Karimi, master of singing, drew on the most authentic source of the radif (classical repertoire) to create an intimate expression far removed from any artifice, in perfect harmony with Mohammad Musavi's ney flute -a simple reed with immense power. This is how Karimi illustrates the mode in which he has chosen to sing: "Nav� has a special beauty of it's own. A mode with a sweetness, finesse and subtlety that plunges the listener into a state of meditation. It's melodies are among the most traditional, having been passed on for at least three hundred years from teacher to pupil right down to my own teachers, Dav�mi and H�jji Aq�". Mohammad Musavi's reed flute (ney) also signifies the calligrapher's pen. There is indeed a way of emphasising a single note in a song as if it were a stroke, of echoing a fragment of it, of seizing on a motif and unfolding it in an arabesque, of organising it's punctuation, which evokes calligraphy and illumination. At this point, two ineffable breaths remain: that of a man and that of a flute. But, as Mowl�n� Rumi suggests, are they not one and the same being?

Pour le premier album de son Klezmer Ensemble, Marc Crofts reunit des musiciens de tous horizons (Suisse, France, Pologne ou Bulgarie) qui ont chacun des influences musicales differentes : musiques klezmer, balkaniques ou tziganes, mais aussi jazz et classique. Le violoniste a puise dans un repertoire folklorique perdu, qu'il a rearrange de facon totalement inedite en faisant dialoguer les codes traditionnels avec ses propres experiences musicales et celles de chacun de ses acolytes. Entre tradition et modernite, Urban Myths propose une relecture subtile et jubilatoire de la musique klezmer, interpretee par des musiciens virtuoses qui communiquent une precieuse complicite. Augustin BONDOUX / Patrick FReMEAUX For his first Klezmer album, Marc Crofts has gathered musicians from many horizons (Switzerland, France, Poland, Bulgaria). Each of them brings in a different musical influence, whether from Klezmer, the Balkans or gypsy traditions, but also jazz and classical music. The violinist draws from a lost folk repertoire which he has rearranged in a totally novel way, constructing a dialogue between traditional codes and personal musical experiences that belong only to his companions and himself. Navigating old traditions and inventive modernity, "Urban Myths" offers a jubilant and subtle new interpretation of klezmer music played by virtuoso musicians who share a precious and communicative complicity. Augustin BONDOUX / Patrick FReMEAUX UKRAINIAN MEDLEY - FARMER'S ZOK - BELORUSSIAN SKOTCHNE - VEN IKH ZOL HOBN - VOLEKH - VOLYNSK NIGN - THE POET'S NIGUN - PAPIR IZ VAYS - ROZMARIN NIGN - WEAVER FROM JELAL - ANONYMOUS NIGN - ZAY GEZUNT - PERELMAN'S TISH-NIGN - SAKHINOVSKI SKOTCHNE. MARC CROFTS : VIOLON, VOIX & ARRANGEMENTS - ATANAS MARINOV : CLARINETTE - SERAPHIM VON WERRA : ACCORDeON - PIOTR WEGROWSKI : CONTREBASSE. PRODUCTION : NOMADIM PROD.

Cheo Hurtado, virtuoso of the cuatro and bandola guayanesa, presents part of the vast traditional Venezuelan repertoire, mainly derived from pre-baroque and baroque Hispanic music: melodic richness and rhythmic vigour. Cheo Hurtado (born Asdr�bal Jos� Hurtado on 2 May 1960 in Ciudad Bol�var, Venezuela) is one of the most celebrated virtuoso performers of the cuatro, a small four-stringed instrument central to Venezuelan folk tradition. The Spanish conquest reached Venezuela fairly early. Christopher Columbus had already landed near the Orinoco delta by his third journey, in 1498. As it was near to Santo Domingo and Cuba, which were the gates to all contact with the homeland, Venezuela was exposed to a good deal of musical input from Baroque Europe. In addition to church and secular art music, Spanish popular music forms were also introduced throughout the continent of South America. These musical forms may have already gained African and American influences while in Spain. In the course of time, they turned into traditional music. Cheo Hurtado learned to play the cuatro with his father, performed at an early age as a soloist, and was awarded several prizes. He has played with various groups, including Guruf�o (one of the most popular bands in Venezuela). He also plays the bandola llanera, mandolina, and the Cuban tres.

I Love German Folk & Drinking Music album for sale was released Nov 07, 2000 on the Kado label. I Love German Folk & Drinking Music CD music contains a single disc with 25 songs.

Boubacar Traore carries within him all the beauty of African blues. A diamond among the jewels of Mandingo music, he shines with the dark glow of exceptional purity. Only the voice of "Kar Kar" (a footballing nickname meaning "The Dribbler" given him by his friends, who also love the beautiful game) can blend Niger and Mississippi river alluvia with such moving authenticity. His unique, inimitable, self-taught guitar technique owes a great deal to his kora influences, but it's shades and phrasing also suggest the great black bluesmen of the deep South: Blind Willie McTell, Robert Johnson, Muddy Waters and others. Back in the 60s when the euphoria of African independence reigned, the 20-year-old Boubacar Traore was Mali's Chuck Berry and Elvis Presley. He was the first to play Mandingo-based music on electric guitar, long before his junior, Ali Farka Touré. It is in the United States, in Lafayette Louisiana, that Boubacar Traore wished to record his third album for the label Lusafrica. The guitarist's intention was to change the coloration of his songs (old numbers like "Dounia Tabolo" ou "Kanou", and new ones, "Ben de Kadi", "Mousso") while conserving their original character. So it is with musicians from the Southern States of the USA he had met on tour, Cedric Watson on violin and washboard, and Corey Harris on guitar, that he undertaked the recording of his album "Dounia Tabolo" at the end of 2016. And when he told them he wanted to add a cello and female voice to the album, Cedric Watson suggested Leyla McCalla. This recording is a new milestone in the work of this extraordinary but modest artist. From blues to folk and Cajun to Zydeco music, his new traveling companions have provided a touch of folly and swing (Cedric Watson), blues depth (Corey Harris) and discreet elegance (Leyla McCalla). More than ever, Boubacar Traore has shown himself to be the living, vital connection between Mali and the Mississippi.

2016 album from the Grammy-nominated superstar. Sensuous Chill is inspired by a myriad of international sounds and flavors with a groundbreaking new sonic approach. The album once again sees the visionary musician exploring new realms of sound and creativity inspired by his seeming infinite world travels. Tracks like the ecstatically rhythmic "Desert Soul" and the bhangra-spiced "Dance For Me" are among the most physically stimulating of the composer's remarkable canon, offering a new sonic perspective on his adventures and experiences amidst myriad aspects of global culture. Yanni is truly a global artist - a multiple Grammy Award-nominated composer, multi-instrumentalist, producer and performer whose extraordinary body of work has both pioneered contemporary instrumental music and re-imagined the live concert-going experience. Since making his solo debut with 1984s Optimystique, Yanni has seen no less than 15 albums reach #1 on the Billboard's Top New Age Album Chart, more than any other artist ever, and has amassed over 35 platinum and gold records throughout his career.

Classical Music

Martti Pokela, Eeva-Leena Sariola and Matti Kontio are among the foremost players of the Finnish kantele, a folk instrument of the psaltery type. Almost nothing is known about early Kantele repertory, beyond a probable narrow melodic range. In more modern times the kantele has become a box-shaped instrument of 12 to 46 strings fastened to wood or iron wrest pins, tuned diatonically and encompassing 3-4 octaves. "The Art of the Finnish Kantele" presents 17 kantele pieces, both traditional melodies and new compositions. Played on 5, 9-and 36-string kanteles and the jouhikko (bowed lyre)

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

MASTERS OF PERCUSSION, Vol. 3

CD Booklet Features Text in English, German, French And Spanish.

Songs of Love and Devotion

Best of Ireland: 20 Songs and Tunes

Compositions by Wayan Lotring, one of the greatest Balinese musicians of the first half of the 20th century, finally a part of the musical mythology in a country where the soul of an artist is nature’s most coveted gift, and the most sacred that the gods can grant. Lotring was born in 1898; every night at the age of six he played with the members of his family and accompanied the performances of shadow theater. A few years later, he had a ‘semar pegulingan’ made which would become the most beautiful gamelan of Bali. Because the semar pegulingan is pure crystal, it’s water that flows from the still limpid spring, it’s the voice of the gods- gamelan once being reserved for princes, they were built with infinite care. Never before will one have heard a more beautiful, a more limpid, a more perfect one than his. In the 20s, his fame crossed borders and in 1936 he spent several weeks in Ceylon- in the meantime Asia had heard of him: the greatest Indian dancers made the trip to visit him, artists from Siam and even Japan met him, thus recognizing his reputation for being the greatest musician in the Far East of his time.

The main instruments in Baluchi music are recorded on this album -the most prominent (the sorud fiddle), the oldest (the doneli double flute), and the most recent and brilliant (the benju zither)- that presents the art of a freedom-loving nomadic people, living from hand to mouth and always on the move. The Baluchi are a people of about five million individuals, scattered mainly across Pakistan (of which they occupy nearly half), the South-East of Iran, Afghanistan and the Emirates of the Persian Gulf, where they form a large immigrant community. Because of their origins and language, they belong to the Iranian world; they seem to have occupied first the centre of Iran (Kerm�n), or perhaps even the north, before migrating towards the southeast. It was only in the 18th century that a Baluchi national identity arose. It won over and brought together various tribes, essentially on the condition that they would speak the same language. Probably around that time, epic poetry was developed between them, thus unifying all the groups and sub-groups, whatever nuances there might be, into an entity which we now call the Baluchi people.

Bon is considered to be the ensemble of pre-Buddhist beliefs of the Tibetans; it embodies a vast mass of ritual practices bearing on exorcism, divination and the appeasement of wrathful divinities, and elaborate teachings for spiritual realisation -which place Bon among the great mystico-philosophical systems of the world despite it's relatively small number of followers. These recordings illustrate various facets of the religious activities of the Bonpos through their chant and their psalmodic recitation. They intend to bring to a wider audience the musical aspects of a ritual tradition that is largely unknown to the Western World and has remained obscure to the Tibetan themselves.

The history of traditional Japanese music extends from it's origins in the second century BC up to the present, encompassing five main periods: prehistoric, ancient, mediaeval, modern, and contemporary. During each of these periods, specific forms of music developed, some of which are still extant today. Japanese music as we know it today was born during the mediaeval period, with the appearance of Wasan (Buddhist chant performed in Japanese), of Heikyoku (Heike epics, sung and recited with accompaniment on the biwa lute), and of No (theater plays involving dialogues, mime and dance. The Yonin No Kai Ensemble from Tokyo was created in 1957 when each of it's four members was awarded a gold medal in Moscow at the International Competition of Traditional Instruments. Since then, the ensemble has given many concerts, both in Japan and abroad, as is evident from their discography, these artists have made an exceptional contribution to Japanese music, ancient as well as contemporary: they have recorded, so far, as much as fifteen albums with traditional music, and some ten albums with contemporary compositions.

Classical Music

Classical Music

Classical Music

Golden Bough: Live - 25th Anniversary Concert