I Like GigaMusik

Stars On Classic

Thursday, July 29, 2010 · 0 commentaires

Track List
CD 1

1. Another Day In Paradise
2. Massachusetts
3. Somebody To Love
4. Knowing Me, Knowing You
5. Immer wieder geht die Sonne auf
6. Michelle
7. Sailing
8. Bridge Over Trouble Water
9. Candle In The Wind
10. Love Me Tender
11. Hey Jude
12. Tonight's The Night
13. Tom Traubert's Blues
14. I Guess That's Why They Call It The Blues
15. Chiquitita
16. How Deep Is Your Love
17. Against All Odds
18. Bohemian Rhapsody
19. Cecilia
20. It's Now Or Never


1. We Are The Champions
2. The Sound Of Silence
3. I Don't Want To Talk About It
4. Are You Lonesome Tonight
5. In The Air Tonight
6. In The Ghetto
7. Nikita
8. The First Cut Is The Deepest
9. Let It Be
10. Your Song
11. Who Wants To Live Forever
12. Yesterday
13. A Groovy Kind Of Love
14. Fernando
15. More Than A Woman
16. This Old Heart Of Mine
17. Siebzehn Jahr, blondes Haar
18. To Love Somebody
19. The Boxer
20. Thank You For The Music



Jamshid Abidi

Friday, July 16, 2010 · 0 commentaires

New Moon Twilight Soundtracks

Friday, March 5, 2010 · 0 commentaires

Partho Das -Music Of The Sitar

Wednesday, November 25, 2009 · 0 commentaires

In world music, some instruments are so distinctive that hearing only a few notes brings to mind a particular country and a particular culture. No instrument is more identified with Japan than the koto (even though the koto was actually invented in China and brought to Japan by the Chinese), and just as no wind instrument evokes thoughts of Scotland more quickly than Celtic bagpipes, no string instrument says "India" more than the sitar. It's hardly India's only important string instrument -- even those with only a casual interest in traditional Indian music should know about the vina, the sarod, the sarangi, and the surbahar -- but it's certainly among the country's most recognizable. One of North India's excellent sitarists is Partho Das, whose Music of the Sitar was recorded in Delhi in June 1989. This album finds him playing three instrumental North India-style ragas; the shortest is the eight-minute "Dhun in Raga Bhairavi," while "Raga Bageshri" lasts 30 minutes, and the equally hypnotic "Raga Yaman" lasts 28 minutes. Such extended performances aren't for those with short attention spans, but because Das is such a master of his instrument, he has no problem holding the attention of serious sitar enthusiasts. Das is joined by tabla drummer Rashid Mustafa on this excellent CD. ~ Alex Henderson, All Music Guide


[01]. Partho Das - Music Of The Sitar-Raga Bageshri
[02]. Partho Das - Music Of The Sitar-Dhun (In Raga Bhairavi)
[03]. Partho Das - Music Of The Sitar-Raga Yaman

Partho Das (sitar)
Rashid Mustafa (tabla)


Eduardi Niebla & Adel Salameh -Mediterraneo

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[01]. Mediterraneo
[02]. Andalucia
[03]. Jardines Del Corazon
[04]. Oasis

Fusion Guitarra Flamenca & Oud Arabe
Adel Salameh: 'Oud
Eduardo Niebla: Guitarra flamenca
Charib Ramadan: Derbake
Sanji Jhala: Tablas


Kroke: Ten Pieces To Save The World

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The Polish trio of Tomasz Kukurba (viola; violin; voice; wind instruments; whistling; piano; percussion; mouth percussion), Jerzy Bawol (accordion), Tomasz Lato (double bass) present music on this 2003 recording that may not save the world, but will certainly make it a more interesting place to visit!

Tomasz Kukurba: viola; violin; voice; wind instruments; whistling; piano; percussion; mouth percussion

Jerzy Bawol: accordion

Tomasz Lato: double bass

Guest musicians: Jacek Królik: guitar solo (1); Slawomir Berny: percussion (1, 3)

* 1. Sun (Kukurba) 6:06

* 2. Desert (Kukurba/Bawol/Lato) 5:33

* 3. Childhood (Bawol) 3:28

* 4. Cave (Kukurba/Bawol/Grela/Lato) 6:32

* 5. Usual happiness (Kukurba) 5:45

* 6. Take it easy (Kukurba/Lato/Bawol/Grela) 5:35

* 7. Mountains (Bawol/Kukurba/Grela) 4:53

* 8. Dream (Lato) 2:59

* 9. Light in the darkness - T4.2 (Kukurba/Bawol/Lato/Grela) 6:58

* 10. Hope (Kukurba) 3:14

Maroc :Musique Classique Andalou-Maghrébine

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Given the long and complex nature of Moroccan classical music, or the Andalou-Mahgrebine, the compilers of this volume on the state of the tradition since 822, have centered themselves on one form of music, the nawbat, which is ostensibly a suite of songs in five movements with differing time signatures. Each movement comprises a series of poems (each one being a san'a of two, five, or seven lines) sung over different melodies. A single movement of the nawbat may contain over 40 san'a! There are purely instrumental passages as well, which serve as preludes or interludes, and in some cases even etudes. The center of each nawba is a melodic mode, which influences from the start all other melodies, harmonic restrictions, and architectures, etc. Modes can be introduced that differ, but they must contain the root of the original within them. Other rules governing the nawbat are occasions and the hours of the day when they are to be performed. In antiquity, there were 24 full nawbat. There remain only four complete ones and seven fragmentary. The full nawbat are rarely performed, as several hours is required to complete the cycle. What this disc features is a fragmentary nawbat as conceived by Morocco's authority and producer of such performances al-Haj'abd al-Krim al-Rayis, entitled "min wahi al-rabab." The poems tell stories of love, passion, and devotion to the prophet Mohammed and the desire for Divine Union. Interestingly, unlike in other Moslem societies, physical love is not left out of the cycle and in the singer's voices along with the oud, tar, violin, viola, cello, qanun. Rabab and other instruments, the singers' voices are intoxicated with their texts in the face of the music, and become enrapt, their voices cracking and groaning in pleasure and devotion as they whir and whirl around their instrumental counterparts. Though there are no translations in the booklet of the poems, it's just as well; the poetry and wondrous mystery is in the sound itself. ~ Thom Jurek, All Music Guide


[01]. Nûba - Al-Hijâz Al-Kabîr
[02]. Nûba - Al-'Istihlâl


Cheikh Imam -Les Nuits Des Amandiers

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According to the Los Angeles-based Al Jadid magazine (1), Imam Mohammad Ahmad Eissa was born to a poor family in the Egyptian village of Abu al-Numrus in 1918. He lost his sight in infancy. As a child of five he joined a recititation class, where he excelled; by 12 he had memorised the whole of the Qur’an. Later he went Cairo to learn Qur’anic recitation under the great authority of the time, Sayyid Al Ghouri.

In 1945 he met a great Egyptian musician, Sheikh Darwish al-Hariri, who taught him the fundamentals of music and the Andalusi-derived art of muwashshah song performance. That enabled him to sing and play music, while he continued to recite the Qur’an as a career. He listened to Sufi singing and fell in love with the ud. Within three years he began performing at weddings and birthdays, abandoning his traditional religious dress in favour of European dress and a tarboush. The changes affected the music he played; he began singing the songs of Muhammad Uthman, Abduh Hamouli and the legendary Sayyid Darwish, and later joined a religious chanting group led by the well-known religious broadcaster Abed al-Sami Bayoumi.

In 1962 Sheikh Imam met the poet Ahmed Fuad Negm, a turning point; they became an inseparable duo who developed a new popular, political form of song, hymns of justice for poor and working people. Imam’s location increased his concern for ordinary people: he lived in Hawsh Kadam, an overpopulated area in the Al Ghouria neighbourhood near Cairo.

The 1967 war and the impact of the Arab defeat brought the duo even closer, and prompted them to become active participants in radical politics and Arab nationalism. Their songs, an observer wrote, were a “light of hope in the darkness that was shed by the 1967 defeat and its aftermath”. Arab students and workers sang their revolutionary songs during strikes, sit-ins and demonstrations: “Misr Ya Bahia” (Pretty Egypt), “Shayid Kussurak” (Build your palaces), “Ghifara maat” (Che Guevara is dead), “al-Fellahin” (the peasants) and “Mur El Kalam” (Bitter talk). Imam composed the memorable “Rajiu al-Talmiza” (The students returned) during the 1972 student uprising. This led Imam and Negm straight to prison; in 1968 they were sentenced to three years, and there were further frequent detentions between 1972 and 1979. After President Anwar Sadat’s assassination in 1981, the authorities arrested Imam on the grounds that he had distributed 50 cans of beer to the residents of Hawsh Kadam. It is said that while they were in prison, Imam would get close to Negm’s cell to hear him recite new lyrics and then return to his own cell to compose the music. They broke up in the mid-1980s. After 1993, when Negm attacked Sheikh Imam in his memoirs in the magazine Rose Al Yusuf, the rift became irreparable.

Though Imam’s records sold in thousands all over the Arab world, he made little money. His final days were difficult: he lived alone, visited occasionally by neighbours or friends. Few offered him help. After a long illness he died in 1995, aged 78. By Ed Emery.

3 Idiots

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Aria Asia

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Prem Joshua -Visions Desert

Monday, November 2, 2009 · 0 commentaires

The album is a wonderful blend of East Indian, Arabic, African and Western music. The instruments and rhythms weave back and forth between the various influences in a spirited and lively manner. One track may have a hint of New Orleans Jazz balanced against the romantic and haunting sounds of the desert. Another track features East Indian vocals and tabla in a spirited dance with saxophone and flute. Overall easy to listen to ranging from sprightly to ambient in texture during the course of the album.

01. The Raja's Ride
02. Daia
03. Hot Season
04. Sarang
05. Pagan Dance
06. Jungle
07. Kirwani
08. Desert Moon
09. Flight Of The Swan
10. From Behind The Hills


Sami Mansor -Sadness

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  1. Alhob Aldaye
  2. Wada'a
  3. Nadam
  4. Seneen
  5. Alhanen
  6. Ahat
  7. Ghorba
  8. Nehayet Hob

  1. Shajan
  2. Domo'a Al Hob
  3. Awraq Al Kareef
  4. Kol Hatha Al Hob
  5. Etaab
  6. Wda'a
  7. Hanen
  8. Ashweq

  1. Qalbak Khan
  2. Leh Ansak
  3. Azab Qalby
  4. Ashky Imen
  5. Ghdar
  6. Jathy Ana
  7. Hesab Al Senen
  8. Nar Hobak

Teodulija -Vino Istine -

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Teodulija is an ethno music and dance company which assimilates traditional and contemporary Serbian music with dance.The band was formed by: IVICA STOJANOVIC and BRANKO ISAKOVIC, musicians with great experience in truly different music fields. Becoming friends through maturing, they share mutual love towards their own roots, contemporary music and God. Theodulia (originating from two words in Ancient Greek: Theos-Doulos, Service to God) represents life oriented towards God, the truth, the eternal, everlasting... “Clearly there can be no greater honor on earth for people or peoples than to serve their Creator...”“All things serve Thee” (Ps. 119:19)... THEODULIA – service to God – is purpose of our personal and family life, heights and path for Heavenly kingdom... Theodulia is the main characteristic of all Serbian rulers of the Nemanjic dynasty. “The slave of Christ God” – this is how they used to call themselves and sign documents. They were all slaves of Christ and God; they were all theodules, servants of God. Thus Sava set them all on their path, Nemanja gave them all an example, and the spirit of God strengthened them on that path. (St. Bishop Nikolai Velimirovich – “The Serbian People as a Servant of God”).

01. Zaigrale, mamo, devojčinja ( narodna, vokal: Madam Piano, Nevena Reljin, Teodulija)
02. Zemi me, zemi (narodna, vokal: Mirjana Jovanović)
03. Đorđe (narodna, vokal: Iva Nenić i Sanja Kunjadić – grupa Arhai)
04. Kosovski božurovi (D. Nikolić, vokal: Jordan Nikolić)
05. Gugutka guka vo osoje (narodna, vokal: Merima Njegomir)
06. Bađang – tam deka ima (narodna, vokal:Teodulija)
07. Čoček ( I. Stojanović, klarinet: Ivica Mit)
08. Ječam žnjela kosovska devojka (narodna, vokal. Vasilija Radojčić, Teodulija)
09. O včar sam devet godini ( narodna, vokal: Aleksandar Vasov)
10. Krstonoše krsti nose (I. Stojanović, vokal:Dejan Najdanović – Najda, Hor Sv. Nikola)
11. Poletela dva sokola (narodna, vokali:Dečiji hor PBPD, gusle:Boško Vujačić)
12. Pesma kosovskih junaka (D. Karuović – Lj. Simović, vokal: Teodulija)
13. Stihira Sv. Savi (narodna, vokal:Aleksandar Novaković)
14. Koloplet (I. Stojanović)



Ali Jihad Racy & Simon Shaheen - Taqasim The Art of Improvisation in Arabic Music

Sunday, November 1, 2009 · 0 commentaires

In the realm of Middle and Near-Eastern Instrumental music, not many individuals are able to receive as much widespread acknowledgement as being the "The Best", as do Simon Shaheen (Ud or Oud), and the Lebanese born Ali Jihad Racy (Buzaq). Dr. Racy's now famous composition "ANCIENT EGYPT" and his other subsequent achievements have practically re-defined the role that traditional Middle-Eastern styles and sounds can have in contemporary instrumental music. Simon Shaheen, also an extremely active, internationally renown master performer and stylist is becoming in creasingly recognized as a powerful force in World Music with his brilliant interpretations of Arabic music, both as a soloist and with his group. These two master musicians, each of whom possess not only in credible talent and skill, but who are also informed by a vast knowledge of the styles and traditions of both Eastern and Western music, perform here together, in a memorable Journey into traditional Arabic instrumental improvesation. TRACK LISTINGS (01) Maqam Kurd (02) Maqam Nahawand (03) Maqam Bayyati ALI JIHAD RACY - BUZUQ SIMON SHAHEEN - 'UD



Essential Best Of World Music

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Track Listing 1

[01]. Tango to Evora - Loreena McKennitt
[02]. Dancing with the Lion - Andreas Vollenweider
[03]. Ariel - October Project
[04]. Pulstar - Vangelis
[05]. Angel - Sarah McLachlan
[06]. When I'm with U/Everything I Ever Needed - Ottmar Liebert, Luna Negra
[07]. Moorlough Shore - Caroline LaVelle
[08]. Oxygene, Pt. 4 - Jean-Michel Jarre
[09]. World of Wonders - Freud
[10]. Theme from Silk Road - Kitaro
[11]. Salva Me - Libera
[12]. Escape from the Atmosphere - Mannheim Steamroller
[13]. Moments in Love - The Art of Noise
[14]. Behind the Waterfall - David Lanz, Paul Speer
[15]. Mono - Life In Mono

Track Listing 2

[01]. Barcelona Night - Ottmar Liebert, Luna Negra
[02]. Deliver Me - Sarah Brightman
[03]. Rendez Vous IV - Jean-Michel Jarre
[04]. Aria - Yanni
[05]. Toccata - Mannheim Steamroller
[06]. The Mummer's Dance - Loreena McKennitt
[07]. Sara's Band - Mannheim Steamroller
[08]. Theme from Harry's Game - Clannad
[09]. Eternal - Freud
[10]. Behind the Gardens-Behind the Wall-Under the Tree - Andreas Vollenweider
[11]. Turning Ground - Caroline LaVelle
[12]. Rain Forest - David Lanz, Paul Speer
[13]. Beyond Imagination [From a Midsummer Nights Dream] - Opera Babies
[14]. Return to Me - October Project
[15]. Oxygene 10 - Jean-Michel Jarre

Track Listing 3

[01]. Acroyali/Standing in Motion - Yanni
[02]. Adiemus - Adiemus
[03]. Ocean Blvd/Miami - Ottmar Liebert
[04]. Habanera - Filippa Giordano
[05]. Voices - Vangelis
[06]. Black Elk - Pete Bardens
[07]. In the Beginning - Beautiful World
[08]. Life in a Northern Town - The Dream Academy
[09]. Moon Dance - Andreas Vollenweider
[10]. All I Have - Caroline LaVelle
[11]. Four Rows of Jacks - Chip Davis, Mannheim Steamroller
[12]. The Journey Begins: Kyla's Ride - David Arkenstone
[13]. Oxygene, Pt. 2 - Jean-Michel Jarre
[14]. Erotica - Roberto Perera
[15]. Join Me - Gregorian
[16]. Show Me - Ofra Haza

Yitik Sesin Peşinde / In Search of the Lost Sound

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[01]. Arazbar Peşrev - Besteci: Nefiri Behram, Fahte
[02]. Hüseyni Peşrev - Besteci: Gazi Giray Han, Zencir
[03]. Kanun taksimi
[04]. Evc Peşrev - Besteci: Acemler, Fetig Darbi
[05]. Arazbar Peşrev - Besteci: Eyyubi Mehmed Çelebi, Devr-i Revan
[06]. Çeng Taksimi
[07]. Nişabur Peşrev - Besteci: Hintliler
[08]. Çargâh Peşrev - Besteci: Derviş Mustafa
[09]. Kemançe Taksimi
[10]. Kürdi Peşrev
[11]. Buselik-Aşiranı Peşrev
[12]. Evc Peşrev
[13]. Muhayyer Peşrev
[14]. Mahur Semai

Ud: Akgün Çöl
Ney: Aziz Şenol Filiz
Kanun: Serap Aybar Çağlayan
Tanbur: Birol Yayla
Kemança: Kemal Caba
Kudüm: Kamil Bilgin
Kopuz: Birol Yayla
Santur: İhsan Özer
Çeng: Fikret Karakaya
Şehrud: Osman Kırklıkçı
Mıskal: Tugay Başar

Mojtaba Mirzadeh -Iranian Violin Improvising

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The largest collection of Classical Persian violin improvisations performed by late Ostad Mojtaba Mirzâdeh (d. 2005), the greatest master of Persian violin. Credits to "shajarian"

Cherifa -Berber Blues

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While both are Amazigh (Berber) singing in their native and suppressed language of Tamazight, this Cherifa (last name Kersith) is not the Kabylie Algerian Cherifa who adapted Brahim Izzri's poignant folk standard "Chtedouyi" into a rave disco hit a few years ago, and is featured on the Berber compilation LA KABYLIE AU COEUR. This Cherifa has a deeper and huskier voice. She sticks to traditional music and instrumentation, and works in a different regional dialect of Tamazight spoken in her native Middle Atlas mountain range of Morocco. Her art is as much in her character-rich phrasing and improvisational verbal versifying within the women-made rules of the Ahuache and Ahiduth rituals, as in being straitjacketed into any confining modality. For Amazigh (Berber) women of the Atlas, the woman takes the role of griot feeding the male musicians cues for accompaniment, even as she conducts the tempo changes with the stamping of her feet. The CD booklet carries translations and an ignorant essay in French mistakenly identifying the source poetry as being translated from the Arabic. Cherifa is the actual poet, and she is improvising her verses in the ancient tribal tradition of Amazigh (Berber) Women who rate the men in her village and pick themselves a husband in the Ahuache tradition. There are also pieces from the Ahiduth worksong or devotional tradition, again composed by women (Arab society has nothing like this, one reason why the Imazighen, or plural of Berbers are so threatened by the Arabization of their native North Africa). These verses are in the Chleuh dialect that was commonly spoken by the Judeo-Berbers of Morocco, and in the Tashleheith dialect of Tamazight language spoken in the Middle to High Atlas mountain range that bisects most glorious North Africa between the dry Sahara and the deep blue Mediterranean sea. The producers of this CD in France have already pledged to correct the erroneous liner notes that misidentify this wealth of song and women's verbal virtuosity as being Arabic. The Tamazight language in both written form and oral history has been found in North Africa some 2200 years before the arrival of Arabic via the Islamic Conquest (Al Fatah). The matriarchal Amazigh (Berber) people were theist, pantheist, Judeo and Christian living in multi-cultural tolerance throughout the Greek and Roman invasions, and only converted en masse with the arrival of the ultimately victorious Umayyid armies dispatched from Syria in the year 700. The record producers include their e-mail address so if you get this marvelous recording and don't find a note on the errata or a correction properly identifying the source material and traditions as Amazigh, let them know we're still waiting. It wouldn't be such an issue if the native Tamazight language were not already an endangered language, not allowed to be taught in Moroccan schools, and Amazigh names not allowed to be given to newborn babies who all must be registered with only Arab names. [01]. Idhrdh Umalu Z Iâari (L'ombre de la forêt / The shade of the forest)
[02]. Maysh Yiwin May Tshawrth (Qui est ton conseiller / Who gives you counsel) [03]. Ndda S Adbib Nnani (Le toubib m'a dit / The doctor told me)
[04]. Ma Gn Tufit Amazir (Où as-tu élu domicile / Where have you chosen to live) [05]. Isul Isul Umarg Nsh Awadigi (Je suis encore nostalgique / I'm still full of longing)
[06]. ('Tahidust') Wllah Ar Thagh Lafiyt Usmun (Le cour en feu / My heart is aflame)


Prayers On Tanbour

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A breathe taking Tanbour performance. This CD is truly amazing as finally we can hear the women understanding of the Tanbour, and finally this amazing instrument of heart speak the emotions of a women. This killer combination of the instrument of emotions and the emotion of womens together will effect any one who can feel and sense. Superb


Ustad Shujaat Husain Khan -Enchanting Strings

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Shujaat Husain Khan is perhaps the greatest North Indian classical musician of his generation. He belongs to the Imdad Khan gharana (tradition) of the sitar (lute) and is the seventh in the unbroken line from his family that has produced many musical masters. His style known as the gayaki ang, is imitative of the subtleties of the human voice. Shujaat Husain Khan is the son and disciple of master sitarist Ustad Vilayat Khan. His musical pedigree continues back through his grandfather, Ustad Inayat Khan; his great-grandfather, Ustad Imdad Khan; and his great-great-grandfather, Ustad Sahebdad Khan - all leading artist of their generation. At the age of three Shujaat began practicing on a specially made small sitar, and by the time he was six, the child prodigy started giving public performances. Since then he has performed at all the prestigious music festivals in India and has traveled around the world performing in Asia, Africa, North America and Europe. Shujaat Husain Khan has developed his own unique style of playing Indian classical music. His approach to rhythm is largely intuitive, fresh and spontaneous, always astonishing his audiences. He is also known for his exceptional voice, which he uses for singing folk songs and poetry. This album presents a mesmerizing performance of Raga Bageshri by one of the finest sitar players, Ustad Shujaat Husain Khan. Raga Bageshri is a popular raga of the late night, which is meant to depict the longing to be in communion with the beloved. It is said to have been first sung by Mian Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century. It is a melodious and enchanting raga that showers joy galore. It is very distinctive and instantly recognizable by the attentive listener.




Ilaiyaraaja & Hariprasad Chaurasia -Nothing But Wind

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With his virtuousic blowing technique, Hariprasad Chaurasia has turned the Bansuri (bamboo) flute into an instrument of beauty. Blending the musical traditions of India with imagination and innovation, Chaurasia has reached beyond classical music to create a sound of his own. Presented with the national award of the Sangeet Natak Academy in 1984, Chaurasia received the Gaurav Puraskar from the state government of Maharashtra, India in 1990, the Padma Bhushan and the Konarak Samman in 1992 and the Yash Bharati Sanman in 1994. In addition to recording as a soloist, Chaurasia has collaborated with such jazz musicians as John McLaughlin and Jan Garbarek. His compositions have been heard in several Indian films including Silsila, which he co-wrote with Pandit Shiv Kumar Sharma. Although he began his musical studies as a vocalist, Chaurasia switched to the flute after hearing a performance by Pandit Bholanath a year later. Inspired by what he heard, Chaurasia spent the next eight years studying with Bholanath. He later studied with surbahar player Shrinimati Annapurna Devi, the daughter of Ustad Allaudin Khan and the siter of Ali Akbar Khan. In 1957, Chaurasia began playing and composing material for All India Radio in Calcutta. Ten years later, he collaborated with Shivkumar Sharma and Brijbhushan Kabra on a much-celebrated raga suite, "Call Of The Valley." ~ Craig Harris, All Music Guide. TRACK LISTINGS (01) [Illaiyaraaja] Singing Self (02) [Illaiyaraaja] Mozart I love You (03) [Illaiyaraaja] Song of Soul (04) [Illaiyaraaja] Composer's Breth (05) [Illaiyaraaja] Nothing But Wind



Ali azzam -Niyaz

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Azam Ali, who sings with the duo Vas, has one of the most seductive and effortlessly disciplined altos active on the world stage. Now based in Los Angeles, she is a child of three cultures, Indian, Persian (Iranian) and American, so her music encompasses a triple conundrum. She is joined by Loga Ramin Torkian of Axiom of Choice, who has mastered an impressive array of traditional instruments from Europe, Turkey and his native Iran, and Grammy-winning producer/remixer Carmen Rizzo. The project was inspired by Sufi devotional poems written in Farsi (Persian) or Urdu, which is spoken in much of India and Pakistan. Although interpreted through ultra-modern beats and ambient drones, the traditional material reigns supreme, bringing a sense of adventurous continuity to grooves that, in less inspired hands, could well have emerged slap-dash and prosaic. Unlike most tracks intended for nightclubs, these are as compulsively listenable as they are danceable. Product Description Niyaz is an acoustic electronic project that brings together three prominent musical figures to form an exciting new fusion of traditional Persian music and modern electronics.. Vocalist and composer Azam Ali, one of the founding members of the acclaimed group Vas was born in Iran, raised in India and moved to The United State as a teenager. Multi instrumentalist and composer Ramin (Loga) Torkian of Axiom of Choice was also born in Iran and moved to the United states as a teenager. His extensive travels combined with his in-depth understanding of Persian music and Indian culture and spirituality have enabled him to cultivate a sound that is extremely authentic, yet can lend itself to the modern framework within which the music is created. Twice Grammy nominee producer/ remixer Carmen Rizzo is one of the most in demand producer- programmers on the electronic dance scene today. He has worked with artists ranging from Ryuichi Sakamoto, Khaled, Seal, Paul Oakenfold & Cirque du soleil bringing his unique approach to beats and electronic textures. These three veteran masters have all experienced success on their own and have found a new common ground in Niyaz where the mystical poetry of Urdu and Persian Sufi poets of the 14th and 15th century forms the lyrical framework for a fresh new musical adventure.
  • Allahi Allah

  • Arezou

  • Dilruba

  • Dunya

  • Ghazal

  • Golzar

  • In The Shadow of Life

  • Minara

  • Nahan ''The Hidden''

  • The Hunt


    Iran - Persian Classical Music

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    From the old Nonesuch Explorer series comes this album of classical Persian music, originally released in 1974 and re-released on CD in 1991. The album contains a number of nice virtuoso performances on the various instruments of the Persian classical repertoire. The ensemble leader Faramarz Payvar provides some outstanding work on the santur in most of the dastgah performances. Also, the zarb player Mohammad Esmai'li performs an amazing solo on his drum, nearly incorporating melody into the work with a single percussion instrument. The tar playing also stands out exceptionally in "Dastgah Chahargah," as Houshang Zarif pumps out an outstanding run on his lute. For a basic overview of Persian classical, this album does a pretty good job of showing off the major instruments and vocals, all with the dastgah framework. At the same time, it's mildly simplistic, as are many of the Explorer series albums. For a newcomer to Persian music, this wouldn't be a bad place to start for a basic overview, though those better acquainted with the basics might prefer a slightly more comprehensive compilation, such as Rounder's Iran installment of the Anthology of World Music. Review by Adam Greenberg - All Music Guide.


    1 - Dastgah Shur 10:18

    2 - Dastgah Homayoun 7:37

    3 - Dastgah Segah 4:51

    4 - Zarb Solo 4:56

    5 - Dastgah Chahargah 4:54

    6 - Dastgah Mahour 13:02


    Soulful Sufi

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    • Disc - 1
      • 1. Teri Deewani - Kailash Kher
      • 2. Zindagi Ye - Rahat Fateh Ali Khan
      • 3. Teri Justjoo - Roopkumar Rathod
      • 4. Ek Lau - Aamir
      • 5. Tere Bina - Ar Rahman
      • 6. Saiyyan - Kailash Kher
      • 7. Ha Raham - Aamir
      • 8. Maujood Hain - Jaswinder Singh
      • 9. Noor Un Ala Noor - Meenaxi
      • 10. Masha Allah - Saawariya
      • 11. Dilruba - Kailash Kher
      • 12. Waqt Par Bolna - Hariharan
    • Disc - 2
      • 1. Mitwa - Shafqat Amanat Ali
      • 2. Bandya - Khuda Kay Liye
      • 3. Gurus Of Peace - Nfa Khan / Ar Rahman
      • 4. Allah Hoo - Khuda Kay Liye
      • 5. Albela Saajan - Kailash Kher
      • 6. Sajni - Master Saleem
      • 7. Tere Naina - Kailash Kher
      • 8. Soniyo From The Heart - Krishna
      • 9. Ishq Nachaya - Sona
      • 10. Ay Hairathe - Hariharan
      • 11. Heer - Sukhwinder Singh
      • 12. Haan Tu Hain - Jannat

    Turquia -Classical and Popilar Turkish Music

    · 0 commentaires

    TRACK LISTINGS (01) Kanuni SEBUH. Kurdilihicaz longa (instr.) (02) a) Hicaz macami taksimi (instr.) (02) B) Hicaz macami taksimi (instr.) (03) Trakia karsilamassi (instr., cura baglama) (04) Kumizi bugday ('El trigo trojo') voz, 4 saz (05) Santuri ETHEM EFENDI. Sehnaz longa (instr., kanun, bendir, Oud, ney) (06) Burbet Havasi (Eylen durnam eylen) canto de los nomadas Yoruk) (07) Ben giderim batuma ('Voy a Batum') (08) SADETTIN KAYNAK. Hicaz sarki (Benin yarim gelisindidn bellidir) (09) Yavuz geliyor yavuz ('Viene Yavuz') (10) Sekeroglan ('El nino tierno') cancion de Ankara, arr. para cura baglama (11) Oldumu aysem oldumu (canto de los nomadas Yoruk) (12) Kanuni Haci ARIF BEN. Sultani yegah peshrevi (instr.) (13) A kusum ('Oh mi cordero') (14) Kanuni Haci ARIF BEN. Saltani Yegah san semaisi (instr.) (15) Silifke Sallamasi (voz, cura baglama & divan saz) (16) ARIF SAMI TOKER. Hicaz sarki (Ciksam su daglarin yucelerine) voz, kanun, ney, bendir, Oud (17) Gokte yilldiz aymisum ('La estrella en el cielo') canto, 4 saz (18) Su daglarin yuksegine erseler (Canto tradicional, viela kabak-kemani)


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