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- The Music Of Zanzibar: Taarab 2
Ikhwani Safaa Music Club
This is the second of a four-part set by Globestyle and its affiliated labels covering the taarab music of Zanzibar. Taarab is essentially a syncretic style of Muslim musics on the African coast mixed with heavy influences from Indian film music, Egyptian and Lebanese musics, and the like. This album, from the Ikhwani Safaa club, shows off the basic sounds of the genre. The club is a musical institution on the small island, founded by the sultan of Zanzibar in 1905. Women were allowed to join after the revolution of 1964. Now the sound is full and definitely shows its influences from the rest of the African coast, the gulf, and the far-off subcontinental styles, though the language is still largely Swahili in origin. The music is highly flowing, with a clever rhythmic structure backing the whole of the songs. While the usual harmonium is missing, there is a more standard organ to replace its position in the ensemble. The singers, of both genders, are outstanding, with surprising clarity and vocal ranges. For anyone wishing to look into the many, many facets of taarab, this is one necessary stop along the tour. Others would surely include the taarab of other countries, including the strong Mombassa tradition. Still, though the picture is not complete, this is an album worthy of being heard by all interested parties. ~ Adam Greenberg
1. Afkari [Thoughts) - (with Bashraf/Ikhwani Safaa Musical Club/Ikhwani Safaa Music Club)
2. Usijigambe (Don't Bost Yourself) - (with Mohammed Ilyas/Ikhwani Safaa Musical Club/Ikhwani Safaa Music Club)
3. Kanilemaza - (with Sihaba Juma/Ikhwani Safaa Musical Club/Ikhwani Safaa Music Club)
4. Nna Zama (I'm Drowning in the Sea and I Need Help) - (with Rukhia Ramadan/Ikhwani Safaa Musical Club/Ikhwani Safaa Music Club)
5. Ukichungua - (with Maulidi Mohammed/Ikhwani Safaa Musical Club/Ikhwani Safaa Music Club)
6. Masikini Roho Yako - (with Azizi Abdullah/Ikhwani Safaa Musical Club/Ikhwani Safaa Music Club)
7. Pendo la Wasikitisha (Love Regrets Them) - (with Mohammed Ilyas/Ikhwani Safaa Musical Club/Ikhwani Safaa Music Club)
8. Waridi Lisilo Miba (A Rose Without a Thorn) - (with Awadh Salim/Ikhwani Safaa Musical Club/Ikhwani Safaa Music Club)
9. Nipepee (Cool Me With Your Fan) - (with Ikhwani Safaa Musical Club/Seif Salim Saleh/Ikhwani Safaa Music Club)
10. Hidaya (The Gift) - (with Rukhia Ramadan/Ikhwani Safaa Musical Club/Ikhwani Safaa Music Club)
Personnel: Seif Salim Saleh (violin); Abdullah Rahman (ney).
FLAC(EAC Rip): 500 MB | MP3 - 320 kbs: 180 MB | Scans
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Переслать - The Story of FlamencoTHE STORY OF FLAMENCO is aimed at two audiences. There is the new-comer whose ears have been opened to flamenco thanks to the success of pop-flamenco groups like the Gypsy Kings and who now want to delve more deeply into the roots of this distinct and emotionally charged music. And then there are those who have known and loved flamenco and now wish to have, on a snigle disc, many of its greatest names in a new format that has been sparkingly remastered. In some ways the disk is a primer for beginners. As such the music we have included is, of necessary, basic flamenco. Given this, the tracks were selected carefully and offer the finest examples of each "palo", or style of flamenco singing, as sung by the greatest singers.
This collection will provide the listener with a broad view of the world of flamenco, seducing all with its beauty and magic. So relax, sit back, and enjoy the music. Remember, the most important part of enjoying flamenco is feeling it.
The Story of Flamenco can either be very painful to hear -- what with all that frenetic boot slamming and insanely intense guitar playing -- or it can bring the promise of sultry evenings and vague notions of cultural richness and full-scale dramas played out on-stage. It can be both, really, and this fine Capitol collection brings all the history and the excitement home by way of 17 cuts spanning the long history of the form. Featuring some of the world's most accomplished flamenco musicians, The Story of Flamenco includes performances by such well-known figures as Gabriel Moreno, Pepe de la Matrona, and Paco Isidro. So, pour yourself a nice glass of Spanish wine and prepare to be enthralled. ~ Stephen Cook, All Music Guide
01. Serranita Me Publicaste - Pepe De la Matrona
02. Me Valgo De Mi Saber - Perla De Cadiz
03. Subasta De Cuadros Antiguos - Pericon De Cadiz
04. Moritos A Caballo - Sernita De Jerez
05. Yo Tengo Tres Corazones - Paco Isidro
06. Mujer Malina - Manolo Caracol
07. Le Pido A Dios - Fernanda De Utrera
08. En El Estribo - Gabriel Moreno
09. Los Andaluces - Flores De Gaditano
10. La Zagala - La Nina De la Puebla
11. Me Pongo A Pregonar - Terremoto De Jerez
12. Fiesta En El Barrio De Santiago - Terremoto De Jerez, Romerito, El Borrico, Daimente Negro, Sordera And
13. Linares Que Us Mi Pueblo - Carmen Linaresa
14. Tabernas De Triana - El Pali
15. Nochebuena En El Alosno - Hermanos Toronjo
16. Nana De La Cebollas - Enrique Morente
17. Me Gusta Estar En La Sierra - Pepe Marchena
FLAC(EAC Rip): 310 MB | MP3 - 320 kbs: 150 MB | Scans
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Переслать - Quilapayún - Santa María de Iquique (cantata)
Santa María de Iquique or Cantata Santa María de Iquique: Cantata Popular, is a cantata composed in 1969 by the Chilean music composer Luis Advis Vitaglich, combining elements of both classical and folkloric/indigenous musical traditions to produce what became known as a popular cantata and one of Quilapayún's most acclaimed and popular musical interpretation.The theme of the cantata is an historical industrial dispute that ended with the massacre of miners in the northern Chilean city of Iquique in 1907. The reading is impeccably executed by the Chilean actor Hector Devauchelle, who captures the increasingly tense struggle between the miners and their exploiters in the narrative. Instrumental interludes and songs empower the progression of the story leading to a final song which voices the miners demand for an end to exploitation with visions of an egalitarian and free world.
The Santa María de Iquique Massacre refers to a massacre which occurred in Iquique,on December 21, 1907. In the massacre, an undetermined number of saltpeter workers were killed in a strike while housed in the Santa María School at the port of Iquique. The events that give rise to the facts occur during the peak of the production of saltpeter in the Chilean Norte Grande, during the parliamentary governments. The strike, provoked by the terrible working conditions and exploitations of the workers, was repressed by means of an indiscriminate use of the army's force by part of the government of former president Pedro Montt. General Roberto Silva Renard, commanding the military units under instructions of the minister of the interior Rafael Sotomayor Gaete, ordered to repress the protests, killing one hundred workers and the survivors were severly treated.
Its historical antecedents are found in the birth of the workers' movement in general, and the syndicalism in particular. Both initiated their development inside the saltpeter miners, at times of profound institutional decadence of their country. The massacre provoked the decelerating of the movement by close to ten years, before the exercised violence by agents of the state. This strike was the end of a series of strikes that began in 1902, chiefs of which being the Strike of Valparaíso in 1903 and that of Santiago in 1905.
Song listing
1. "Pregón" / Announcement (Solo vocal: Eduardo Carrasco) – 2:11
2. "Preludio instrumental" / Instrumental Prelude – 5:45
3. "Relato I" / Narrative I (Narration: Héctor Devauchelle) – 2:11
4. "Canción I" / Choral Song I ("El sol en desierto grande…" / The sun in the great desert) – 2:21
5. "Interludio instrumental I" / Instrumental Interlude I – 1:33
6. "Relato II" / Narrative II (Narration: Héctor Devauchelle) – 1:21
7. "Canción II" / Solo Song II ["Vamos mujer…" / We must leave woman…] (Solo vocal: Rodolfo Parada) – 2:08
8. "Interludio instrumental II" / Instrumental Interlude II – 1:44
9. "Relato III" / Narrative III (Narration: Héctor Devauchelle) – 1:35
10. "Interludio cantado" /Sung interlude ["Se han unido con nosotros…" / They've joined with us] (solo vocals: Carlos Quezada) – 2:05
11. "Relato IV" / Narrative IV (Narration: Héctor Duvauchelle) – 1:00
12. "Canción III" / Song III ["Soy obrero pampino…" / I am a pampean worker…] (solo vocals: Willy Oddó) – 1:44
13. "Interludio instrumental III" / Instrumental Interlude III – 1:55
14. "Relato V" / Narrative V (Narration: Héctor Devauchelle) – 2:14
15. "Canción letanía" / Supplicatory song ("Murieron tres mil seisientos…" / Three thousand six hundred died…) - 1:33
16. "Canción IV" / Song IV ["A los hombres de la Pampa…" / To the men of the Pampa...] (Solo vocals: Eduardo Carrasco) – 2:55
17. "Pregón II" / Announcement II (Solo Vocals: Hernán Gómez) – 0:32
18. "Canción final" / Final Song ("Ustedes que ya escucharon…" / You, who have now heard…) (Solo vocals: Patricio Castillo) – 2:50
Personnel
* Eduardo Carrasco
* Rodolfo Parada
* Willy Oddó
* Carlos Quezada
* Patricio Castillo
* Hernán Gomez
Additional Personnel
* Héctor Duvauchelle (Narrator)
* Eduardo Seinkiewicz (Violoncello)
* Luis Bignon (Double bass)
FLAC 172 MB can be split into tracks via a player such as foobar 2000
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Переслать - Bissa du Burkina Faso - Musique vocale et instrumentale
Bissa du Burkina Faso. Musique vocale et instrumentale, 2003
Track Listing
01. Divertissement Avec Boumpa Et Dienguela
02. Louanges
03. Luth Konde
04. Louanges
05. Duo De Sanzas Kone
06. Danse Diassa De Garango
07. Chant Et Luth Konde
08. Flute Traversiere Lontore
09. Danse Diassa De Gourougou
10. Chant Et Orchestre De Vieles Luth Et Percussion
flac including full scans
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Переслать - Ustad Amjad Ali Khan - A Homage to Mother TeresaThe sarod is an unfretted, short-necked Hindustani lute. Often carved from a single block of teak, the sarod is characterized by its wide, metal covered fingerboard and thin parchment soundboard. The instrument is laced with a complex array of melodic, drone, and Chikari strings (Chikari strings are plucked in order to accent melodic phrases and add rhythmic variety). In addition, about another dozen strings, which can be tuned to the scale of the raga being played, pass through the body of the instrument and vibrate sympathetically when other strings are played.
On Homage to Mother Teresa, sarod master Ustad Amjad Ali Khan demonstrates his relaxed mastery over this elaborate instrument in a rendition of "Rag Rageshwari." Collaborating with famed tabla player Zakir Hussain, Ustad Amjad Ali Khan demonstrates his playing prowess through gentle slides in pitch known as meend, fusillades of melodic runs called tans, and just about everything in between. Kicking off this Calcutta concert with a half-hour, non-metered solo section called "Alap-Jor-Jhala," the artist patiently unfolds the harmonic petals of this evening rag. In the duet that follows, the two maestros play off one another while moving through a variety of tempos and rhythmic cycles. Beginning with a slow ten-beat rhythmic cycle, the duo moves into a medium tempo version of the 16-beat cycle "Tintal," following it up with a fast composition in the 14-beat "Ada Chautal." They conclude the performance with a brisk and intricately faceted version of "Tintal." In a word, Ustad Amjad Ali Khan and Zakir Hussain's version of "Rag Rageshwari" is phenomenal. A tribute worthy of the holiest of saints, Homage to Mother Teresa is a first rate CD that underscores the beauty of the sarod and tabla. It is sure to please Indian music buffs and novices alike. ~ John Vallier, All Music Guide
1. Raga Rageshwari, Alap-Jor-Jhala
2. Raga Rageshwari, Slow Gat in Jhaptal
3. Raga Rageshwari, Medium Gat in Tintal
4. Raga Rageshwari, Fast Gat in Ada Chautal
5. Raga Rageshwari, Fast Gat in Tintal
FLAC (EAC Rip): 290 MB | MP3 - 320 kbs: 200 MB | H.Q.Scans
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Переслать - Fairuz & Sax - Jaret El Amar By Wissam Khasaf
Track List
01.Ala Jeser Al Lawzeah
02 Al Bosta
03.Men Aez Al Nawm
04.Nasam Alena Al Hawa
05.Saalony Alnas
06.Akher Ayam Al Saefia
07.Taer Al Werwar
08.Yama Al Hawa
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