Eduardi Niebla & Adel Salameh -Mediterraneo

TRACK LISTINGS

[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

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Cherifa -Berber Blues

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)

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Ali azzam -Niyaz

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

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Putumayo Presents: Gypsy Caravan

Disc Content:

[01]. Romanyi Rota • Divi Divi, So Kerdjan • (Hungary)
[02]. Kalyi Jag • Movi Shei, Sabina • (Hungary)
[03]. Saban Bajramovic • Pena • (Serbia)
[04]. Vlatko Stefovski • Gipsy Song • (Macedonia)
[05]. Coco Briaval • Les Yeux Noirs • (France)
[06]. Thierry Robin • L'Amour S'Envole • (France)
[07]. Miguel Angel Cortes • Al Likindoy • (Spain)
[08]. Romanyi Rota • Korkore Zav Ande Kalyi Ratyi • (Hungary)
[09]. Amaro Suno • Kutka Avel e Sej Bari • (Hungary)
[10]. Djelem • Codru • (Moldova/Ukraine/Canada)
[11]. Ando Drom • Sza Tele Zsav • (Hungary)
[12]. I Gitanos - Fulli Tschei
[13]. I Gitanos - Ab i Reisa
[14]. Yorgos Koros ( Grecia) - En un lugar extrangero
[15]. Banda Fl?rinos ( Grecia) - Sousta
[16]. Eleni Legaki ( Grecia) - Lobos de mar
[17]. Alkistis Protpsalti ( Grecia) - Gasolinera
[18]. Django Reinhardt ( France) - Inm Confessin
[19]. Django R - Ihad my moments
[20]. Django R - I got Rythm

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Rabih Abou-Khalil - Odd Times

Odd Times is Rabih Abou-Khalil's first live album. Since it would be impractical to assemble all of the guests he has had on his albums over the years, Abou-Khalil has gone in the other direction and pared his ensemble down to what is for him the bare bones: himself on oud, Howard Levy on harmonica, Michel Godard on tuba and serpent (an antique form of the tuba), Mark Nauseef on drums, and Nabil Khaiat on frame drums. Most live albums contain well-known pieces from the artist's studio repertoire; in contrast, Odd Times is mostly new material. In general, the album is a mix of shapeless, overlong attempts at atmosphere ("Elephant Hips") and fairly bouncy and fun items ("Q-Tips"). The pared-down lineup is engaging because Abou-Khalil's oud and Godard's tuba are more prominent; unfortunately, Levy's harmonica is also pronounced, and simply clashes with the entire project of fusing Arabic music and jazz. Though in all fairness, on "The Happy Sheik" Levy sets aside his usual cadences in favor of something more bluesy that melds better with its surroundings. The album closes with a vibrant performance of "Rabou-Abou-Kabou," one of Abou-Khalil's best songs. ~ Kurt Keefner, All Music Guide.

[01]. The Sphinx and I
[02]. Dr. Gieler's Prescription
[03]. Elephant Hips
[04]. Q-Tips
[05]. Son of Ben Hur
[06]. The Happy Sheik
[07]. One of Those Days
[08]. Rabou-Abou-Kabou

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Round Mountain - Truth And Darkness

For the avid, open-minded fan, music has a seemingly endless ability to surprise even those of us lucky listen to a lot of different styles. It does not happen very often, given the herd-like nature of the popular music business, and its tendency to ape trends, but sometimes some music will come out of left field that is both really interesting and quite easily enjoyable. Those two qualities do not often happen at the same time. And it's especially exciting when the music is outwardly very simple and spare sounding. This week, we have a new CD of such music by a band called Round Mountain, whose new release is called Truth and Darkness. Lately, there has been what I find an intriguing trend of young performers rediscovering old folk songs and serving them up with acoustic folk instrumentation, though often in unconventional combinations, such as the bands Crooked Still, the Duhks and Ollabelle. Round Mountain is a trio from Santa Fe, New Mexico, two of whom are brothers. The use a motley collection of instruments running from banjo to Bulgarian bagpipes, to Malian kora, to Irish pennywhistle to Turkish saz to trumpet and accordion, to Latin American percussion. But the fact that they record more or less live, means that there are not too many instruments at a time -- more about that later -- and they keep the sound simple to the point of starkness. But they manage to combine as many musical influences as their collection of instruments would suggest. And instead of doing traditional songs, like other such eclectic acoustic groups have been doing, Round Mountain do original music of considerable sophistication, despite the outwardly barebones sound. Round Mountain is Char Rothschild, the older of the brothers and the incurable multi-instrumentalist, playing most of the aforementioned exotic instruments, as well as sharing vocal and songwriting duties with his brother Robby. Char also tends to play more than one instrument at once -- such as trumpet and accordion. Robby plays mainly percussion but also instruments like the African kora, bouzouki and mandolin. Both have academic musical backgrounds, Char with a BFA in Contemporary Music from the College of Santa Fe, and Robby at the New England Conservatory of Music, the College of Santa Fe, and University of New Mexico, where is working on his Masters' in Composition. He also traveled to Africa to study percussion there. Rounding out the trio is bassist John Gagan. Robby Rothschild and Gagan played together previously in Nuevo Flamenco guitarist Ottmar Leibert's band. Of course, the two Rothschild brothers have been musical collaborators all their lives. One is quickly taken by Round Mountain's music, the seemingly traditional sound that sneaks into a breathtaking array of influences, while at times being as simple as voice and kora -- the African harp guitar of Mali. At other times, the music can swirl into a kind of Eastern European or Middle Eastern conglomeration that can evoke a kind of laid-back klezmer music, or even a polka. The lyrics tend to be introspective -- there is only one real love song and it's pretty understated -- and there are essentially a couple of lullabies, and some poetic reflections on life and family. The group's surroundings in the desert Southwest also form the backdrop for some of the songs. And both brothers write about the arrival of their respective children. Opening is a track called Hildia, who is reputed to be a mythical woman in charge of the weather. The song hints at old-time Appalachian music. <<>> But soon, there are dollops of the Eastern European influence that the group frequently draws on. <<>> A song inspired by the band's New Mexico surroundings is The Old Tree. It also hints at old-timey music, but they also add the Bulgarian bagpipe called the "gaida." <<>> The group gets more wildly eclectic on Venus and the Tower, which was written by Char Rothschild about upon the arrival of his daughter, and inspired by his carrying her around to calm her. The group's Eastern European influences come to the fore. <<>> Round Mountain can be at their most striking on their outwardly simple tracks. Burn It Down, about the arrival of the chill of winter, features mainly the African kora with the bass and light percussion, and Robbie's plaintive vocals. The result is quite haunting. <<>> Another remarkably eclectic piece is Candle in the Willow Tree, a kind of philosophical song celebrating the here and now. It comes out as a kind of Middle Eastern reggae blues. <<>> The title track, Truth and Darkness is the album's love song, and it's appropriately upbeat, with the Round Mountain's trademark collection of very disparate influences, in this case, some Sixties folk and hints of African. <<>> Also arresting in its sound I Am Here, written as a lullaby. It's just Char on the vocals and Robby on the kora. <<>> For me, probably the most memorable track is Penumbra, also inspired by New Mexico's vistas. Again, the kora plays a major part, and is a foil for Robby's slightly quavery vocals. There is a subtle Latin rhythmic undercurrent at times, while the kora gives the song its plaintive sound. <<>> Truth and Darkness the new release by the New Mexico trio Round Mountain is a remarkable piece of work. The trio of two brothers and a friend manages to create music that is outwardly simple and even stark, and yet breathtaking in its eclecticism, while at the same time being very appealing. Their odd mixture of exotic musical influences inspired by their gallery of exotic instruments from around the world, is interesting enough -- and there have been lots of groups to do world music fusion. But Round Mountain creates music that is quiet, subtle, delicate, and at the same time very informal sounding, something that really sets them apart and makes this such a fascinating album to listen to, and one whose sound will stay with you long after the CD is over. Sonically, we'll give the CD an A-minus. The recording and mix are as subtle and spare as the music, with no readily audible studio effects, save for a little overdubbing. But unfortunately, the volume was cranked up some in the mastering process, which does undermine some of the music's finer shades of dynamics. One would have thought that most of the possibilities of a folky trio with acoustic instrumentation would have been exhausted by now. Round Mountain have certainly exploded that notion, and made some memorable music in the process.


[01] Hildia
[02] The Old Tree
[03] Venus In The Tower
[04] Burn It Down
[05] Castle
[06] O Light
[07] I Won't Lose Sight Of You
[08] Who Are You
[09] I Am Here
[10] Candle In The Willow Tree
[11] Penumbra
[12] Truth And Darkness
[13] The Orchard

Char Rothschild: vocals, trumpet & accordion, guitar, dobro, gaida
Robby Rothschild: vocals, cajon, kora , bouzouki, djembe , saz
Jon Gagan: electric bass,bass guitar

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Sundays Are For Jazz 1

This CD sampler from the Triloka label includes 12 mainstream jazz selections specifically picked as perfect background music for a quiet Sunday morning. Among the highlights are "I'll Keep Loving You" performed by Freddie Redd, "My Funny Valentine" by Ritchie Beirach, "Flamenco Sketches" by George Coleman, and "Summertime" by the Andy Laverne Quartet. ~ Al Campbell, All Music Guide.

(01) [Summertime - Andy Laverne Quartet] Summertime - Andy Laverne Quartet
(02) [Flamenco Sketches - Richie Beirach & George Coleman] Flamenco Sketches - Richie Beirach & George Coleman
(03) [Three Graces - Jeff Beal Quartet] Three Graces - Jeff Beal Quartet
(04) [Sunday Song - Richie Beirach] Sunday Song - Richie Beirach
(05) [Lonely - Dave Kikoski] Lonely - Dave Kikoski
(06) [Some Other Time - Richie Beirach] Some Other Time - Richie Beirach
(07) [For B.C. - Richie Beirach and George Coleman] For B.C. - Richie Beirach and George Coleman
(08) [Someday My Prince will Come - Andy Laverne Quartet] Someday My Prince will Come - Andy Laverne Quartet
(09) [My Funny Valintine - Richie Beirach] My Funny Valintine - Richie Beirach
(10) [I'll Keep Loving You - Freddie Redd] I'll Keep Loving You - Freddie Redd
(11) [For Miles - Jeff Beal Quartet] For Miles - Jeff Beal Quartet
(12) [Presistant Dreams - Dave Kikoski] Presistant Dreams - Dave Kikoski


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Miles Davis - Miles in the Clouds

[01].Move
[02].My Man's Gone Now
[03].Springville
[04].Here Come De Honey Man
[05].The Jitterbug Waltz
[06].It Ain't Necessarily So
[07].Miles Ahead
[08].My Ship
[09].New Rhumba
[10].Gone,gone,gone
[11].Gone
[12].Blues for Pablo
[13].Wild Man Blues
[14].The Duke
[15].I Don't Wanna Be Kissed (by Anyone But You)
[16].Bess, You is My Woman Now
[17].There's A Boat That's Leaving Soon for New York
[18].Poem for Brass
[19].Godchild

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Sara Lazarus with Bireli Lagrene's Gipsy Project - It's All Right With Me

Sara Lazarus is in no hurry. After the Delaware-born French emigré won first prize at the 1994 Thelonious Monk International Jazz Competition, she waited over a decade to record her debut, 2005’s Give Me the Simple Life. To the benefit of jazz listeners, she didn’t wait long to record a followup: It’s All Right With Me finds the singer once again taking her time and making every word count, as if to imbue each syllable with the deepest possible meaning. The result is a fresh take on classic songs that avoids overindulgent flashiness.

Like her debut, which covered the well-worn theme of love, It’s All Right With Me recalls the Frank Sinatra concept albums of yesteryear. Francis Albert Sinatra & Antonio Carlos Jobim (Warner Brothers, 1967) comes to mind, but instead of bossa nova, Lazarus has opted for gypsy-influenced jazz, finding ideal support in Bireli Lagrène's Gipsy Project.

Lagrène's group owes an inescapable debt to Django Reinhardt, but his mastery of Reinhardt's buoyant sound is crucial to the album's success. Lagrène, who joined Lazarus for three cuts on Give Me the Simple Life, is an impressive virtuoso guitarist who liberally embellishes his solos with arpeggiated lines, flourishes and fast runs. His chops-oriented methodology is the perfect counterpoint to Lazarus' simpler melodic approach.

This does not mean that a technical weakness accounts for Lazarus' straightforward style. "Down With Love" demonstrates that she can deliver an emotionally rich performance at a fast tempo without succumbing to superfluous scat-singing. Likewise, Lagrène's contributions are not merely decorative; for example, his solo on "In the Wee Small Hours of the Morning" is typically ornate, but also suffused with much feeling.

The inclusion of a French ballad ("Dans Mon Ile"), along with exquisite string arrangements on three tracks, add elegance and variety to an already lovely album. At her own pace, Sara Lazarus has embarked on an impressive recording career; if she has more albums in her like It's All Right With Me, she can take all the time she needs.

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Love Ballads: Late Night Jazz

Love Ballads: Late Night Jazz collects warm, romantic ballad material from a pretty strong array of artists, including Dave Brubeck, Oscar Peterson, George Shearing, Mel Tormé, Lionel Hampton, Joe Williams, Gerry Mulligan, and more. Although it's better to hear most of these artists' work in its original context, this sampler does an excellent job of creating its intended mood, and it's a pretty strong listen as well. ~ Steve Huey, All Music Guide.

(01) [Jim Hall] Sazanami
(02) [Dave Brubeck] Lullaby
(03) [Mel Torme] A Lovely Way to spend an Evening
(04) [Gary Mulligan] My funny Valentine
(05) [Jeanie Bryson] Some Cats Know
(06) [Jacques Loussier] Gymnopedie No.1
(07) [Oscar Peterson] Love Ballade
(08) [Jeremy Davenport] I Thought About You
(09) [Andre Previn] Laura
(10) [Lionel Hampton] God Bless The Child
(11) [Ray Brown] But Beautiful
(12) [George Shearing] How Beautiful is Night
(13) [Joe Williams] Here's to Life

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NO Blues - Lumen

Track List
1 Fatuum Truus
2 Footsteps
3 Ommi
4 Tes Yeux
5 Across the Borderline
6 Lumen
7 Sawt
8 Head Lock
9 Longa NO Blues
10 The River Wild
11 Rollin' Maryam

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Smooth Jazz Plays Motowns Greatest Love Songs

Track List

01 - Ain't No Mountain High Enough
02 - My Girl
03 - I Like It
04 - Let's Get It On
05 - My Cherie Amore
06 - What Does It Take
07 - Since I Lost My Baby
08 - Neither One Of Us
09 - Your Precious Love
10 - Baby I Need Your Lovin'

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The Very Best of Smooth Jazz

Track List
CD1

1. Amy Winehouse - Back To Black
2. Bill Withers - Ain't No Sunshine
3. Stevie Wonder - My Cherie Amour
4. Roy Ayers - Everybody Loves The Sunshine
5. Melody Gardot - Goodnite
6. George Benson - Give Me The Night
7. Nina Simone - My Baby Just Cares For Me
8. Dusty Springfield - Son Of A Preacher Man
9. Jamie Cullum - Everlasting Love
10. Kool and the Gang - Cherish
11. Ella Fitzgerald - Every Time We Say Goodbye
12. Michael Bolton - Fly Me To The Moon
13. The Isley Brothers - Summer Breeze
14. Incognito - Don't You Worry About A Thing
15. Quincy Jones - Soul Bossa Nova
16. Gabrielle - Walk On By
17. Nayo - Smooth Operator
18. Madeleine Peyroux - Smile
19. Ray Charles & Natalie Cole - Fever

CD2

1. Lionel Richie - All Night Long
2. Randy Crawford - Street Life
3. Sergio Mendes feat The Black Eyed Peas - Mas Que Nada
4. Astrud Gilberto - Girl From Ipanema
5. Dame Shirley Bassey - You Only Live Twice (Album Version)
6. Leon Jean Marie - Bent out of Shape
7. Earth, Wind & Fire - After The Love Has Gone
8. Bill Withers & Grover Washington - Just The Two Of Us
9. George Benson & Al Jarreau - Breezin'
10. Dinah Washington - Mad About The Boy
11. Isaac Hayes - Theme From Shaft
12. Carmen McRae - How Long Has This Been Going On
13. The Temptations - My Girl
14. Chaka Khan - Sweet Thing
15. Mica Paris - My One Temptation
16. Sia - Breathe Me
17. Courtney Pine - Children Of The Ghetto
18. Alison Moyet - That Ole Devil Called Love
19. Louis Armstrong - What A Wonderful World


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Najee - The Best Of

Biography

Real Name: Jerome Najee Rasheed
Profile: Born 4th November 1957 in Jamaica, Queens, NYC where he still resides. Smooth Jazz artist, plays saxophone (soprano, alto and tenor), clarinet, flute and keyboards. As well as releasing a number of solo albums he has performed with other artists including Freddie Jackson, Will Downing, Jeffrey Osborne, Marcus Miller, Paul Jackson Jr. and George Duke.Also featured as himself in the horror film 'Def by Temptation' which starred Samuel L. Jackson.Brother of guitarist and producer Fareed Abdul Haqq who has featured on much of his work.

Najee
One of the best-selling instrumentalists of the late '80s to mid-'90s, Najee has been a consistent favorite in the quiet storm and so-called "smooth jazz" markets. Often compared to Kenny G, George Howard, and Dave Koz, the New Yorker has been greatly influenced by Grover Washington, Jr. -- although he hasn't been nearly as adventurous. Heavily produced and quite formulaic, Najee's albums have tended to avoid improvisation and strive for commercial radio airplay above all else. Debuting in 1987 with Najee's Theme, Najee was an immediate hit in the new adult contemporary (NAC) market. Similiar pop/urban jazz dates like 1988's Day By Day and 1990's Tokyo Blue did nothing to jeopardize his niche on smooth jazz radio. On stage, Najee takes some risks and stretches out more -- in fact, he has been quoted as saying he'd like to record a straight-ahead jazz or hard bop album eventually. But financially, Najee has had little incentive to pursue such a project. Morning Tenderness was released in 1998

Track List

1. For the Love of You
2. Najee's Theme
3. Sweet Love
4. Tokyo Blue
5. Can't Hide Love
6. Niculela es una Historia
7. My Old Friend
8. Day by Day
9. Betcha Don't Know
10. Have You Ever Loved
11. Noah's Ark

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Dominick Farinacci - Lovers, Tales And Dancers

Trumpeter Dominick Farinacci, having previously recorded six albums as a leader on Japan's M&I label, released his debut U.S. album, "Lovers, Tales, and Dances" last February 2009. The album features some of the greatest players in jazz, including Kenny Barron, James Genus, Marc Johnson, Lewis Nash, Jamey Haddad, Joe Lovano, and Joe Locke. The record also features guest vocalist Hilary Kole, and string arrangements by Rich Derosa.

Track List

1 Don't Explain
2 Libertango
3 Estaté
4 Vision
5 Ne Me Quitte Pas
6 Erghen Diado (Song of Schopsko)
7 Silent Cry Enos
8 Love Dance Lins
9 Bibo No Aozora
10 Lonely Woman
11 The Theme from the Pawnbroker

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Alain Blesing Octet - Yörük

Alain Blesing is a Dutch guitarist deeply influenced by Turkish music and tunes. This project is a jazzy interpretation of Turkish folk tunes, heavily depending on improvisation by the virtuoso members of the band. You may know the name from the albums of Senem Diyici, Turkish vocal.

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Hassan Kassai - The Dialogue of Ney & Ood (2)

Hassan Kassai - ney
Shahram Mirjalali - ud
Jahangir Beheshti - tombak

TRACK LISTING

1. Shur & Sholail
2. Afshari
3. Shushtari
4. Shur

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Nestor Torres - Sin Palabras (Without Words)

Track List

1. Sin Palabras
2. Labios Dulzes
3. Regalame la Silla Donde Te Espere
4. Pura Brisa
5. Maybe Tonight
6. Contigo Apprendi
7. Gypsy Dancer
8. Lluvias de Cristal
9. Stop Staring
10. Piper Dance
11. No Worries

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Glen Velez - Mokave 2

These three masters of world music and jazz have won world wide acclaim for their seductive musical tapestries of dynamics and textures. Glen Moore is the bassist for the renowned group Oregon, Glen Velez is a frame drum master with a series of well-received albums for the CMP label and pianist Larry Karush has established his reputation with a fine series of solo albums and a duet with bassist Moore for ECM. Mokave is earthly, funky, cerebral and a lot of fun!

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Esbjorn Svensson - Winter in Venice

Esbjörn Svensson - Grand Piano, Keyboards, Percussion Dan Berglund - Doublebass, Percussion Magnus Öström - Drums, Percussion The shocking news of the death of Swedish pianist Esbjorn Svensson in a diving accident off Stockholm, on Saturday 14th June, will surely deeply sadden music lovers everywhere. I say music lovers, as opposed to strictly jazz lovers, as Svensson himself was neither restricted nor confined by categories, and was perhaps rather perplexed by the need of some to constantly attempt to define what jazz is.

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