Uniquely inspired by sixteen pristine, biodiverse isles belonging to the territory of her homeland Sri Lanka, Tanya Ekanayaka's sixteen contrastive and palpable compositions, or 'Piano Isles', comprising this album, embody two distinct forms of composition-performance. Eight works were composed between 2022 and 2024. The remaining eight Extempore Compositions involved simultaneous composition-recording, on a single day of the album recording session in April 2024, each as a whole, and each incorporating a distinct musical motif - a form of artistry never presented through any of Tanya Ekanayaka's previous work.

Naxos World 2004 Sampler

Roll up, roll up! All aboard the 19th century Zri celebration cruise from Vienna to Odessa! Our legendary house band are as stylishly up to the moment as ever, reimagining the latest hits by Herren Rossini, Strauss, Schubert and even Dr Brahms with an intoxicating Romani twist!

Dedicated to spreading awareness of Carnatic (South Indian classical) music throughout the West, Jyotsna Srikanth interprets compositions from revered 15th- and 18th-century Carnatic composers. Exhibiting a range of beautiful ragas derived from the traditional Melakarta system, all pieces feature her exceptional fingering technique and the delightful fusion of musical expression and emotion.

Pipa master Gao Hong and guqin virtuoso Zhao Xiaoxia revisit some of China's best-known traditional pieces, such as Three Variations on the Plum Blossom and Yangguan Sandie, complementing them with improvisation and adaptation full of their own unique creative charm. Here, they masterfully combine the rich history of traditional culture with the avant-garde energy of contemporary art to create a work that is both a philosophical meditation and a spiritual journey.

Hok-Man Yim: Poems of Thunder - Percussion

Harmonious Wail: Gypsy Swing

Kenya's musical landscape is unusually diverse for a single country in Africa. Alongside the traditional music of Kenya's various ethnic and linguistic groups, there is an active and, thriving popular music scene. Various Kenyan pop music styles compete for the ears of the population. All these styles draw on elements of traditional music-things such as local melodies, rhythms, language, and indigenous instruments-and these are mixed with the instrumentation of typical pop bands anywhere; guitars, bass, drums, keyboards, sax, trumpets, and so on. In one of the hottest areas of the Kenyan pop scene today, hip hop and R&B styles from abroad have been adapted to the African setting through Swahili lyrics, local topics, and the addition of local rhythms and instruments. These styles are particularly resonant with young adults and teenagers. On the other hand, older adults and people living in rural areas might prefer benga music. As a pop style, benga originated with Luo musicians from the area around Lake Victoria in western Kenya. It quickly spread to other tribal groups throughout Kenya from the mid-60s onwards. The melodic lines are very much influenced by local musical traditions and the lyrics, sung in local languages, are closely tied to the events and cultural values of the community. Golden Sounds saxophonist and bandleader, Twahir Mohamed, has been a part of the Nairobi music scene since his arrival in 1984 from Tanzania. Twahir hooked up with Samba Mapangala and Orchestra Virunga and played with the group over most of the group's active years in Nairobi. After Virunga disbanded in the early 90s, Twahir joined forces with Shabani Dogo Dogo (d. 1999) in Bora Bora Sounds. In fact, Bora Bora became the backing band for Samba when he toured the United States and Europe in 1996. Later that same year, Twahir and several of the musicians from Bora Bora formed the Golden Sounds Band. The group has been a favorite in such Nairobi night clubs as Coco Beach and Makuti Park. Depending upon economic circumstances, Golden Sounds Band has had as many as 16 members including dancers.

In search of a better life, immigrants from other African countries are flowing to Alexandra. They do not easily find jobs, and even surviving is hard. Housing conditions vary greatly; there are small brick buildings, but also shacks made of all possible materials. Sanitation and sewage systems are inadequate, and the power system does not guarantee electricity for all. Authorities are trying to improve the situation, and new public facilities are being built for the community. The vast majority of the white population has never visited a township. Today, tourists are offered guided bus tours in Soweto, but Alexandra is still outside tourism. Townships are regarded as extremely hazardous places, and for a reason. Crime statistics make a rough piece of reading. I personally had a few loyal local guides all the time by my side. They were able to enlighten me with many facts, among other things about sangomas. Near a square where women were selling fruit and vegetables, with live chickens waiting for buyers, there was an advert for a sangoma. He is an educated spiritualist or diviner who has a contact with the strong spirits of ancestors. It is quite common to ask a sangoma for help in your troubles. Music has always played an important role in Alexandra. Even in the 50s, when notorious gangs ruled the Dark City, there was a lot of music. The gangsters loved social life with parties and beautiful women. Of course, musicians were needed for these parties. The best-known of the musicians of that time was Zakes Nkosi, who played Marabi Jazz on his saxophone. Also Hugh Masekela, a famous Jazz trumpetist, has his origins in Alexandra. Kwela music, which is played with Pennywhistles, was born in the streets of Alexandra in the 1940s. Tin whistles could also be used as alarms to warn of the approaching police! Today, as well as in those days, you can see people manifesting their religion in their dress too. The good tidings of the Christian faith also emerge in some of the songs of Alexandra Youth Choral Choir. Their religion is mixed with African tradition, and they have their own joyful and dancing way of propagating their Holy Gospel.

Winter Kolednica (Carols)

Sherab Ling Monks: Sacred Tibetan Chant

The Little Grasscals: Bluegrass

Chen Jun: Erhu Classics

In the autumn of 1998, I had the opportunity to visit Africa. Specifically, I participated on a trip arranged by PAND (an artists' organization for peace) to Mozambique, spending most of the time in the capital, Maputo. Among other things, we saw a local dance group. Eduardo Dur�o was a musician and composer working with the group. So far Eduardo Dur�o has made only one record under his own name, for the Globestyle label in 1978. In 1992 he played on Peter Giger's Jazz timbila record. In addition to timbila music, Dur�o is eager to experiment. Timbila tradition meets with modern times on this recording in different combinations. Dur�o has some jazz experience from his work with Giger; he even played at the Berlin Jazz Festival. Masso a Ticerto and M'Tshitso are instrumental pieces and they represent the traditional style. Sindatana and Tcigogorolo have the largest instrumental combinations on this CD. Besides the timbila group, singers and percussion, there are drums and an electric bass. I play the saxophone and Seppo Kantonen the synthesizers. On this CD, Eduardo Dur�o can be heard as a composer, timbila player, singer, and occasionally percussionist.

Si-Zhu: Jiangnan Classics