All That Music! Ethno

Mercan Dede - Seyahatname 2001

2012-01-22T08:59:00.003+02:00

Format: flac + cue + log

Genre: Sufi, Ethno

Original Release Date: 2001

Label: Doublemoon

"I can't explain in words,"
says a voice a couple of times, in one of the songs. I think the same thing is valid for the satisfaction one gets from the whole albume. Mercan Dede uses the rhythms and the moods present in sufi music, and creates an above-all-feelings music that just becomes an eternal delight to listen. It's important to note that Mercan Dede believes in sufi philosophy and shows his appreciation throughout his original electronic style. For those, who are trying to choose which of his albumes to purchase, I'd recommend 'Seyahatname'. Mercan Dede made two more albumes after 'Seyahatname', 'Nar' and 'Su', released lately. 'Nar' is also recommended highly.
By Burak Kilic

Wardruna - Runaljod - gap var Ginnunga 2009

2011-12-17T18:00:00.003+02:00

Format: flac + cue + log

Genre: Folk

Original Release Date: 2009

Label: Indie Recordings

Sowing New Seeds, Strengthening Old Roots
Wardruna is a Norwegian musical constellation set out to explore and evoke the depths of Norse wisdom and spirituality. Musically Wardruna has its main focus on the cultic musical language found in the near-forgotten arts of galder, seidr and the daily acts of the cultic life, mixed with impulses from Norwegian / Nordic folk music and music from other indigenous cultures.

The upcoming album entitled ‘gap var Ginnunga’ will be the first in the planned Runaljod trilogy that will interpret the runes of the elder futhark. The subsequent albums will be entitled ‘Yggdrasil’ and ‘Ragnarok’. Each album will feature eight runes, but not in accordance with the order of the three aettirs (families), which is most commonly used. ‘gap var Ginnunga’ will feature the following runes:

Hagal Bjarkan Thurs Jara Laukr Kauna Algir Dagr
Recordings partly take place outdoors at locations relevant to the different runes. The instruments we use are mainly old and historical instruments, such as deer-hide frame drums and ceremonial drums, mouth harp, clove / hoof rattles from deer and goat, bone flute, goat and cow horns, Hardanger fiddle and bowed lyres. More unconventional inputs like trees, stones, water, fire etc. are also employed to enhance the nature of the rune being ‘portrayed’.
-Kvitrafn, 2007

Gaahl (Vocals)

Kvitrafn (Vocals, All Instruments, Samples, Lyrics)

Lindy Fay Hella (Vocals)

Hallvard Kleiveland (Hardanger Fiddle)

Review by Henry Lauer

Runa means mystery, and to me the word mystery conjures a dark, cloud-stained horizon, a pregnant foreboding, a sense of awe in the face of the wilds of nature. This album is an exploration of the spirit of the runes (eight of them to be exact), and insofar as it evokes exactly these same images…I have to pronounce it a brilliant success.

Despite the black metal background of several of Wardruna’s members, this music bears little resemblance to metal, excepting insofar as it shares black metal’s ability to evoke the misty horizon of mystery. The music is woven from repetitive beats, layers of droning tones (flutes, keyboards, and who knows what else), and some very powerful singing. It brings to bear traditional European musical forms, elements of what I would call “world fusion,” and also more modern music production techniques.

Thus we have the mournful ecstasy of Hardanger fiddle; a range of percussive forms that take down-tempo or world-fusion in a very organic, primal direction; and vocals that range from powerful recitations (almost like runic rapping) through to some compelling throat singing (which again sends the aesthetic and appeal of this very Northern album’s reach well beyond the borders of Europe).

The music is intensely ritualistic, with cycling rhythms and circling patterns of drone and melody subtly building to intense effect. It easily draws the listener into trance, head nodding gently, feet stamping, wordless chants on lips. As waves of naturalistic samples, chimes, mouth harp, horns, and throat-sung runes caress the listener’s ears a sense of mythic time becomes all-enveloping.

Therein lies the genius of this album: in fusing traditional and non-traditional elements Wardruna have afforded themselves the perfect musical toolkit for invoking a mythic sense of history. This distillation of mystery conjures an epoch that almost never was…yet one that always seems to hover nearby, ineluctable but palpable, if we can but still our minds for a moment.

Otherworldly yet earthy, dream-like yet compelling – this album gathers paradoxes with a deft touch, drawing us away into the depths of ancient memory. The passion, reverence, and sincerity of its treatment of something as sacred as the runes is to be greatly admired, and this album is pretty much a must-own for anyone interested in the pre-Christian roots of Europe (and for everyone, really).

The best part is that Wardruna have promised this to be the first in a trilogy of albums, so we can be virtually assured that we can look forward to much more of this brilliant band’s creative output.

Orchestra Baobab - On Verra Ca! (1992)

2011-12-04T14:46:00.003+02:00

Format: flac + cue + log

Genre: Afro-Pop, Afro-Cuban, Cuban Traditions, African Traditions

Release Date: 1992

Label: Melodie

Review by Don Snowden
Recorded in Paris in 1978, On Verra Зa is the first recording by the fully matured Orchestra Baobab. The rumba influence is pronounced on the opening "El Son De Llama," but mostly the Latin tinge has now been absorbed into a distinctive group sound, with upbeat, sprightly songs like "Africa" built around choppy, syncopated riffs flavored by horns and a galloping rhythm guitar. "Sibam" follows that blueprint, but the tempo is faster and there's a stronger percussion presence than the light norm here. The title track is the masterpiece in this vein the vocal blend makes the endlessly repeated riff broken up by brief solos not only bearable, but so totally hypnotic it sticks in your head for days. The slow, mournful "Tante Marie" boasts two-sax horn parts and a moody guitar melody the opening to Barthelemy Attisso's solo opening even sounds a little bit like something from the third Velvet Underground album, of all things. "El Fuego" has more of a Latin lilt and exceptionally good voices, while the horns and those vocal harmonies again really cut through on the highly infectious "Digon." It's hard to pinpoint precisely what makes Orchestra Baobab's vocal squad sound so special probably a combination of the quality of the different voices and the unforced naturalness and sincerity of the singing. The highly compressed sound that prevents the music from punching hard probably keeps On Verra Зa from being a great album, but it's a highly enjoyable one and certainly put Orchestra Baobab on the road to the Bamba bomb.

Japanese Traditional Music - Percussion 1990

2011-11-13T07:53:00.004+02:00

Format: wv + cue + log

Genre: Taiko- Drummers of Japan, Ethno

Release Date: 1990

Label: KING Record

Africando - Ketukuba 2006

2011-09-10T16:50:00.003+03:00

Format: wv + cue + log

Genre: Mambo, Salsa, Cuban Traditions

Release Date: 2006

Label: Stern's Africa

After a year of musical soul-searching Africando have returned with arguably their best recording so far. It is hard to know if it is because the multi-cultural band was galvanised by the premature losses of Alfredo Rodriguez (who arranged three of the album’s songs) and Beninois crooner Gnonas Pedro. Or is it the result of the maturity they have accumulated in the last 15 years, allied to the injection of new blood, in the form of Senegalese singers Basse Sarr and Pascal Dieng, and American salsero Joe King?

Be that as it may, this is a wonderful descarga (jam session), full of improvisation and bite. It once again brings North American salsa back to its African roots, via the studios of Miami, Paris, Abidjan, Bamako and Dakar. This is appropriately summed up in the album title, since “Ketukuba” means “from the origins to Cuba” (in one of Benin’s numerous languages).

One of these origins is the West African percussion patterns that went on to become the “clave” in Cuba. This 3-2 rhythm is at the heart of Cuban “son”, a beat that evolved in the music cauldrons of New York’s Spanish Harlem and Puerto Rico. Africando have reaped the cumulative riches of these successive migrations. They distil them in eleven tracks that maintain a breakneck yet refreshing tempo. They are perhaps the only band in the world capable of allying Mandingo melodies with salsa and present them in the Lingala, Mandingo or Wolof languages.

“Viens Danser sur le Son Africando” epitomises this graceful osmosis. This Mandingo salsa is the most African of the songs and is illuminated by the clarion-like voice of Sekouba Bambino. But there is also the scintillating “Mario”, a song from Kinshasa that the legendary Franco made into a transcontinental hit. The salsa transformation of a classic rumba is likely to hit dance floors on three continents - though few will understand that it is about the misadventures of a Latino gigolo abandoned by all the women he attempts to seduce.

The lyrics vary from tales of a beautiful Fulani woman (“Coumba Peul”) to hardnosed warnings to leave the singer alone (“Bogne Sirala”). Yet it is the warm pleas for friendship, humanity and tolerance that stand out. There is the moving “Fatalikou”, an “African lament” about a sterile woman that is my personal favourite; the Wolof tune “Dieguema” calls for support in moments of solitude; the salsa-driven “Ker” is an ode of gratitude to a father from his son (“you are my tree, my shadow”); while the guaguanco song “Sagoo” is a rallying call for peace and solidarity between humans. Unfortunately, the slightly cheesy arrangements here betray the lofty message.

But this album’s merry mixture of guajira, guaganco, rumba and salsa is a rich enough message in itself, and it glosses over such quibblings. Latino swing married to African voices … what more can the aficionados and the non-initiates ask for as the European winter gloom invades our horizon? Well, the genteel Gnonas I met in December 2003 would have been pleased with his warm farewell gift.~Daniel Brown

Afrocubism - Afrocubism (2010)

2011-07-03T05:23:00.005+03:00

Format: flac + cue + log

Genre: World Music (Cuba/Mali)

Release Date: 2010

Label: World Circuit

AfroCubism is the long-awaited collaboration between Cuban and Malian musicians meant to take place when the Buena Vista Social Club was born. Songlines describes it as "a quite superb coming together of Cuban and Malian traditions to create something that sounds excitingly fresh and new." The Guardian calls it "an elegant, gently exquisite album"; the Observer says it's "a delight.

BBC Review: Jon Lusk 2010-10-08
Belated collaboration between Malian and Cuban musicians results in a fine album.

It’s not always a disaster when plans go astray. Fourteen years after the celebrated sessions in Havana that gave rise to the Buena Vista Social Club, AfroCubism is a re-imagining of how that record might have sounded if the original idea of a collaboration between Malian and Cuban musicians had worked out. In the event, the Malians didn’t arrive, so the project became almost purely Cuban, and spawned the eponymous mega-hit.
Of course, many of those involved are sadly no longer with us. Even so, AfroCubism brings together core members of the originally envisaged group with several Mali-based luminaries. Although the material is equally divided between the two cultures, the predominant ambience of AfroCubism is West African. In fact, the sound and arrangements often recall the lovely instrumental album Ballad of Manding (2007) by the inexplicably obscure guitarist and ngoni player Zoumana Diarra.
The best-known figure on AfroCubism – and arguably the group’s leader – is guitarist and singer Eliades Ochoa, who featured on Buena Vista Social Club’s version of Chan Chan. He opens the vocals with a beautifully relaxed take on Al Vaivén De Mi Carreta, a song he once recorded with its composer, Cuban troubadour Ñico Saquito. In a deft symbolic gesture, the other main singer Kasse-Mady Diabaté takes over in the second half, gently moderating his usually stern griot tone to suit the vibe.
Kora maestro Toumani Diabaté maintains a surprisingly discreet presence throughout, only really cutting loose on his own fine composition Mali Cuba, and later on Benséma. Djelimady Tounkara will be familiar to fans of the Super Rail Band, and his fluid, mildly psychedelic electric guitar is especially impressive on Djelimady Rumba. Lassana Diabaté drops breathtaking runs on his balafon (wooden xylophone) into many of the pieces. The other major star is ngoni specialist Bassekou Kouyate, who startles by switching to an amplified bass version of his instrument on the spooky and atmospheric Dakan. Horns, a rhythm section and backing vocalists fill out the arrangements.
World Circuit’s two decade-plus exploration of the long history of musical exchange between Cuba and West Africa didn’t necessarily guarantee the success of AfroCubism, but these players seem to have overcome considerable cultural differences and generated good chemistry together. If the ego issues that often beset such supergroups can be kept in check, this probably won’t be their only outing.

Azam Ali - Portals of Grace 2002

2011-05-28T07:34:00.004+03:00

Format: flac + cue + log

Genre: World, Vocals

Release Date: 2002

Label: Narada

Amazon.com --Christina Roden
Azam Ali, who was born in Iran and raised in India, also sings lead for Vas. Given her background, her attraction to Western medieval traditions (she cites the German abbess-composer Hildegard von Bingen as a major influence) makes perfect sense. After all, European early music was largely built on the Middle Eastern sounds and instruments brought home by returning crusaders. At times, Ali's vocals recall the great Spanish mezzo Montserrat Figueras, who explored the same connection but in a more earthbound, sensual manner. By comparison, Ali is an ethereal force, soaring white-winged and untouched over pungent period strings and percussion. She is equally at home in Latin, French, Ladino (the lingua franca of the Judeo-Spanish tradition), Galician (from Northern Spain and closely resembling Portuguese), and Arabic. This eclectic set will definitely thrill fans of ambient, new age, and world music, but adventurous classical listeners might also want to give it a try.

01. Lasse Pour Quoi (Anon. early 14th century, French Provencal)
02. La Serena (Sephardic, Juedo-Spanish)
03. Breton Medley (Instrumental, Brittany)
04. O Felix (12th century, Latin)
05. Ben Pode Santa Maria (13th century, Galician-Portuguese)
06. O Quanta Qualia (12th century, Latin)
07. Sackpipslat (Instrumental, Sweden)
08. Aj Ondas (Early 14th century, Galician)
09. A Chantar M'er (Late 12th century, French Provencal)
10. Inna-l-Malak (Byzantine, Arabic)
11. El Rey De Francia (Sephardic, Judeo-Spanish)

Chris Bleth - duduk

Cameron Stone - cello

Azam Ali - vocals, hammered dulcimer

Greg Ellis - chant vocals, arranger, keyboards, drums, cajon, dumbek, riq, woodblocks, percussion, gong, bells

Naser Musa - oud

Pejman Hadadi - tombak, daf

Ethan James - hurdy gurdy, nyckelharpa

Dan Torres - saz

George Stearne - vocals

Mark Beasom - bass voice

Shira Kammen - rebek, vielle

The solo project of Azam Ali, released as Portals of Grace, is an eclectic collection of medieval music. Most of the 11 compositions on this CD are either of Eastern origin or have been selected for their "oriental ring."

Before moving to Los Angeles, Iranian-born Azam Ali was raised in India and it is obvious that her musical taste was shaped by her Persian heritage and exposure to the musical legacy of the Indian Subcontinent. Both a vocalist and trained instrumentalist (Azam has studied the santour with Manoocher Sadeghi), her performance focuses on melody rather than lyrics, using her own voice as an instrument. She first experimented with this in a formation called Vas, in which she worked with the versatile percussionist Greg Ellis.

Portals of Grace combines songs dating back to 12th-14th century France and southern Europe, with instrumental interpretations of Breton and Swedish music. The result is a musical composite of surprising coherence. Who could have guessed that elements from the Celtic and Nordic tradition can be successfully integrated with Latin chants and vocal performances based on lyrics taken from the Iberian region of Galicia, France and the Sephardic Jews from Moorish Spain? Only the origin of "Inna-l-Malak" puzzled me. I am not sure what to make of its description as being at the same time Byzantine and Arab. However, in spite of that confusion the number became one of my favorites, together with the recording of "La Serena." Both interpretations betray Azam's firm rooting in a musical tradition that can be traced back to the Islamic world of the Middle Ages, where traditions from East and West found a fertile soil. It was the genius of that civilization, which made a fusion of cultural expressions that were Islamic, Christian, Jewish -- even pagan -- in origin possible.

With this project Azam has taken up that challenge once more. The CD's title creates the impression that the repertoire is of a truly spiritual nature. Without a doubt that was the intention and purpose of the original compositions that lie at the basis of Portals of Grace. This production, however, is clearly trying to achieve a certain effect: to evoke a mood rather than appeal to spiritual sensibility in a narrow sense. That is not to say that Azam Ali has fallen short in her endeavor. On the contrary, Portals of Grace is soothing for the soul.
by Carool Kersten

Babatunde Olatunji - Drums of Passion The Invocation (1988)

2011-05-07T15:47:00.002+03:00

Format: flac + cue + log

Genre: Folk, World

Release Date: 1988

Label: Rykodisc

This is the second new recording by percussion master Babatunde Olatunji for Mickey Hart's series "The World." In contrast to
the preceding DRUMS OF PASSION: THE BEAT, which featured a modern rock-guitar sound lent by Carlos Santana, THE INVOCATION
features eleven percussionists and seven vocalists in a work of rhythm and rapture. A review in Musician said of the album,
"Its immense sound scalds you until you feel the humidity coming out of the ground....It resonates like a polyrhythmic high mass."

Olatunji's association with Rykodisc was brought about by producer and Grateful Dead percussionist Mickey Hart, who was a Long
Island high schooler when he first experienced Olatunji's magic. As he told Downbeat: "Olatunji was the one who turned me on
to talking drums; he was a big influence on me. Now here I am almost 30 years later, playing with him and producing him. It's full circle."

Pedro Soler & Renaud Garcia-Fons - Suite Andalouse (1994)

2011-04-02T08:06:00.003+03:00

Format: flac + cue + log

Genre: Flamenco, World Music

Release Date: 1994

Label: Al Sur

"One of the finest duos in the world" (Guitar review, New York)

The European press has repeatedly hailed Renaud Garcнa-Fons as being, “the Paganini of the double bass”.
The Franco-Spanish bassist performs on a custom built, five-string contrabasse (tuned E,A,D,G,C), which gives him a sweeping range, even superceding the high notes of the cello and his playing register can ascend even as high as the violin. Especially during his frequent solo sojourns, you’ll often find yourself exclaiming, “I can’t believe that’s a double bass!”

Born in 1938, Pedro Soler began playing guitar with exiled refugees from Andalusia who came to Toulouse after the Spanish Civil War. He performed in flamenco companies, studied with masters, and later accompanied celebrated flamenco singers and dancers. As a recording artist of over 50 years, Soler is one of the most honored flamenco artists.

Juan Carmona - Sinfonia Flamenca (2006)

2011-03-06T08:43:00.005+02:00

Format: flac + cue + log

Genre: Flamenco, World

Release Date: 2006

Label: Le Chant du Monde

”A work where the guitar reigns supreme in the shock encounter between the two very different worlds of classical music and the purest andalusian tradition, and the blend of composed and improvised music.”

"In collaboration with the Bulgarian Symphony Orchestra, Diego Carrasco, Pepe Luis Carmona, Macanita, Esperanza Fernandez, Guadiana, Diego Amador, Joaquim Grilo"

Biography

Juan Carmona is a virtuosic flamenco guitarist who has been showered with accolades over the course of his career and, though he is best known as a fiery live performer, he has several albums to his name, among them the Grammy-nominated Orillas (2003). Born in 1963 in Lyons, France, of gypsy descent, Carmona took an interest in guitar playing at a young age; at age ten he was given his first guitar by his father. Enamored of the instrument, he traveled to the land of his ancestors, Jerez de la Frontera, Andalusia, a city of approximately 200,000 in the south of Spain that is generally considered the wellspring of flamenco music. There he dedicated nearly a decade of his life to flamenco, learning from and playing with legends of the style. In 1988 he won the first of many distinguished awards, the Jerez de la Frontera International Competition, and a year later he was awarded a diploma from the Jerez Flamenco Foundation, given to him by living legend Manolo Sanlucar. The Villa Médicis Hors les Murs honor followed in 1990, as did the Don Antonio Chacón trophy and more. In 1994 he won perhaps his most notable award to date, first prize in the Madrid de Paco de Lucía Competition.

Carmona commenced his solo recording career in 1996 with Borboreo, a tribute to Jerez de la Frontera overseen by Isidro Muñoz and released by L'Empreinte Digitale, and he also returned to his native France that year. He formed his own band, Juan Carmona Grupo, and dedicated himself to live performance, touring all over the world, from the United States to Russia. He also began seeking out a broad range of musical collaborations, teaming up with jazz and classical musicians as well as contributing scores to numerous films. His recording career in partnership with L'Empreinte Digitale continued in the wake of his solo debut: in 1997 he collaborated with Françoise Atlan on Falla Lorca, a collection of Spanish folk, and with José Mendez on Entre Dos Barrios, an album in the jerezana style; in 1998 he released the solo album Antes...; in 1999 he collaborated with Giraldillo for Cosa de Dos, a collection of sevillanas; in 2000 he released his second solo album, Caminos Nuevos, and in 2002 he released his third, Orillas.

Though he was already well established within the flamenco community, Carmona broadened his audience considerably with Orillas. Billed as a tribute to Morocco and Andalusia when the two regions were one united kingdom divided only by the Mediterranean Sea, Orillas was nominated for a 2003 Latin Grammy Award in the category of Best Flamenco Album. His next album, Sinfonia Flamenca (2006), was also nominated for a Best Flamenco Album Latin Grammy. A blend of composed and improvised music where the worlds of classical and Andalusian music collide, Sinfonia Flamenca features the Bulgarian Symphony Orchestra, among numerous other collaborative guests, and was released by Le Chant du Monde. The French label proceeded to reissue some of his key back catalog titles, including Orillas, the following year. ~ Jason Birchmeier, Rovi

Bassekou Kouyate and Ngoni ba - Segu Blue (2006)

2011-02-13T09:40:00.005+02:00

Format: flac + cue + log

Genre: World Music

Release Date: 2006

Label: Out/Here

Bassekou Kouyaté - lead ngoni, ngoni ba

Oumar Barou Kouyaté - ngoni

Moussa Bah - ngoni ba

Andra Kouyate - bass ngoni

Ami Sacko Ma Soumano - lead vocals, backing vocals

Alou Coulibaly - calebasse

Moussa Sissoko - percussion

Guests:

Zoumana Tereta - lead vocals, soku (5,10)

Kasse Mady Diabaté - lead vocals (4,12)

Lobi Traoré - lead vocals, electric guitar (9)

Lassana Diabaté - balafon (10)

Habib Sangaré - bolon (6,10)

BBC Review
Some of the most exquisite African music making of recent times.

Garth Cartwright 2007-03-22
Segu Blue is a highly accomplished album from Malian ngoni player Bassekou Kouyate. The ngoni is an ancient traditional lute found throughout West Africa and Kouyate appears to be the musician who will introduce it to Western audiences in much the same way his friend (and occasional employer) Toumani Diabate has made the kora internationally popular.
Bassekou Kouyate and Ngoni Ba approach music making in a beautifully relaxed manner, letting notes drift out, one ngoni dancing across another, weaving subtle patterns of strings, while male and female voices echo one another and then merge at choruses. Across 14 bright, melodic tracks Kouyate and co. tell the story of one of the last pre-colonial Malian empires: the Bambara empire of Segou founded by Bitòn Mamary Coulibaly in 1712. The CD booklet comes with much information on pre-colonial Malian life.
Segu Blue is brilliantly produced by the BBC Radio 3 World Routes presenter, Lucy Duran, who does the right thing by simply setting the microphones close and encouraging the musicians to give their best: Segu Blue is traditional West African music at its most natural. Indeed, the best tracks here – dramatic opener ''Tabali Te'' and instrumental ''The River Tune'' – involve some of the most exquisite African music making of recent times. On ''Lament For Ali Farka'' the ensemble conjure up a moody hymn for the late, great guitarist. One can't help but feel that Farka’s spirit continues to live on Segu Blue.

The Magic Of The Rhodopa Mountains 2(2001)

2011-01-22T08:39:00.005+02:00

Format: flac + cue + log

Genre: Ethnic, Music Of The World

Release Date: 2001

Label: Balkanton

Hugues de Courson und Ahmed al Maghreby - Mozart in Egypt 1997

2011-01-09T09:06:00.004+02:00

Format: ape + cue + log

Year Of Release: 1997

Genre: classic, еthno, arabic

Label: Virgin Classics

The album features Mozart compositions interpolated by Egyptian instruments and singers as well as tracks of Mozart's music recorded in the traditional Western manner but with overlaid tracks of Egyptian percussion and instrumental music that matches the tempo, rhythms and key context of the Mozart original.

Mozart in Egypt, devised by Hughes de Courson, was at its release in 1997, considered in the musical spheres world-wide as a true musical phenomenon and acted as meteorite. Indeed the musical encounter which brought together Mozart and Egypt together was unexpected and explosive! The much awaited Mozart in Egypt 2 features more than 200 musicians & singers, bringing together peoples from Europe and the Middle-East.

There are problems, of course, in trying to marry Mozart and Egypt. Western music takes pride in the vertical arts of harmony and counterpoint. Arabic music is linear, one event following another. The result then is what the producers describe as a "crazy diagonal." And yet it works. Mozart sounds just fine on the oud [ancestor of the lute], and its way of decorating a melodic line is not at all dissimilar to the Western approach. Best of all is hearing the piano and oud together, when one player takes the melodic line, the other harmony.

1. Ikhtitaf fi Assaraya (Die Entfurung aus dem Serail)
Performer: Jim Cuomo (Clarinet), Ragab Sadek (Daf), Nabil Diab (Darabukka),
Ibrahim Shahin (), Mohammed Mostafa (Rebab), Mustafa Abd Al'-Aziz (),
Nasredine Dalil (Flute), Hassan el Meghannawaty (Voice)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Notes: On this selection Mustafa Abd Al'Aziz plays arghul; and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

2. Double Quartet in F
Performer: Ibrahim Shahin (), Mohammed Mostafa (Rebab), Dimiter Stankov (Viola),
Ivan Peev (Violin), Elka Zacharieva (Cello), Mustafa Abd Al'-Aziz (),
Nabil Diab (Darabukka), Ragab Sadek (Daf), Jim Cuomo (Clarinet)
Notes: On this selection Mustafa Abd Al'Aziz plays arghul, and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

3. Lamma bada yatathenna (Symphony no 40)
Performer: Mohammed Fouda (Ney), Ashraf Essam (Rik), Mostafa Abdel Naby (Violin),
Abdou Dagher (Violin), Prof. Maged Serour (Qanoun), Mamdouh El Gebaly (Oud),
Safwat Sourour (Darabukka), Rabah Dalil (Darabukka)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Language: Arabic
Notes: Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)
This work was written in collaboration with Nasredine Dalil.

4. Mahdiyat
Performer: Samira Donya (Voice), Alain Aubin (Voice)
Notes: Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)
This selection is sung in Egyptian and German.

5. Concerto for Oud & Piano no 23
Performer: Mario Angelov (Piano), Henri Agnel (Oud)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Notes: On this selection Mustafa Abd Al'Aziz plays arghul; and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

6. Hamilu lhawa tahibou
Performer: Prof. Maged Serour (Qanoun), Mamdouh El Gebaly (Oud), Abdou Dagher (Violin),
Mostafa Abdel Naby (Violin), Mohammed Fouda (Ney), Safwat Sourour (Darabukka),
Nasredine Dalil (Voice), Ashraf Essam (Rik), Alain Aubin (Voice)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Notes: Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)
This selection is sung in Arabic and German.

7. Yaman hawa
Performer: Mamdouh El Gebaly (Oud), Abdou Dagher (Violin), Mostafa Abdel Naby (Violin),
Mohammed Fouda (Ney), Safwat Sourour (Darabukka), Rabah Dalil (Darabukka),
Ashraf Essam (Rik), Prof. Maged Serour (Qanoun)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Language: Arabic
Notes: Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

8. Mawwall by Traditional
Performer: Ragab Sadek (Daf), Nabil Diab (Darabukka), Mohammed Mostafa (Rebab),
Mustafa Abd Al'-Aziz (), Reda Shiha (Voice), Ibrahim Shahin ()
Written: Egypt
Language: Egyptian
Notes: On this selection Mustafa Abd Al'Aziz plays arghul, and Ibrahim Shahin plays kawal.
Arrangers: Hughes De Courson; Nasredine Dalil.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

9. Double Quartet in E Flat, K. 374
Performer: Mustafa Abd Al'-Aziz (), Mohammed Mostafa (Rebab), Nabil Diab (Darabukka),
Ibrahim Shahin (), Ragab Sadek (Daf), Jim Cuomo (Clarinet),
Ivan Peev (Violin), Elka Zacharieva (Cello), Dimiter Stankov (Viola)
Notes: On this selection Mustafa Abd Al'Aziz plays arghul, and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

10. Ouzat al Kahira "L'Oca del Cairo"
Performer: Alain Aubin (Voice)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Language: Italian
Notes: Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

11. Egyptian Symphony no 25 in G minor
Performer: Rabah Dalil (Darabukka), Mohammed Mostafa (Rebab), Mustafa Abd Al'-Aziz (),
Ragab Sadek (Daf), Rabah Dalil (Rik), Nabil Diab (Darabukka),
Ibrahim Shahin ()
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Notes: On this selection Mustafa Abd Al'Aziz plays arghul, and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

12. Dhikr/Requiem/Golgotha
Performer: Sheikh Mohamed Al Helbawy (Voice)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Notes: On this selection Mustafa Abd Al'Aziz plays arghul, and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)
This selection is sung in Arabic, Bulgarian, Coptic, Greek and Latin.

Credits:
Choir - Radio Sofia Sinfonic Orchestra
Orchestra - Bulgarian Symphony Orchestra , Radio Sofia Sinfonic Orchestra

Mercan Dede - Sufi Dreams 1996

2010-12-18T06:44:00.008+02:00

Genre................: World, Electronic, Ambient, Sufi

Year.................: 1996

Label................: Golden Horn

Format...............: flac + cue + log

Delicate, sinuous arabic rhythms wind in and around themselves deep in a lush, layered garden of sighs, heartbeats and breathes while Brenna MacCrimmon's stunning voice evokes exotic vistas of the inner and outer worlds traveled to via the heart chakra. Dense, poetic, evocative and at times deeply melancholy, Sufi Dreams is trance music in the (very) old school tradition. Spiritual and meditative ancient Eastern chants and rhythms are gently and subtley married to contemporary ambient electronica in a ceremony held in the global village square. The ancient meets the newly born in a cyclic transcendence of temporal restrictions and spatial delineations which is also reflected in the circular compositional structure of the individual pieces and the entire CD.

Beautifully written and produced by Montreal based Sufi musician Mercan Dede and his knob twiddling associate Kristian Kostov from Eternity, this is an immaculate conception in the most spiritual and deeply mystical sense that shines with human vulnerability even in its moments of polished sonic perfection.

Rating : ***** (out of 5 stars maximum)

Lucinda Catchlove
Hour Magazine, Montreal, April 1998

1. Dream of Shams
2. Dream of Lover
3. Dream of Adam
4. Dreams of the Sufi Saints
5. Dream of Perhan
6. Dream of the Dreams

All songs are composed by Mercan Dede and arranged by Mercan Dede & Kristian Kostov, except track 1, composed by Mercan Dede and Kristian Kostov; track 5, traditional gypsy song, arranged by Mercan Dede and Kristian Kostov. Recorded at Tranceformind Studios in Montreal, Mastered by Kristian Kostov at T.F.M. Studio, Montreal, Canada.

Mercan Dede (ney, bendir, frame drum, zarp, tabla, vocals)

Kristian Kostov (synthesizers, programming, water)

Brena MacCrimmon (vocals on tracks 2, 3, 5 )

James Parker (bass on track 1)

Muhammed Shams (vocals on tracks 1, 6)

Kiril Mantchev (percussion on track 1)

As a spiritual path, Sufism has reflected itself in different shapes, colors and dimensions through different art mediums. All these different images have ultimately pointed in the same direction: the self. Through art, Sufism functions in a circular manner which begins with the artist, and ends with him/her again. This circular movement is a fundamental element of Sufism, one which showed itself to me many times during the making of this album. In every stage of this process when I focused on some particular melody, prayer or the specific intent of a certain type of chanting, I ultimately ended up questioning myself. For the most part, these questions were answered in the process of completing that aspect of the album; often the answers became new questions. The organic nature of the album, as it grew and changed in a very natural manner, has truly made me more aware of myself both spiritually and physically. At the outset of the album I began by researching the relationship between sound and silence. I chose to investigate this connection as both of them have for centuries been valued as meditative art forms/tools within the Sufi tradition. Contemporary topics concerning the 'self' and the 'other', reality and fantasy, light and dark, the physical and the spiritual were made clear to me through this investigation.

Rhythmic Sufi chanting plays a powerful role on the album. The repetition of the same word again and again gives a renewed meaning to the deadened significance of the terms; they begin to come alive, assume a fullness of meaning, and behave in an almost organic fashion. The term 'music' is used in the Sufi tradition almost in the sense of a third dimension; one which exists, but that cannot be made truly concrete. The terminology from the Sufi tradition, and the ambient sounds of other parts of the world were coming directly to me and it was I as an artist who became the surface which reflects these to the physical world. This was the only way that the circle which started and ended with me could be completed. With this realization made, I composed the first song of my album. Before anything else, I recorded the chanting of a Sufi dervish who repeatedly whispers the word "Allah". This I considered to be a reflection of the outside world on myself; as a complement to this, and as a reflection from within myself to the exterior, I recorded the sound of my own heartbeat and layered this on top of the chanting. Thus I had represented both the physical and spiritual realms using this seemingly simple combination of one word and a single rhythm.

The heartbeat represents the importance and significance of life, while the dervish's voice relates the influence of the spiritual world on life. This can possibly be an explanation of the Sufi term 'Al Khaliq', which means: "The one who brings everything from non-existence to existence." It is a Sufi belief that the world is continually created and destroyed in every breath we take and each breath we give; therefore there is an instant construction and de(con)struction in life which makes the active process of existence the most important element of life. The Sufi dervish focuses on the absolute nature of this process, rather than on the physical world which he believes moves between existence and non-existence every second.

When I considered the meaning of my own existence filtered through this first piece, I realized that life floats between these waves of existence/nonexistence, reality/fantasy, and dark/light. Therefore, I brought my understanding of daily existence to bear on this first piece. In the background of the composition, an old Sufi Master tells a story. He begins: "Do you know the story...." then the sound of his voice fades away like waves of water as they move away from their source. Every person has his/her own story to tell and to hear, and I prefer to leave the completion of the Master's invitation to remember to the audience. At the end, in addition to the moving sounds of rhythm and the voices of various people, I added a dream-like effect to signify the ephemeral and complex nature of the images inspired by memory. Memory is far from perfect, and it carries with it the weight of all our human desires to rearrange, alter and erase; to locate and misplace at the same time. Every act of remembrance creates an equal awareness of the shapelessness of memory and its inevitable loss; this again reflects the circular quality of Sufi tradition.

The second track of the album follows a similar pattern, the only major difference being the abstract chanting used in place of the voice of the Sufi Master. This chanting communicates a great deal about the existence and meaning of human desires and feelings. In this track, however, the chanting covers the whole melody, thus communicating more about an awareness of the subconscious: almost like vaguely remembering a dream, but not yet being able to understand or remember it thoroughly as a visual image or sound. These unclear, foggy images are just as important as vivid dreams or indeed the subconscious itself, because they prove to us that dreams do exist even if they are hidden somewhere deep within the human soul. The founder of the Mevlevi Order, Mevlana Celaleddini Rumi says: "If you see fake money at the market, this is proof that real money exists somewhere."

The third track of the album expresses the relationship between memory and history; the 'self' and others. Opposite elements make this piece particularly complex as it moves between reality and dreams, and from the conscious to the subconscious. When a child's voice unexpectedly talks about a troubled and important period of history, and offers an opinion of religious figures of different times and faiths, we are intrigued. Layers of voices switch from the background to the foreground, paired at times with ambient or rhythmic beats. This represents humanity's naive and trusting attempt to find "the one who does not exist."

The Sufi artist commands a unique perspective of the physical world which may have some grounding in Aristotle's ideas regarding reality. For the Sufi artist reality is the source of all existence, but it is not in this world itself that reality is to be found. What we see and perceive as real are essentially no different from what we see in our dreams, except that we accept them as real, true images. In this third track, obscure feelings concerning the nature of reality are expressed as melodic waves, as well as by the sounds of the human voice. This is reminiscent of attempting to follow the path of reality, all the while being aware of the non-existence of reality in this physical world. In Sufi terminology this stage of awareness is termed "Safar: The Journey." This expression relates to the heart as it starts to turn itself toward the Real through dhikr, the practice of remembrance. In this stage, the conscious and the sub-conscious, the physical and the spiritual bodies become one single source of self. Awareness of the Real moves back and forth in a wave pattern similar to the rhythmic waves of the breath dervishes take and give in meditation. This leaves the Sufi artist in harmony with the movement from existence to non-existence with every breath he takes. The child's voice creates an oppositional relationship with that of the old man in the first track. From old to young, inexperienced to experienced, fresh to tired, different aspects of human life and the soul are significantly paralleled in this pairing of human voices. Expressions are the waves of the human soul; they are reflected in different forms on different surfaces. To understand their specific characteristics it is equally necessary to understand the language of the heart, and ultimately ourselves. The third track is accompanied by a poem from Gulshaniraz by Mahmud Shabistari:

Know that the world is a mirror from head to foot
In every atom are a hundred blazing suns.
If you cleave the heart of one drop of water
A hundred pure oceans emerge from it.
If you examine closely each grain of sand,
A thousand Adams may be seen in it.
In its members a gnat is like an elephant,
In its qualities a drop of rain is like the Nile.
The heart of a piece of corn equals a hundred harvests,
A world dwells in the heart of a millet seed.
In the wing of a gnat is the ocean of life.
In the pupil of the eye a heaven.
What though the heart of the corn grain be small
It is a station of the Lord of both worlds to dwell therein.

Understanding ourselves implies understanding everything that is involved with us. Physical reality carries the same principles as Sufi spirituality; in his poem, Shabistari draws parallels between these two elements. The world carries the reflective qualities in which humanity sees itself. To clarify the vision in the mirror, the Sufi artist (or dervish) cleans the mirror of his heart with meditation, zikr and whirling. The inspiration for this ritual cleansing is to be found in the physical world, which carries out a similar function toward itself and in relationship with humanity. The fundamental structure of the entire physical world is composed of single atoms which relentlessly spin both around us as well as around each other. Each atom carries many blazing suns, pointing to the unfathomable mystery of life and reality. The Sun spins around itself, as well as around other galaxies; therefore, when the Sufi dervish whirls, he does not create a new dynamic on the earth, but seeks instead to become one with the world. Not to become dizzy in this spinning universe is made possible by our not being aware; once one is aware of that, the only way to harmonize with it is to give in and whirl with the whole physical world. The Dream of Adam attempts to make clear this dialectic relationship between the known and the unknown, youth and age, maturity and immaturity, the physical and the spiritual, the simple and the complex, and ultimately serves to show the connections between these as a reflection of the human soul.

The fourth track of the album focuses on the tradition of Sufi prayer. The track begins with a prayer called "Gulbank", which is the traditional prayer of Sufi Zikr, at the very beginning and end of the ceremony. The names of significant Sufi Saints are periodically repeated, and eventually they rhythmically synchronize with the sounds of the tabla and water. The use of a traditional East Indian percussion instrument such as the tabla serves to connect the Sufi Music as well as Sufi beliefs to other Eastern philosophies: Buddhism and Hinduism. The sounds of water brings to mind the reflective qualities of the world's physical power, and also carries the powerful meditative quality of the earth's sounds. In addition to this, using water as an instrument in this rhythmic and melodic manner mimics the stages of development of Sufi spirituality.

In this stage of awareness, the Sufi artist not only understands the physical environment which surrounds him, he also attempts to shape and change this environment. At this time, the Sufi artist not only seeks to harmonize himself with the environment as in the whirling meditation, but he also tries to shape the world to be in harmony with himself. This dynamic and organic action resembles the fundamental principle of Sufism which is expressed in the first track of the album: that the world is destroyed and created with every breath we take. This prayer assists the Sufi artist to not only witness this process of creation, but also become a vital part of it.

The deep bass sound which accompanies the track symbolizes the "Sur": a flute which commands an enormously deep voice and serves as a reminder of the impending end of the world. As the Sufi believes the world is destroyed and created with every breath he takes, this sound of the "Sur" is given great meaning as part of the track. The "Sur" signifies the source of the human soul, the "Water" the desire for being one with the physical and spiritual world and the "Tabla" the heartbeat of the human body. The Sufi dervish has as his goal the production of a harmonized piece of art with these three fundamental elements of creation.

The fifth track shapes more ambient sounds and free human voices within a very subtle and peaceful environment; this is the "Waqt or The Moment". This term expresses one's state when it is being lived entirely in the present time, without a connection to the past or the future. In this track, sounds move in different layers of ambient features resembling the conscious and the subconscious; these melodic sounds represent movement between different times and realities. The dream state and awakeness, the real and the surreal, the past and the present blend with each other.

The last track of the album expresses Sufi ideas and beliefs about death. Islamic tradition maintains that at a funeral the last thing to be done is a reading from the Qu'ran. In Sufi belief, death is regarded as waking up from a dream. The Sufi master and the founder of the Whirling Dervishes sect, Mevlana Jelaleddini Rumi considered the occasion of his death to be his marriage night with God; the night that the lover and the beloved come together as one. As the last track of the album, the heart-beat rhythm ends the track, which signifies the death of the physical body and the birth of the soul in a new reality. Water sounds appear again in this track, as the sound of rain which dominates the background. At the end of the album, the last human voice we hear is the same as the first voice featured on the first track, this time reading from the Qu'ran. This signifies the whirling circular spiritual and physical adventure of humanity and life. It is a common Muslim tradition to read chapters from the Qu'ran when a new baby is born, therefore this chapter can be interpreted as being a herald both of birth and of death. This also serves to render the whole album unified from the beginning to the end in a circular pattern.

A Sufi follows this pattern throughout his life from beginning to end; from his whirling ceremony to his Zikr (remembrance) meditation. From the smallest piece of existence: the atom, to the largest physical reality: the Galaxy, our entire universe whirls just as the dervish in the whirling ceremony. Both the atomic infrastructure of the universe and the Sufi follow circular patterns, circumscribed in a similar way, again and again, yet every moment and every step is truly unique and unrepeatable. Technically and conceptually, this album follows a similar pattern. The end of this album opens new doors to follow and new questions to answer; almost like the completion of a whole circle, the end marks the beginning of new circles.
Mercan Dede, Montréal
July 1997

Strings Tradition - Strings Tradition 2008

2010-11-07T07:54:00.006+02:00

Genre: World
Format: flac + cue + log
Released: 2008
Label: Mistica

1. Nyanafi
2. Bird First Flight
3. Himalayan Rain
4. Sigui Dyarra

Mamadou Diabate
-- kora

Ustad Shujaat Husain Khan
-- sitar

Lalgudi Gjr Krishnan
-- violin

Gourishankar
-- tabla

Murali Trichy
-- ghatam

Binding the ancient but still thriving string tradition of the kora (a 21-string West African harp), the Northern Indian Hindustani tradition of the sitar and the Southern Indian Carnatic tradition of the violin is really a brilliant idea. the debut release of Strings Tradition brings together five versatile and resourceful musicians who, rather than just finding a common musical language, possess a true timbral affinity and intimacy.
New-York-based Malian kora master Mamadou Diabate comes from a griot's family. His father, Djelimory Diabate, played the kora and he is related to another great kora player, Toumani Diabate. He has collaborated with diverse musicians including jazz bassist Ben Allison, blues guitarist Eric Bibb, Beninese singer Angelique Kidjo and Irish folk singer Susan McKewon. Sitarist Shujaat Husain Khan, son and a pupil of one of the greatest sitarist ever, Ustad Vilayat Khan, is a specialist of the singing style of the sitar, gayaki ang, and a close collaborator with Persian kamancheh master Kayhan Kalhor. The inventive Southern India violinist Lalgudi G.J.R. Krishnan also comes from a musical family, his father, Lalgudi G Jayaraman, also a renowned violinist. Tablaist Gourishankar and ghatam player Muraly Trichy round out the quintet.

Diabate's "Nyanafi" ("I miss you" in Manding language) opens Strings Tradition, and from the first seconds its organic flow and the ease of the gentle interplay between the kora, sitar and violin are palpable as they explore and articulate beautifully on the romantic theme. Diabate states a simple circular line on the kora, Khan extends and expands it soulfully on the sitar and Krishnan adds the right dose of pathos to the recurrent theme. Krishnan 's "Birds First Flight" transforms the classical Indian form of jugalbandhi—a playful competition that often ensues between the soloists at the ecstatic climax of the raga—for some high-voltage and amazing improvisations by Diabate, Khan and Krishnan, as they exchange joyfully rapid cadenzas.

Khan's "Himalayan Rain" leads the ensemble into much more meditative and introspective terrain. The composition is based on the popular folk song, "Tere bina saajana, jaan me jaan aye na" (without you my love, my heart is not a complete...), used on countless Bollywood films. Khan gently recites the romantic lyrics while the ensemble patiently explores this touching melody. Diabate's kora sound so natural and obvious, as he articulates the theme, that it's easy to confuse the origin of this song to the West African Mandinka. Gourishankar and Trichy get the chance for a virtuosic and nuanced percussion duet before the ensemble returns to explore the theme. Diabate's short and optimistic "Sigui Dyarra" concludes a unique collaboration that transcends boundaries, language and cultures, and demonstrate that music can suggest an intimate and trustworthy means for human interaction. ~ Eyal Hareuveni

Hossam Ramzy & Rafa El Tachuela - Flamenco Arabe 2003

2010-10-04T07:03:00.004+03:00

Genre: Ethno, Flamenco, Music Of The World
Format: flac + cue + log
Released: 2003
Label: Arc Music

1. Al Quantara (The Bridge)
2. Ahlam Ghernatah (Memories of Old Granada)
3. Al Vuelo (Flying)
4. Rumbapa ("Father of Rumba")
5. Ráfaga de Viento (Gust of Wind)
6. Kebrieaa Samet (Silent Pride)
7. El Amor Perdido (Lost Love)
8. Men el Belad (From Our Country)
9. Zambra Por Nadejda (Zambra for Nadejda)
10. Silk Route Suite: Kathak
11. Silk Route Suite: Egyptian
12. Silk Route Suite: Sol y Sal (Sun and Salt)
13. Silk Route Suite: Juntos (Together)

Rafa the Tack
-- guitar
Hossam Ramzy
-- percussion

Said Kamal, Adel Eskander
-- violin
Mohamed Naiem
-- nay, kawala
Danny Thompson, Dudley Phillips
-- bass
Sarvar Sabri
-- table
Kamal Sabri, Sonia Sabri
-- voice

This album is a collaboration between Hossam Ramzy and Rafa El Tachuela who is a flamenco musician whose compositions focus on exploring the roots and origins of flamenco. This album is a fabulous fusion of musical styles and instruments by top class musicians. The liner notes in this album are very helpful, it contains short, informative biographies for both Hossam Ramzy and Rafa El Tachuela as well as for Said Kamal (Egyptian violin) and Mohamed Naiem (nay and kawala). Each song title has been translated into English, German, French & Spanish and for each song there are helpful notes on the influences that make up each composition here. In May 2003, I was lucky enough to be able to go along to the Purcell Rooms at the Royal Festival hall on London's South Bank to see Hossam Ramzy and some of the musicians who recorded this album play live. It was incredible to see and hear how all the different instruments and sounds from different countries and cultures could blend so harmoniously all together on stage to produce such an amazing sound. If you ever get a chance to listen to live Arabic music, never turn it down, it's amazing! This album explores the connection between the music of Andalusia (the region of Southern Spain) and that of the Arab world. This is an album I wasn't sure about before I listened to, but I had the most wonderful surprise when I played it for the first time. Track 1 "Al Quantara" begins with a very spiritually moving piece of Arabian flute - it took me by the hand and led right to the heart of this album. I particularly liked this track with the way combined with Spanish guitar with the Egyptian violin and flutes and was still beautifully structured and from that point on I was totally captivated by this album and the way all the instruments and styles fused together so harmoniously. This track would make a very interesting performance piece for more advanced dancers looking for a challenge in their oriental dance skills. Track 2 "Ahalm Ghernatah" is also very nicely structured; I really love the way the instruments meld together in this piece, in particular I liked the way the violin and the qanun fused together and then the way the violin fused with the nay, then the tabla; this might be a good tracks for intermediates to experiment with. Track 3 "Al Vuelo" is an interesting, powerful piece that combines the Spanish guitar with handclapping, I really liked the way the music flowed in this piece; it does have a certain flavour and style all of it's own and would again make a challenging piece for more advanced dancers to work with. Track 4 "Rumbapa" is based on the Arab Malfuf rhythm - this might be an easier track for less experienced dancers who are looking to create an original choreography to work with as the Malfuf rhythm is steady all the way through the track and the structure of the music is less complex. Track 5 "Rafaga De Viento" is more musically complex and again would be a challenge for the more advanced dancer. Track 6 "Kebeira Samet" is based around the Arab Masmoudi rhythm and is more simply structured; this combined with the fact that it has a slower tempo and the Arabian flute, the violin and the guitar all take it in turns playing solo makes this could make this song an interesting beginner's choreography or it would make an excellent teaching piece for getting to know the Masmoudi rhythm and for learning to how to follow the sounds of each instrument. "El Amor Perdido" is a slower paced track with a more melancholy feeling; I love the slight echo the violin seems to have on this track is and this another lovely piece to practice moving and getting your body to flow to the music with. "Men El Balad" starts with another hauntingly beautiful nay solo introduction and then goes into one of my favourite rhythms - Saidi. I like this track a lot and it would make an excellent beginners performance piece that will give their choreographies an original twist. "Zambra Por Nadejda" is slower paced and has that quintessential Spanish flavour and is just beautiful to concentrate on the notes played and just feel every note move your body. One of my favourite tracks on this album is the wonderful "Silk Route Suite" that is divided into four sections - "Kathak" from North India (the tabla in this piece really is just awesome - it seems to "sing" with a voice of it's own as just as much as the vocals); we then visit Egypt in "Egyptian" part b we hear the rhythm "Sarabant" and get a real sense of the influence Indian music had on Egyptian musicians - this part alone would make a wonderfully original performance piece for beginners or intermediates. We the move onto Andalusia with "Sol y Sal", this is a challenging flamenco piece and finally we end with yet another fabulous fusion "Juntos" that blends all influences seamlessly together. If you know enough about these different styles of dance, then the four sections could be used to create a really stunning show. What I particularly enjoy about this album is the effortless way all the styles came together in such harmony on this album, if you're looking to create an original choreography while maintaining an Arabic flavour, you'll find something on this album to help you do that. As with most of Hossam Ramzy's albums, there's something on here for every dancer from beginners upwards so it's one that can be used at all stages of your dancing or classes.

Burhan Öçal & Enver Izmailov - Black Sea - Kara Deniz 1992

2010-07-31T07:27:00.005+03:00

Genre: World Music, Fusion
Format: flac + cue + log
Released: 1992
Label: ADA

1. At The Mediterranean Sea (Akdeniz Kenarinda)
2. Troubled Water (Deniz Rahats?z)
3. In The Cold Water (Soguk Su'da)
4. Tim Tim
5. Legend (Hikaye)
6. Beyond Pakistan (Pakistan Taraf?)
7. Usbekh-Tartar-Turk Wedding (Ozbek-Tartar-Turk Dugunu)
8. The Same Root (Ozumuz Bir)
9. Departure (Ve Veda)

Drums, Percussion, Baglama [Saz], Oud, Vocals, Arranged By - Burhan Ocal

Electric Guitar [No Electronic Effects, No Overdubs], Composed By - Enver Izmailov

Burhan Ocal

(born 1959 in K?rklareli, Turkey) is a Turkish music specialist, multi-instrumentalist and composer. He is recognized worldwide as a virtuosic percussionist specializing in a variety of percussion instruments, interested in combining many genres and cultural traditions, such as Free funk jazz and Western classical music, with his own.

In his special project “Trakya All Stars” he collaborates with master musicians from the Thrace region, paying tribute to the musical heritage of his birthplace K?rklareli. The Roma-Balkan influenced album possesses a timeless character which manages to take deep tradition to a contemporary level. It is produced by the Tunisian born French musician, sound engineer and producer Smadj, highly respected for his knowledge of oriental music and for his digital innovations. With his latest project “ New Dream “ Burhan Ocal brings new wealth to Turkish classical music by breaking the bindings of its constricting rules and allowing the music to breathe again with new life.

Burhan Ocal performed and recorded with internationally acclaimed musicians including Joe Zawinul, Jamaaladeen Tacuma, Paco de Lucia, Natacha Atlas, Kronos Quartet, Eliot Fisk, Sting, Maria, Seamus Blake Quartet, Joao Pires and George Gruntz. Winner of the German Record Critic’s Award twice and the Prix Choc, Ocal toured extensively and appeared in prestigious world festivals including [Festival International de Jazz de Montreal] to an audience of more than 150,000.

Enver Izmaylov

(b. 1955 in Fergana, Uzbekistan) is a prominent Crimean Tatar folk and jazz musician (guitarist) resident of Ukraine. Born into a family previously deported from Crimea (Ukraine), Izmaylov returned in 1989.

Enver Izmaylov graduated from the Fergana music school in 1973 majoring on bassoon, and had started playing the guitar at age 15 (about 1970).

Izmaylov does not pluck the strings, but uses jazz tapping - an original technique of electric guitar playing when a musician plays with both hands on the neck by tapping on the strings with his finger-tips, as if it were a keyboard. He developed this technique to a climax simultaneously with, but not knowing of Stanley Jordan.

Izmaylov's music is an original blend of mainstream jazz, Crimean Tatar, Turkish, Uzbek and Balkan folk music and classical music. Many of his pieces are composed in time signatures which are not standard in classical music, but are common in Balkan music and Central Asian music, such as 5/8, 7/8, 9/8, 11/8, 11/16 and 13/16.

Izmaylov has toured extensively in Russia, Ukraine and Europe and has participated in several cross-cultural projects in Eastern Europe. He was the first-prize winner of the First European International Guitarist Competition. Enver Izmaylov was voted for the Musician Of The Year 1995 by the Ukrainian music critics.

Izmaylov is also a competent throatsinger. Enver's daughter Leniye Izmaylova is a popular singer among Crimean Tatars. She combines jazz, folk and pop music in her repertoire.

Azam Ali - Elysium for the Brave 2006

2010-05-16T20:49:00.005+03:00

Genre: World Music, NewAge
Format: flac + cue + log
Released: 2006
Label: Six Degrees

01 - Endless Reverie

02 - Spring Arrives

03 - In Other Worlds

04 - Abode

05 - Forty One Ways

06 - The Tryst

07 - From Heaven to Dust

08 - I Am a Stranger in This World

09 - In This Divide

Bloomington (Indiana), USA - Elysium for the Brave (Six Degrees Records), Azam Ali's second solo album, signals a new turn in her musical evolution. The album, her most ambitious work to date, brings together musicians from varied musical backgrounds performing in diverse permutations.
Singing predominantly in English for the first time, the songs are based on lyrics written by Azam herself and reveal a poetic lyricism heard only in glimpses of her previous works.

From the new CD’s opening track, “Endless Reverie,” it becomes immediately apparent that Ali has moved into new sonic territory. The frame drum pulse is familiar but the percolating synthesizer textures and haunting vocals sung in English take the song into a darkly beautiful place that exists between the worlds of electronic rock and global fusion. This terrain is also occupied by the tracks, “In Other Worlds,” “In this Divide” and ”Forty One Ways.”
While electronics and programming abound on Elysium for the Brave, they are balanced throughout the CD with traditional instrumentation. The lafta and hand drums which propel “Spring Arrives” and the insistent ney flute which lends a haunting quality to “I Am a Stranger in this World” are examples of how organic and electronic instrumentation can beautifully co-exist. Despite the mix of ancient and modern instrumentation, Elysium for the Brave is a highly coherent body of work that weaves together all of Azam's cultural and musical influences into a tapestry of atmospheric rock, electronic, and global sounds.

Helping to bring all of these diverse sounds together is a talented cast of musicians which includes King Crimson’s rhythm section of Trey Gunn and Pat Mastellotto, Persian classical violinist Kiavash Nourai, and noted film composers Tyler Bates and Jeff Rona, the latter of whom is known for his collaborations with Dead Can Dance.

Loga Ramin Torkian and Carmen Rizzo, Azam’s collaborators in her latest musical venture, Niyaz, have also lent their talents to this project. Released on Six Degrees Records, Niyaz’ debut blends ancient Persian and Urdu Sufi poetry, rich acoustic instrumentation, and modern electronics. Their CD has been hailed by critics worldwide as one of the most groundbreaking of its time. The album debuted at #1 on iTunes world music chart and remained there for numerous weeks, and it charted on Billboard's world music chart for four consecutive weeks, peaking at #12 ~ World Music Central

Samir Joubran - Tamaas (2003)

2010-04-26T06:32:00.004+03:00

Genre: World Ethnic / Oud
Format: flac + cue + log
Released: 2003
Label: D'aqui France

01. Khiyanat Mariha

02. Tamaas

03. Tanaas

04. Sama'e Bayat

05. Khalaas

06. Takaseem

07. Ramallah August 10

08. Nesf el Akhar/Astoria

The oud is a melancholy instrument; it seems to have loss and longing built into its very strings. These resonant songs build on that melancholy, but they offer more than that, too: in his symbiotic relationship with fellow oud player (and brother) Wissam, Samir Joubran finds companionship and perhaps redemption as well. Though they're stunning musicians, the Joubrans never overwhelm you with
technique. Tamaas builds on feeling, speaking to the thoughtful, sad and hopeful in each listener.

Enchanting music
This is a highly recommended record for anyone interested in quality instrumental music that reflects thought, philosophy and craftsmanship. I really enjoyed listening to this CD over and over again, it's very soothing when I feel like reading a book with the music in the background, yet it's highly intellectual when I'm in the mood for carefully examining the music and analyzing it. I actually recently saw Samir Joubran perform in Ramallah, Palestine along with his two brothers. They performed their new CD (that hasn't come out yet as of 1/18/05), Randane, which is a conversational improvisation between three Ouds. I have to say that I'm very eager for the release of Randane, because I tremendously enjoyed listening to it live in Ramallah, and I highly recommend it shall it become available on Amazon.

Meditation with great depth, October 20, 2004 By
Track 2 travels in a musical caravan across space and time into an inner world of meditation and reflection. Like the words of Jesus, Tamaas-track 2 of this rising music star of Nazareth, speaks of human resilience which is larger than life. It speaks of the passage of time during a 3-week Israeli military siege of Ramallah under which this music was born. You can feel the waiting inside this piece, the danger, wondering, contemplation, reflection. The music in this album is music of meditation with great depth...highly recommended to everyone.

Samir Joubran is the son of an oud maker and he has grown up to be a master of the instrument, as has his brother, who is a major part of this album. The fraternal communication they share is quite astonishing, making for some remarkable duet playing -- and they share the same spirit for inhabiting moods on this disc. As Palestinians living in Italy, much of the disc seems infused with the somber sorrow of their people. There is plenty of room for improvisation, as can be found on the epic "Ramallah August 10." This isn't classical Arab music, by any means, with its traditional structures. Instead, despite the frequently solemn mood, there is a richly elegant beauty to Joubran's compositions that often catches fire in emotions, as on the title cut, and takes flight making it especially accessible to Western listeners for whom the strictures of the Arab classical form seem impenetrable. The music has plenty of room to breathe and flow here, and Joubran makes sure it does -- just listen to "Khalaas," for an example. The playing is as exquisite as the compositions, offering something truly gorgeous and the kind of thing to draw you in and capture you.
Review by Chris Nickson from AMG

Brian Keane & Omar Faruk Tekbilek - Fire Dance 1990

2010-04-14T07:04:00.004+03:00

Genre: Turkish Folk, Ethno
Format: wv + cue + log
Released: 1990
Label: Celestial Harmonies

01. Somewhere In The Sahara

02. Oglan Boyun

03. A Call To Prayer

04. Desert Twilight

05. A Passage East

06. Song Of The Pharaohs

07. Beledy

08. Fire Dance

09. Ask

10. Village Song

11. Modern Mystics

12. Sahara (Reprise)

13. Spirit Of The Ancestors

14. Halay

Fire Dance is a natural progression from Suleyman. A plethora of Middle Eastern and North African instruments has been blended with synthesizers, guitar, and sophisticated orchestrations. The focus of Fire Dance has been expanded beyond Turkey, to include music from North African, Egyptian, and other Middle Eastern and Arabic sources. This recording begins with the sound of the desert wind in Somewhere in the Sahara. Faruk's enchanted ney enters from the distance with flourishes of goat bells. Orchestrations sneak in and build to a guitar solo with lavish synthesizer effects. The whole track then dissolves into Oglan Boyun, as if we have traveled over a dune and discovered a village in celebration, surrounded by the vast desert. As Oglan Boyun ends, we are left with Faruk's haunting voice floating out of the wind in A Call to Prayer. This soulful segment gives way to a magical ney section orchestrated to depict a garden of earthly delights. Faruk's voice returns in a powerful whirlwind of sound, followed by the drifting Desert Twilight. Brian's guitar opens this melodic piece with a rich, peaceful introduction. Faruk enters on the ney in an expansive and warm tone, complemented in the bridge by the baglama, adding an Eastern flavor. The music fades, leaving the listener with serenely quiet beauty evoking the title, Desert Twilight. A Passage East is a showcase for both Faruk's impeccable percussion and Brian's superb guitar chops. In Song of the Pharaohs, the wind and Faruk's haunting ney return to create the mystical impression of the distant time of the ancient pharaohs' rule. Enchanted by elaborate orchestrations, flourishes of windchimes, the voices of strangers, distant horns, and synthesizers that seem to defy conventional spatial dimensions, this piece assumes a psychedelic atmosphere. Beledy introduces us to the zurna, an oboe-like instrument with a very distinctive Middle Eastern sound. This composition is in the Arabic style, featuring very strong passages. Fire Dance is an energetic piece that demonstrates why Tekbilek and Keane are at the forefront of their respective musicial fields and the magical fertility of their collaboration. Ask is a contemporary Middle Eastern standard showcasing Faruk's proficiency on the oud. Village Song is a traditional Turkish folk song in 9/8 meter featuring Faruk on percussion. Modern Mystics brings the two musicians/composers together, on ney and guitar, in a meditative setting. Sahara (Reprise), with Brian on guitar, was an out take that was too special to leave off this recording. Spirit of Ancestors shows a deep mystical side with Faruk's powerful, searching voice. Halay concludes the recording with an uplifting, joyous celebration and driving rhythm. With Fire Dance, Omar Faruk Tekbilek and Brian Keane have created a unique recording that embraces many moods, at once energetic and meditative, mystical and joyous. Imbued with grace, this music transports the listener to a magical land where patterns of rich Middle Eastern traditions are joined in music. Fire Dance is an adventure in transformation from which there is no turning back.
--John Diliberto

VA - The Magic of Rhodopa Mountain 1999

2010-01-14T06:46:00.005+02:00

Genre: Ethnic, Music Of The World
Format: Flac + cue + log
Released: 1999
Label: Balkanton

01. Bagpiper’s melodies (Perf. by Orchestra - 100 Kaba-Bagpipes)

02. Devoiko, muri houbava (Mladen Koinarov)

03. Sbogom, sus zdrave, Stara Planino (Dafo Trendafilov, bagpipe)

04. Bela sum, bela yunache (Radka koushleva)

05. Glyoday ma, Glyoday (Fanka koinarova)

06. Podzim sum, male, legnala (Boika Prissadova)

07. Kalino, kadum, Kalino (Kroum Yankov)

08. Stani mi, maichou, otkachi (Nadezhda Hvoineva)

09. Da znaesh, maicho, da znaesh (Koushlev sisters)

10. Roufinka bolna legnala (Georgi Chilingirov)

11. Goritse, temna, zelena (Georgiev sisters)
12. Planino, Stara planino (Hristina Lyutova)
13. Tornala mi e Dilmana (Roumen Rodopsky)
14. Izlel e Delyu haidoutin (Valya Balkanska)
15. Bela sum, Bela, yunache (Perf. by Orchestra - 100 Kaba-Bagpipes)

15 songs.Incl. The cosmic hit "Izlel e Delyu Haidoutin", still flying in deep space on VOYAGER
U.S. space station...

Orchestra Baobab - Made In Dakar (2007)

2009-11-20T23:03:00.003+02:00

Genre: Ethnic
Format: Flac + cue + log
Released: 2007
Label: World Circuit

01. Pape Ndiaye

02. Nijaay

03. Beni Baraale

04. Ami Kita Bay

05. Cabral

06. Sibam

07. Aline

08. Ndeleng Ndeleng

09. Jirim

10. Bikowa

11. Colette

Senegal’s Orchestra Baobab, having triumphed over changing tastes and a 16-year hiatus, are back with Made in Dakar, their first studio album since 2002's Specialist In All Styles. Featuring guest vocals from their world-renowned countrymen Youssou Ndour and Africando's Medoune Diallo, the set list encompasses songs from ancient griot sources ("Pape Ndiaye"), tributes to departed colleagues ("Nijaay"), Portuguese Creole influences from Guineau Bissau ("Ami Kita Bay"), sixties-era Congolese soukous ("Aline"), and Baobab's own mbalsa, which combines Ndour’s groundbreaking mbalax groove with salsa. But in any context, Baobab's Latin-North African-Afropop fusion never fails to emerge in the forefront, crowned by bandleader Barthйlemy Attisso’s borderline psychedelic lead guitar, smoldering brass, percussion and vocal arrangements and always, a soulful way with a Cuban clavй. Hearing Ndour singing with the band he once inadvertently put out of business is an especially moving experience, as is the wonderful cover of "Beni Baraale," a Bembeya Jazz of Guinйe standard, and Medoune Diallo’s peerless solo turn, which could melt a heart of stone. But with music of this quality, it’s pointless to list highlights. These guys never, ever mess up so picking favorites is a purely subjective exercise. Not to be missed, under any circumstances. --Christina Roden

Babatunde Olatunji - Drums Of Passion The Beat (1989)

2009-10-25T06:37:00.005+02:00

Genre: Music Of The World
Format: flac + cue + log
Released: 1989
Label: RYCODISC

01. The Beat of My Drum

02. Loyin Loyin

03. Ife L'oju L'aiye

04. Akiwowo (a capella)

05. Akiwowo

06. Se Eni A Fe L'amo - Kere Kere

Percussionist Olatunji was championing African music long before anyone devised the worldbeat marketing strategy. His 1989 recording Drums of Passion: The Beat updated his classic Drums of Passion concept, adding rock and pop energy and instrumentalists to the wall of multiple rhythms. The idea clicks, and Olatunji's African beats are contrasted by Airto Moreira's Latin percussion, Mickey Hart's bombastic presence, and such special guests as Carlos Santana and Bobby Vega. Review by Ron Wynn

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Babatunde Olatunji - Circle Of Drums 2005 (Chesky SACD)

2009-09-11T21:25:00.007+03:00

Genre: Music Of The World
Format: flac + cue
Released: 2005
Label: Chesky

01. Stepping (Isise)

02. Incantations

03. Dawn (Idaji)

04. Embracement

05. Ascension (Igoke)

06. Cosmic Rhythm Vibrations

Circle of Drums features three great drum artists,Babatunde Olatunji, Muruga Booker, and SikiruAdepoju. Their drumming styles combine withvocal chants, ancient stringed instruments andsynth drones to create a trance-like soundscapethat brings to mind the experimental rock of the1960’s when eastern philosophies and cultureswere informing western popular music.
Originally recorded in the 1990’s but nevercommercially released, Circle of Drumsis a losttreasure -rediscovered and remastered byChesky Records using special surround soundprocessing in keeping with their commitment tohigh-resolution audio. Its release is an homagetothe group’s elder statesman, Babatunde Olatunji,who passed away on April 6, 2003.
This release features a standard CD level. It alsohas a high definition two-channel level and a highdefinition surround sound mix, which literally willturn your system into aCircle of Drums.

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Strunz & Farah - Wild Muse (1998)

2009-04-08T22:13:00.006+03:00

Genre: Flamenco, Latin / World music
Format: Flac + cue + log
Released: 1998
Label: Selva

01. Camino Real

02. La Sirena

03. China Moon

04. Alisio

05. Manzanillo

06. Nuevo Sol

07. Zagros

08. El Faraon

09. Natural Flow

10. Joya Perdida

11. Manos Del Tiempo

World guitar superduo Strunz & Farah released their ninth CD, entitled Wild Muse, on October 20, 1998. This studio release is graced by a long list of extraordinary musicians from Cuba, Greece, Iran, Brazil, Puerto Rico, Mexico, Africa, and the U.S. The eleven tracks on this colorful and high-energy recording span the breadth of the international virtuosos’ inspirations, with influences ranging from flamenco, Afro-Latin, and jazz to Latin folk and Middle Eastern music. Included are a variety of Afro-Latin based compositions (including a salsa song) which utilize some of the finest Cuban, Puerto Rican and other Latin American talent, two Middle Eastern pieces featuring instruments such as bouzouki, darbuka, and zarb, a lush jazz-influenced piece, an intimate, romantic ballad, and more. Total Guitar Magazine calls Strunz & Farah “The planet’s most staggering guitar duo”. ~ Guitar Nine Records

Strunz and Farah have been on my radar screen since I heard a cut from Primal Magic on Austin radio station KGSR so many years ago. I liked what I heard so much, I pulled off the freeway to call the station in order to find out who was playing that music! Though I was on my way out of state, I made a quick detour over to a favorite locally-owned music emporium and picked it up on cassette. Since then, Strunz and Farah have remained high on my list of favorites.

I have had Wild Muse for a few years now and decided to throw it on today since I hadn’t listened to it or the band in a while. What an excellent recording! I played it in my office all day to the delight of everyone who heard it.

I like the entire CD. No song stands out as the “best” as on some previous albums. To the untrained ear, some of the music seems superficially repetitive, but it is never boring. Any “sameness” is unfailingly on a high plane that copy-cat groups fail to match.

Strunz and Farah seemingly have a lock on the world music genre with their formulaic blend of Latin, Gypsy, and Middle Eastern sounds with a dash of African inspired percussion for spice. Wild Muse steps away from the group’s usual heavy bias toward the Latin sound to include a few tunes that might just have easily come from Athens or Istanbul. Danny Papakalos’ bouzouki wizardry on Zagros and Faraon had me reaching for a glass of retsina. The CD closes with a pleasant vocal selection, the inclusion of which has become part of the Strunz and Farah recording tradition since the success of Americas.

If you like acoustic guitar duos, you are sure to like this CD. There are a lot of copycat “world music” duos around, some of them quite good and there are also some excellent jazz guitar duos. But few of any genre come close to the virtuosity, compatibility and musical vigor that Strunz and Farah have shown over the years. Kurt Harding

Ondekoza - Roulade 1994

2009-03-15T08:29:00.008+02:00

Genre: Taiko- Drummers of Japan
Format: Ape + cue + test
Released: 1994
Label: Victor VICG 43

01. Sogaku

02. A-Un-Shamisen

03. Inori-Uta

04. Ondeko-Bayashi

Hometown of ZA ONDEKOZA is the city of Mt.fuji in Shizuoka.
They subjects themselves to the discipline which spontaneously generated from their group living and perform all over the world as “Fuji no yama ONDEKOZA.”
ZA ONDEKOZA was conceived by director Tagayasu Den, and organized on Sado Island in 1969.

In 1975 youngsters shocked their audience when they jumped on stage for its debut performance just after running the Boston Marathon.
Their Taiko drum stage, including collaboration with Boston Symphony Orchestra conducted by Mr. Seiji Ozawa in 1976, have overwhelmed their audience and been acclaimed.

Performance of ZA ONDEKOZA is based on the logic “Sogakuron”, “Running” and “ Music” are one, and it is a reflection of the drama and energy of life. ONDEKOZA’s unprecedented running tour, beginning in 1990 at Carnegie Hall in N.Y., was a compilation of its thought. Until the returning memorial concert at Carnegie hall in Nov. 12, 1993, 355 performances through running 1,071days and 14,910 km were done.

After performing at opening ceremony of the Paralympics Nagano in 1998, a new running tour “long Journey” (12,500km) in China began in April, looking for completion before the 2010 Shanghai EXPO.

For the memorial of Mr. Tagayasu Den who past away on the 11th of April, 2001.
ZA ONDEKOZA held the first Marathon Live Tour in Japan, running about 600km from Sado Island to Fuji and had three memorial concerts during the tour in Spring, 2002.
Collaborating performance with would-famous female percussionist Evelyn Glennie in 2003 winter is included in the documentary film “Touch the sound – The Rhythms of Evelyn Glennie ” produced by German movie director Thomas Riedelsheimer and came out in 2004.

In 2004 ZA ONDEKOZA went back to Boston Marathon where they debuted in 1975 and ran 1,200km spending about 1 and a half months from April to June, 2005 by "Taiwanese marathon live tour" in Taiwan, and performed in various places and performed from January to February, 2006 to the EU tour (14 time performance) in the Croatia, Italy, Switzerland, and Germany.
Running, Beating, and Dancing on the earth.
Their challenge still continues for the 21st century.

Ondekoza - Sogaku

All That Music: My Favourite Flamenco Passion Vol 1 2 CD 2008 [FLAC]

2008-08-29T17:42:00.005+03:00

All That Music:

My Favourite Flamenco Passion

Vol. 1

2CD

[FLAC]

CD 1

CLASSIC FLAMENCO

01 - Bola Sete - Flamenco (live) 08:07
from At the Monterey Jazz Festival (1966)

02 - Tomatito - Caminillo Viejo 04:19
from Barrio Negro (1991)

03 - Paco Pena - Zambra 03:16
from Flamenco Master (2003)

04 - Paco De Lucia - Danza Del Molinero 03:07
from Paco de Lucia plays Manuel de Falla (1978 )

05 - Moraito - Buleriando 04:32
from Morao Y Oro (1995)

06 - Enrique Morente - Crisol 04:45
from Negra, Si Tu Siempes (1997)

07 - Bola Sete - Maria Moita 03:53
from Ocean Memories (1972)

08 - John McLaughlin, Al Di Meola & Paco de Lucia - La Estiba 05:48
from The Guitar Trio (1996)

09 - Strunz & Farah - Mandala 06:50
from Mosaico (1984)

10 - Paco De Lucia - Camaron (Rondena) 06:08
from Luzia (1998 )

11 - Enrique Morente - Tangos de la plaza 03:20
from Negra, Si Tu Siempes (1997)

12 - Strunz & Farah - Tangle of Dreams 01:48
from Mosaico (1984)

13 - Rafael Riqueni - Aguita Clara 02:51
from VA - Flamenco: Fire & Grace (1996)

14 - Miguel de la Bastide - Viajero 05:29
from VA - Flamenco: Fire & Grace (1996)

15 - Al Di Meola & Paco de Lucia - Mediterranean Sundance / Rio Ancho (live) 11:34
from Friday Night in San Francisco (1981) [Philips 800 047-2]

Total time : 74:39 min.

CD 2

New Passion

01 - Jesse Cook - Rattle and Burn (live) 03:41
from Montreal (2004)

02 - Armik - Cordoba 04:44
from Isla Del Sol (1999)

03 - Gino D'Auri - Los Moros 09:40
from Flamenco Passion [FIM XRCD2]

04 - Oliver Shanti & Friends - El Flamenco del Rum 05:03
from Alhambra (2002)

05 - Hossam Ramzy & Jose Luis Monton - Trompetta 06:14
from Flamenco Arabe 2 (2006)

06 - Eric Fernandez - Adios Andalucia 03:17
from Magic Gipsy (1999)

07 - B-Tribe - Desesperada 03:48
from Sensual Sensual (1998 )

08 - Slash - Obsession Confession 05:40
from VA - Gypsy Soul: New Flamenco (1998 )

09 - Chuscales - Gloria Bendita 04:28
from VA - Gypsy Soul: New Flamenco (1998 )

10 - Govi - Magellan's Beat 05:40
from Your Lingering Touch (2001)

11 - Rodrigo y Gabriela - Paris 03:51
from Re-Foc (2003)

12 - Jesse Cook - Mario Takes a Walk 03:48
from Gravity (1996)

13 - Ottmar Liebert - Barcelona Nights 04:04
from Nouveau Flamenco (1990 )

14 - Strunz & Farah - Confluence 05:44
from Mosaico (1984)

15 - Ottmar Liebert - Heart Still Beating / 2 the Night (live) 04:57
from Viva! (1995)

Total time : 74:34 min.

Audio quallity : Lossless/FLAC
Covers @ 600dpi included
Total size : 913 Mb

Това е моя собствена компилация с първата част от любимите ми FLAMENCO изпълнения.
В първия диск от компилацията можете да чуете класическият фламенко стил, а във втория диск ви представям и така наречения New (Neu) Flamenco стил.
За съставянето й съм използвал lossless-и дърпани от мрежата и мои собствени рипове от оригинални CD. Всичките песни са 100% CDDA, няма преконвертирани мр3-ки. Единственото вмешателство, което съм направил в оригиналните файлове e конвертирането им към FLAC и нормализация на нивото.
Обложките са мое дело с висока резолюция от 600 dpi, за да може който иска да си ги отпечата.
Надявам се, че ще ви допадне.
Приятно слушане!

.......................................................

This is my own compilation with the first part of my favourite FLAMENCO tracks.
In the first CD of this compilation you can hear 15 classic flamenco stile performances. In the second CD I'm include 15 New(Neu) flamenco stile performances.
The source I've used are lossless files that I've downloaded from the Internet or from my own original CDs. All songs are 100% CDDA. There are no lossy to lossless conversions! The only thing I've done to the files is converting to FLAC and normalizing the sound level
The covers are done by me and are with resolution of 600 dpi so that everyone can print them.
I hope that you'll like it.
Have fun listening!

Download @ RapidShare

Part 1
Part 2
Part 3
Part 4
Part 5
Part 6
Part 7
Part 8
Part 9
Part 10
Covers @ 600dpi

Download like torrent @ ArenaBG.com

All That Music: My Favourite AFRICA vol. 1 2CD [FLAC]

2008-07-11T20:28:00.007+03:00

CD 1

01 - Toubab Krewe - Djarabi 04:44 (USA)
Toubab Krewe (2006)
02 - Salif Keita - Madan 06:00 (Mali)
Moffou (2002)
03 - Alpha Yaya Diallo - Mi Djedjima 05:02 (Guinea)
The Journey (2001)
04 - Amadou & Mariam - Politic Amagni 04:56 (Mali)
Dimanche A Bamako (2004)
05 - Kasse Mady - Fode 04:40 (Mali)
Fode (1989)
06 - Oliver 'Tuku' Mtukudzi - Ndakuvara 04:58 (Zimbabwe)
Vhunze Moto (2002)
07 - Mory Kante - Ye Ke Ye Ke 04:00 (Guinea)
Akwaba Beach (1987)
08 - Afia Mala - Segne 04:25 (Togo)
Angelina (1997)
09 - Tama feat. Susheela Raman - Snimbe 05:20 (Mali/Guinea-Bissau)
Espace (2002)
10 - Manu Dibango - Wakafrika 04:48 (Cameroon)
Wakafrika (1994)
11 - Johnny Clegg & Juluka - Love Is Just A Dream 03:48 (South Africa)
Putumayo Presents: Africa (1999)
12 - Khadja Nin - Sina Mali, Sina Deni (Free) 04:09 (Burundi)
Sambolera (1996)
13 - Daby Toure - Iris 03:41 (Mauritania)
Diam (2004)
14 - Youssou N' Dour - Silence (Tango) 04:38 (Senegal)
Guide (Wommat) (1994)
15 - Angelique Kidjo - Lonlon (Ravel's Bolero) 04:55 (Benin)
Djin Djin (2007)

Total time : 69:56 min.
Audio quallity : Lossless/FLAC

CD 2

01 - Toumani Diabate & Ali Farka Toure - Kaira 06:25 (Mali)
In the Heart of the Moon (2005)
02 - Cheikh Lo - Sou 03:05 (Senegal / Burkina Faso)
Lamp Fall (2005)
03 - Baaba Maal - African Woman (06:05) (Senegal)
Firin' in Fouta (1994)
04 - Vusi Mahlasela feat. Xavier Rudd - Chamber Of Justice (04:41) (South Africa)
Naledi Ya Tsela (Guiding Star) (2007)
05 - Khadja Nin - Sambolera Mayi Son (04:30) (Burundi)
Sambolera (1996)
06 - Thomas Mapfumo & The Blacks Unlimited - Marudzi Nemarudzi (Different Races) (07:10) (Zimbabwe)
Rise Up (2006)
07 - Manu Dibango feat. Salif Keita - Emma (06:00) (Cameroon / Mali)
Wakafrika (1994)
08 - Dobet Gnahore - Palea (03:37) (Cote d’Ivoire)
Na Afriki (2007)
09 - Mory Kante - Bankiero (03:40) (Guinea)
Touma (1990)
10 - Alpha Yaya Diallo - Yeke Yeke (04:48) (Guinea)
Nene (1993)
11 - Daby Toure - Bary (04:21) (Mauritania)
Diam (2004)
12 - Habib Koite & Bamada - Wassiye (05:34) (Senegal)
Ma Ya (1999)
13 - Angelique Kidjo - Summertime (03:33) (Benin)
Keep On Moving: The Best Of Angelique Kidjo (2001)
14 - Salif Keita feat. Cesaria Evora - Yamore 07:24 (Mali / Capo Verde)
Moffou (2002)

Total time : 69:55 min.
Audio quallity : Lossless/FLAC
Artwork 600 dpi

Download:@ RapidShare
Part 1,
Part 2
Part 3
Part 4
Part 5
Part 6
Part 7
Part 8
Part 9
Part 10
Covers

included

Hope you enjoy!