adunate

EY DARD,EY YAADeYAAR

باز آفرینی مقام لو
«لو» در موسيقی كرمانج های خراسان آهنگ و ترانه‌ای بسيار مهم و پرمعنا است كه به شکل‌های مختلف خوانده می شود.
«لو» همچون اکثر آواز‌های كهن ايرانی دارای اشعار هجايی بوده و تعداد هجاهای آن می تواند بر اين اساس متغير باشد.
«لو» آهنگ و مقامی مستقل است؛ اما هر آنگه در حوزه متر آزاد خوانده شود یا لحن خود را از «لو» گرفته و يا تحت تاثير آن است. كشش های ممتد و حزن انگيز خوانندگان همواره مقام «لو» را تداعی می‌كند.
بنابراين يكي از نشانه هاي مقام های كهن كردی، دارا بودن لحن لو است.

با بهره بردن از آکوستیک معماری بنای قدیمی رزیدنسی (اتاق دست‌کن)
مقام لو با دو شیوه اجرا و توسط ساند آرتیست گروه، سهیل سهیلی، ضبط، میکس و مستر شد
در ادامه لالایی‌ای که توسط خانم ساریگل اجرا و در پژوهش های میدانی اینجانب در راستای حفظ و اشاعه موسیقی شمال خراسان ثبت شده بود به قطعه اضافه شد.
با توجه به شباهت فرم ساختاری سقف اتاق دست‌کن با فرم کاسه دوتار این اثر خلق شد. 
این تلاش برخوردی متفاوت با مقوله معماری و آکوستیک محل ضبط و صدادهی دوتار است.

دوتار نوازی دراتاقهای دستکن بناهای تاریخی کاشان(مقام لو  و لالایی کرمانجی)

Singer, Song Writer, Composer and Producer: Jalil Shoa 
@jalilshoa

Art Direction, Animation: 
Ehsan Abargouei
@ehsan_abarghouei

Mix and Master: 
Peyman Hatami
@peymanhatami


Art Advisor: Sadegh Kia
@sadegh_k.i.a



Singer, Electric and Acoustic Guitar, Keyboards: Jalil Shoa

Electric guitar and Sound designer: 
Peyman Hatami

Saxophone and Trumpet: 
Amirhossein Farkhonde
@amirhosseinfarkhonde

Trombone: 
Alireza Malekzadeh
@alireza.mlz

Lyrics Editor: Sara Ghahremani
@ghahremani.sarah

Back vocals: Maral Pornazar, Milad Riazipour, Hamed Kharabian, Negin Azizollahzadeh, Ali Ahmadimoghadam , Behrang Rasti


Jailor
Lyrics by: Jalil Shoa

(They) Built up for me four walls
Then put me in this new cage
They told me it would be safer,
For you, and for the others

(I) told‘em “dear Jailors
Build my walls as high as you can
So sky will be my share,
And the rest of it, will be yours”

Dear jailor, do me a favor, build it longer, make it wider
Go, o, Higher,
To the dreamy blue sky 
Dear jailor, do me a favor, build it longer, make it wider
“My heart will leap up”, 
All its way up, to the sky

On the floor of my cage, 
There is nothing left but this plat,
Four steps on its each side,
For me, and for my back

But along with my all walls,
There’s an endless way go upward
My heart evermore leaps up,
Every day and night, to the sky

Jailor

Gusheye Deylaman Ostat Banan|گوشه دیلمان آواز دشتی استاد بنان

گیتار، تنظیم، میکس ومسترینگ :
کاوه نیک‌قدم

متن ترانه:  
زنه وارش باز اخیابانه ...دیوانه بارانه آسمانه
همه جاجیگا تاسیانه...می دیل پوره تی دیل گورخانه
تی چوم سو بوشو می دیل بی قرار
اما پیاده ا دونیا سوار
تی پا تلس بزه می باله بدار
زمستان شه ایه باز بهار طاقت باوار طاقت باوار
زمستان شه سیل باران شه برف وبوران شه کورغوغو کلاج کشکرته غار و غوران شه
باباخان تیرکمان زنه آسمانه
حاج حاجی پوشت بام ور آوازه خوانه
((گول پامچال گول پامچال بیرون بیه ...بیرون بیه ...فصل بهاره...عزیز موقع کاره...))

معنی ترانه :

دوباره تو این خیابون بارون میباره
بارون تند آسمون
همه جا رو غم گرفته
دل من پره و تو دلت داره مثل رعد و برق صدا میکنه
تو چشات کم سو شده و دل من بیقرار
ما پیاده ایم و این دنیا سوار
پاهات تاول زده دستمو نگهدار
زمستون میره و دوباره بهار میاد طاقت بیار طاقت بیار
زمستون میره بارون سیل آسا تموم میشه برف و بوران میگذره
جغدها و کلاغها و زاغها میرن
رنگین کمون میزنه تو این آسمون
و پرستوها رو پشت بوم آواز میخونن
((گل پامچال بیرون بیا ...بیرون بیا ...فصل بهاره...عزیز موقع کاره...))

تاسیان - کاوه نیک قدم /Kaveh Nikghadam - Tasian

من خودم را پوشیدم

فصل نبود

در لباس بی‌فصل

من ترا سرتاسر نبودم

من تو بودم

من ترا خوب گفتم

که گلهای شمعدانی را پوشیدم.

اتاق من دیگر سفید است

گلدان اکنون خالی است                                                          

مرا دوست بدار                            

گلدان گل می‌دهد

اتاق سفیدتر می‌شود

مرا دوست بدار                                                                   

گلدان گل می‌دهد

اتاق سفیدتر می‌شود

مرا دوست بدار.                  

 

 

من در اتاق سفید                                     

ترا خفته ام

ترا پوشیده ام

سفیدی را صدا نمی‌کنم.                                                           

مرا دوست بدار

من تو را سرتاسر نبودم  / شعر و صدای احمدرضا احمدی

From bright Nigerian highlife horns to Ethiopian fuzz-tone guitar riffs, this Rough Guide presents a broad selection of rare African dance grooves. Hard to find but easy to dance to.

Free tracks, videos and more information at www.worldmusic.net/africanraregroove

The concept of ‘Rare Groove’ has come a long way since its origins in the 1980s London club scene, where DJs would try to out-do each other with soul and funk obscurities. These days the blogosphere is full of enthusiasts sharing their latest vintage vinyl finds, with African music providing rich pickings. But there is a largely untapped resource of independent labels in Africa, America and Europe releasing fabulous sounds that deserve a much wider audience. This collection pulls together a variety of African grooves music from Mozambican marrabenta to Nigerian highlife.

Gentleman Mike Ejeagha and his protégé Celestine Ukwu are both known for morally instructive songs in the Igbo language of south-eastern Nigeria. ‘Ikpechakwa A-Akem Kpee’ starts with a clarion call of horns and quickly settles into an old-school highlife groove. Ukwu is a bit more laid back, with a fabulously languid horn section. Osayomore Joseph is known as ‘Ambassador’ for popularising the Edo language through music. ‘Oyeye’, with its ringing guitar and rasping brass was one of his first hits in the early 1970s.

Orchestra Marrabenta Star De Moçambique takes its name from an urban music style from Maputo, speeding up the rural majika rhythm and adding pulsing horns. Ayalèw Mèsfin started singing with Ethiopian Police Orchestra before developing his own rock’n’roll-influenced sound full of moody fuzz-guitar riffs, keyboard stabs and horn punches. Analogue synths meet old school East African Rumba in ‘Kai Kai’ by Yam Yam, a previously unreleased track featuring the talents of Congolese émigrés Les Mangalepa, now based in Nairobi, and British producer Guy Morley. International Orchestra Safari Sound, formed in Tanzania in 1985, developed a style known as ndekule, which refers to both a traditional war dance and a species of snake. ‘Homa Imenizidia’, with lyrics about an overpowering fever, certainly has a serpentine grace! 

West Nkosi’s sax jive style provides a stepping stone between penny-whistle kwela and mbaqanga, the township music unforgettably dubbed ‘The Indestructible Beat’. ‘Malombo’s ‘Mbaqanga Blues’ is an edgier proposition featuring multi-instrumentalist Phillip Tabane and Gabriel Thobejane on percussion.

Super Cayor De Dakar described their brand of Afro-Latin music salsa-mbalax. The 1996 version of ‘Dégoo’ included here is more immediate than later recordings, with a sublime combination of keyboards and horns. Saleta Phiri was one of the first two musicians to receive ‘The Malawi Honours Of The Achievers Award’. His songs speak of the hardships of life in the volatile township of Ndirande. On ‘Ndolo’, Cameroonian polymath Francis Bebey combines pygmy flute, a rattle-bag of percussion and a gently funky bass-line with intriguingly contrasting vocal styles, though the theme is given away in the final line: ‘I’m singing my love for you’.


Gentleman Mike Ejeagha & His Premiers Dance Band: Ikepechakwa A - Akem Kpee

Barbecue Bob was one of the best-selling and most innovative blues artists of the late 1920s before he died at the age of just 29. Undoubtedly some of the most engaging early blues that you are likely to hear, his original and witty compositions had a huge influence on many of the blues greats that followed.

More information at http://www.worldmusic.net/barbecuebob

Barbecue Bob: Barbecue Blues

Prairie Rose mix01

Ocean of Silence – Ocean du Silence

Before there was the bluesman there was the songster. Priding themselves on their huge musical repertoires, they performed every form of popular music of the day and could be described as the human jukeboxes of their time.

More information at www.worldmusic.net/songsters

Luke Jordan: Pick Poor Robin Clean (taken from The Rough Guide To The Blues Songsters

This cutting edge Rough Guide digs deep into today's dynamic, shape-shifting Brazilian jazz scene – leaving 'The Girl From Ipanema' lounging in the shade.

For more information: http://www.worldmusic.net/store/item/RGNET1345

Fernando Moura & Ary Dias: Mexido (taken from The Rough Guide To Brazilian Jazz)

سروده‌ ای از: مارگوت بیکل
 ترجمه و صدای: احمد شاملو


برآنم که زندگی کنم

Blanoz Ft. Maria Casandra Hausi - Cuvant Viu (rework)

Peyman Yazdanian - Deserted station (part 1)

Abuata ابوعطا

Daniels and Partners is an entertainment consulting firm based in Paris since 1998. We supply a wide range of services for record labels as well as music users.
Playlists shared here are made to spread the news on artists we represent and expose their works to potential contractors.

Peyman Yazdanian - Deserted station (part 1)

danielsandpartners

Recent comments

Felicitas Frey

John Lim

nancy yousef

♥ Artemis

Related tracks