother Palestinian. Her mother died a few months after Nagua was born and her father remarried another Palestinian woman. Later in 1958, just before becoming 15, Nagua ran away from Alexandria to Cairo without a penny. Najwa became known as dancer in 1959. She was always been very impressed by Na'ema Akef and like to follow her footsteps. Arriving in Caïro she took up a job as a telephone operator at the Orabi Agency for the stars of the Egyptian Cinema. Her step-mom who had followed her to Cairo so now she was able to support her also. Her job at the Orabi agency was her first conscious career step to move from rags to riches. "When Orabi saw me dance, he persuaded me to rent a belly-dancer's costume for 50 piastres and hit the stage."
Not long after, Nagwa Fouad began dancing at "Sahara City", a famous night-club at the foot of the Pyramids. But "Sahara City" was perhaps more worldwide known as the title of the belly dance album it was named after. Some time later she moved to the more glamorous "Auberge des Pyramides
The next important career step was Nagwa's marriage to Ahmed Fouad Hassan, the talented violin player, composer and conductor. Ahmed gave Nagwa Fouad her chance to appear in the very popular sixties stage show "Adwoua Al-Madina" (City Lights), which had featured such superstars as Abdel-Halim Hafez, Fayza Ahmed, Shadia and Sabah. Nagwa featured on many of the covers of the Ahmed Fouad Hassan LP's/CD's.
Nagua took every career step well calculated: "Hassan was 17 years older than me, but I needed him. He nurtured my amateur's talents... He taught me the importance of studying and working on my talent if I wanted to be a big star. He trained me at the Nelly Mazloum Dance School and I joined the National Dance Troupe to study folklore with Russian teachers." Nagoua Fouad learned showmanship and eye-catching techniques which were obvious in her performances of "Ayoub Al-Masri" and "Bahiya wa Yassin". But Fouad Hassan wanted to have a baby with Nagua. Something she didn't approve to so this eventually led to her first divorce after six years of marriage.
In 1976, Nagwa Fouad reached the top of her career when composer Mohamed Abdel-Wahab wrote "Qamar Arbaa-tashar" (Blue Moon or 14the moon) for her. Her stage performance to this special piece allowed her to change the way belly-dancing was presented on stage, transforming it from traditional oriental dance to more of a choreographed lavish spectacle adding more dramatic elements to it than ever before. The composition served as a transition for Nagwa: "I was able to combine the oriental dancing of Tahiya Karioka and Samia Gamal with Na'ema's acrobatic style and created a stage show like a dramatic piece" she says. Najwa established her own dance group but it did not last long and later tried to retire dancing to become actress. She played on the stage and in the cinema and finally became cinema producer.
Live Recording
Ali Hamouda: Hamouda Ali (violin); Saad Mouhammad Hasan (violin); Hani Mehanna (synthesizer); Sayyid El Artist (tabla).
Audio Remasterer: Movses Panossian.
Additional personnel: Nagwa Fouad (dancer).
Track List
Najwa Show
1. Entrance of the princess
2. Nagwa music
3. Waves of the sea
4. Solo Nay
5. Khaliji
6. Taksim violin
7. Taksim kanoun
8. Set Al Hosen
9. Finale
Banat Eskandaria
10. Kanoun intro
11. Sea of alexandria
12. Taksim Nay
13. Music of souher zaki
14. Sea breeze
15. Taksim Accordion
16. Tabla solo
17. Finale
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Переслать - Sadoon Jabbir - Sings Nazem Al Ghazali Vol 2
Track List
01.Koul Lilmaliha
02.Aya Chaiye Bilede - Talaa Min Beit Abouha
03.Min Youme Fourakke - Khayef Aleha
04.Moukhalefe - Ya Jawade
05.Alghouloubi
06.Ya Khouchoufe
07.Ayaratni Bil Chaybe -Tousbah Ala Kher
08.Oum Alouyoun Alssoud
MP3 @ 320
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Переслать - Ram Chatur Mallick - Inde du Nord / North India
Ram Chatur Mallick
Inde du Nord / North India, 1997 (1980)
1. Darbari Kanada - Alap & Dhrupad Chautal
2. Multani - Alap & Dhamar
320 kbps including full scans
Part One
Part Two
Переслать - Ramakant & Umakant Gundecha & Pushparaj Koshti - Temple Voices
Ramakant & Umakant Gundecha & Pushparaj Koshti
Temple Voices, 2008
Raga Yaman
1. Alap
2. Jor
3. Jhalla
4. Bandish Chautal
5. Bandish Sultal
Umakant Gundecha - vocals
Ramakant Gundecha - vocals
Pushparaj Koshti - surbahar
Akhilesh Gundecha - pakhawaj
Shrikant Mishra - pakhawaj
320 kbps including full scans
Part One
Part Two
Переслать - Abdel Karim Ensemble -Jewels of Arab Classical Music "Joyas de la música culta árabe"
ABDEL KARIM, Nay y Dirección
KAMAL AL-NAWAWI, Canto, Bendhir y Dumbek
HAMES BITAR, Ud (laúd árabe), Coros
ABDESSELAM NAITI, Kanún (cítara árabe)
ABDELAZIZ ZAHRIOU, Kemanya (violín)
REEM SHAKWEER, Violoncello, Coros
GUILLERMO MORENTE, Contrabajo
SALAH SABBAGH, Derbuka, Bendhir, Riqq
1 Samai Bayati: Ibrahim Al-Aryan (Egipto s. XIX) 6:17
2 Lamma Bada: Muwashaha Andalusí. Música de Selim Al-Masry
(Egipto s. XIX) "Cuando apareció" 4:35
3 Hussak Samai: Qadim (Tradicional Turquía) 3:16
4 Yamurru Uyuban: Muwashaha Andalusí. Música de Omar Al-Batsh
(Siria 1885-1950) "Pasa con desdén" 4:26
5 Al-KasbaH: Tradicional 2:42
6 Taksim Nay: Improvisación de Nay 4:31
7 Bint Al-Balad: Mohammad Abd Al-Wahab (Egipto 1910-1991) 3:50
8 Habibi ala l'dunia: Mawwal, Improvisación vocal sobre poesía Andalusí
"Amado, el mundo en tu ausencia es soledad" 8:31
9 Taksim Ud: Improvisación de Laúd 3:32
10 Ya Shadi Al-Alhan: Muwashaha Andalusí.
Música de Sayed Darwish (Egipto 1892-1923) "Oh, cantor de himnos" 5:34
11 Fi l'Rawd ana shouft: Muwashaha Andalusí."En el jardín" 5:11
12 Bashraf Farahfaza: Ismail Haqqi Bey (Turquía 1866-1927) 5:34
13 Longa Farahfaza: Riyad Al-Sinbati (Egipto 1906-1981) 3:28
Tiempo total 61:53
Bitrate: 243-308 kbps (VBR) Encoder: LAME 3.98
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Переслать - Oum Kalthoum - SAHRAN LEWAHDIOum Kalthoum - Sahran li-wahdi, 1950
Lyrics: Ahmad Ramy
Music : Reyad al-Sunbati
Maqam : Huzam
Genre : Ughniyah
MP3 224 kbps including Covers
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Переслать - Romero Ruben - Flamenco SouthwestA virtuosic acoustic guitar player, Ruben Romero has fused the flamenco traditions of Spain with a wide-range of musical influences. In addition to performing as a soloist, Romero has appeared with the Denver Symphony and the Minnesota Orchestra and collaborated with Native American flute player R. Carlos Nakai on the flamenco-meets-Native America album Flamenco Southwest. A documentary video on Romero's life and music, Simple Treasures, was aired by PBS. Inspired by his late older brother, Vicente Romero, who was a flamenco dancer, Romero studied flamenco guitar in Spain. Much of his inspiration was sparked by his love of the musical traditions of his gypsy ancestors. Romero has collaborated frequently with flamenco dancer Lydia Torea. ~ Craig Harris, Rovi
01. Cathedral Bells Suite: La Gloria
02. Cathedral Bells Suite: Cathedral Bells (Homenaje a Ruby)
03. Cathedral Bells Suite: Cathedral Bells Overture
04. Cathedral Bells Suite: Paciencia (Patience)
05. Cathedral Bells Suite: Fuerza (Strength)
06. Cathedral Bells Suite: Fe (Faith)
07. Bailando En EL Cielo (Dancing in Heaven) [Bolerias]
08. De Sol A Sol (From Dawn to Dusk)
09. Un Malague En Santa Fe
10. Amancer En Nuevo Mexico(Grenadinas)
11. Sevillanas Traditional
12. Camino A Taos [Soleares]
MP3 192 kbps, Front Cover
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Переслать - Pandit Jasraj - ChandraGhantaBorn in 1930 in Hissar (Haryana), Pandit Jasraj is one of the best-known classical vocalists. He belongs to the Mewati gharana, as did his father, Pandit Motiram. One of the joys of Jasraj's music is his depiction of the unusual. He has recorded extensively, especially since the late '80s, for a number of the leading companies specializing in Indian classical music including Chhanda Dhara, EMI India, Magnasound/OMI, Moment and Navras. ~ Ken Hunt, Rovi
1. Chandraghanta, Ya Devi
2. Braje Basantham
Durga Jasraj (Vocal Support), Vijay Ghate (Tabla)
FLAC (EAC Rip): 280 MB | MP3 - 320 kbs: 140 MB | Covers
Archives have 3% of the information for restoration
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Part 1 | Part 2
OR MP3 320 kbps
HERE
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