Lullaby

Strings of Desire

Sabou

FR-9W1-12-16706

از میان این لالایی، صدهزار سرباز می‌گذرد و گیس‌ِ بلند‌ِ صدهزار مادر سفید می‌ماند به انتظار و از.ـ‌ 
تبار زنانه‌گی‌‌ِ این زمین است انگار، انتظار... ـ
ـ(سهم‌ِ من، سی شب خواندنش بود در نمایش «ننه دلاور، بیرون پشت‌ِ در» به نویسندگی و کارگردانی سجاد افشاریان)ـ

https://soundcloud.com/shahr-zad/laylay

لالایی کُردی | Kurdish Lullaby

تنظیم : سیامک جهانگیری
سحر لطفی : آواز 
مریم قرسو : تار 
روشنک نوری : سنتور 
المیرا مردانه : کمانچه 
مژگان قرسو : تمبک 
سارا فطرس : دف 

Sahar Lotfi : chant 
Maryam Gharasou : Tar 
Roshanak Noori : Santour
Elmira Mardaneh : Kamancheh
Mozhgan Gharasou : Tombak 
Sara Fotros : Daf

Lullaby    لالایی

This Rough Guide concocts a collection of laid-back music you can hear pumped out from street-side coffee-houses across North Africa and the Middle East. Sip the historic infusion with musical masters Maurice El Medioni, Akim El Sikameya, Ali Hassan Kuban, Salamat and Abdel Gadir Salim.

For more information: www.worldmusic.net/arabiccafe

The Rough Guide To Arabic Café

Nowadays in the West coffee chains are endemic on every high street. Pounding the streets anywhere from Croydon to Chicago, you can be sure to find a slick, stainless-steel-clad Starbucks or a clinical, corporate Costa crowded on to every other corner. In these capitalist climes, multi-national chains jostle for space with holistically hip independent joints where media consultants tip-tap on MacBooks whilst sipping their double-shot decaf doppios. Looking back at the richly roasted history of the potent brew reveals a fascinating story and its deep connection to the musical culture of Eastern Africa and the Middle East, where the drink originated. 

There are hundreds of contesting accounts of coffee’s legendary first uses. A popular theory surmises that in the tenth century, nomads wandering through Ethiopia’s mountains ate the coffee plants red fruits and first discovered its stimulating properties. Next, members of the Shadhiliyya Sufi order are said to have spread coffee-drinking across Southern Arabia and the Islamic world from the thirteenth century onwards. Today coffee’s enveloping aroma still scents the streets of the Arab world’s beating cities and village outposts. Touchdown in Beirut, Ramallah, Cairo, Casablanca or Riyadh and you are sure to soon have your hands wrapped around a steaming strong amalgam. This Rough Guide concocts a collection of laid-back music likely to be pumped out from street-side Arabic coffee-houses where the clinking of glasses, gentle ripple of conversation and misty shisha smoke mingles amongst the guests in percussive interplay.

We sip our first Arabian infusion in a Franco-Algerian establishment in the company of Maurice El-Medioni. Born in Oran, El Medioni first learned to play the piano by mimicking popular 1930s French songs he heard on the old family radio. During the 1940s he learned to boogie-woogie and jazz along with the US troops stationed in Oran. In 1962 escaping his country’s bitter civil war El Medioni relocated to France and set himself upon the cosmopolitan cabaret scene. Joining us in Algeria, Akim El Sikameya’s unique high-range vocal is heard on ‘Ya Waadi’. Both artists blend Arab-Andalucian tradition with swinging jazz trumpets and syncopated swagger.

Ali Hassan Kuban’s music greets us in Egypt with a steaming cup of his Nubian blend. Known for his wide gap-toothed smile and jazz-inflected wedding music, Kuban transformed the complex rural rhythms and trance-like chants of his homeland by adding Western instrumentation and danceable beats. Sudanese musician Abdel Gadir-Salim also draws on wedding repertoire as heard on his strident 6/8 tune ‘Gamearina’. The band Salamat was formed by Mahmoud Fadl, another musician with a strong rooting in the Nubian and Arabic wedding scene in Egypt. Fadl’s love of percussion is resonant in the playful patterns underpinning tracks ‘Elleya Misafir’ and ‘Wainek’.

Within the course of this travelogue album we go on to glide from Ihsan Al-Mounzer’s Lebanese light roast to Groupe Mazagan’s Moroccan rock mix, Daramad’s relaxed-pace Persian delights, and Ramzi Aburedwan’s punctuated Palestinian grooves. Uncover the history of coffee culture on this carefully-blended compilation.

Ramzi Aburedwan: Tahrir (taken from The Rough Guide To Arabic Cafe

Kurdish Lullaby, Lay Lay,laye Laye,Nour Ensemble

Within

Lovingly mastered from old tapes found in a friend’s attic, this is a vintage collection of previously unreleased rarities and early works by one of the guitar's truly great innovators.

**A vintage collection of previously unreleased recordings**

Further information at www.worldmusic.net/johnrenbourn

John Renbourn: Rosslyn (taken from The Attic Tapes)

I wanted to do a remix of a classical composition; this is what I came with: Satie, Gnossienne # 1....

Dreampedia

Official bio :

Mamadou Diabate was born in 1975 in Kita, a Malian city long known as a center for the arts and culture of the Manding people of West Africa. As the name Diabate indicates, Mamadou comes from a family of griots, or jelis as they are known among the Manding. Jelis are more than just traditional musicians. They use music and sometimes oratory to preserve and sustain people's consciousness of the past, a past that stretches back to the 13th century when the Manding king Sunjata Keita consolidated the vast Empire of Mali, covering much of West Africa. The stories of these glory days and the times since remain important touchstones for people today, not only for the Manding, but for many citizens of Mali, Guinea, Gambia, and Senegal. So to be born to a distinguished jeli family in Kita is already an auspicious beginning.

Mamadou's father Djelimory played the kora, the jeli's venerable 21-string harp. He was widely known as N'fa Diabate, performing in the Instrumental Ensemble of Mali and recording on the National Radio of Mali. At the age of four, Mamadou went to live with his father in Bamako, where the Ensemble was based. When it came time for him to return to Kita and go to school, Mamadou knew that the kora was his destiny. His father had taught him how to play the instrument, and from there he listened and watched and devoted himself to practicing the kora, to the point that his mother worried that he was not concentrating enough on school. When she took it away, it only reduced his interest in studying, and he quickly resorted to making his own kora so he could continue.

Before long, Mamadou left school and began playing kora for local jeli singers, and traveling throughout the region to play at the ceremonies where modern jelis ply their trade, mostly weddings and baptisms. When he was fifteen, Mamadou won first prize for his kora playing in a regional competition and instantly became something of a local celebrity. The next year, he went to Bamako, and under the tutelage of his famous kora playing cousin, Toumani Diabate, he worked the jeli circuit, backing singers at neighborhood weddings and baptisms and entertaining the powerful at the city's posh Amitié Hotel. Toumani gave his cousin the nickname "Djelika Djan" meaning "Tall Griot," a reference to Mamadou's impressive physical stature. The name has stuck.

In 1996, a touring group from the Instrumental Ensemble of Mali offered Mamadou the chance to travel to the United States with a group of Manding musicians and cultural authorities. Following a successful tour, Mamadou decided to continue his work in the United States and, since then, he's made his home in and around New York. Mamadou gets frequent invitations to perform with visiting Malian stars including Ami Koita, Tata Bambo Kouyate, Kandia Kouyate, and Babani Koné. He has performed at the United Nations, Lincoln Center, the Metropolitan Museum, and at the Smithsonian Institute in Washington. In addition, he's delved into uncharted waters, jamming with all manner of expert musicians, including jazz luminaries Donald Byrd and Randy Weston, Zimbabwean legend Thomas Mapfumo, and blues masters Eric Bibb and Guy Davis. Mamadou's recording credits have expanded as he has laid tracks with artists ranging from Irish soloist Susan McKeown, jazz bassist Ben Allison, and Benin's celebrated Angélique Kidjo.

Mamadou says that his father advised him to listen to all the best kora players and to learn from each one. The kora itself came to Mali from Gabu, the region centered between Gambia, Senegal, and Guinea Bissau, and the Malian kora tradition has always put a premium on holding onto the old ways while constantly innovating and developing the art.



Mamadou Diabate - Yaka Yaka

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Duga 00:00 / 03:57
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Recorded and Mastered by Simon Ratcliff at Sound and Motion Studios
Guitar arrangements by Derek Gripper
Guitar by Hermann Hauser III
Cover by Twoshoes
Produced by Derek Gripper

Lampedusa and Miniyamba by Toumani Diabate and Sidiki Diabate 
Duga by Sekou...  more
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1.
Duga 03:57
2.
Lampedusa 04:14
3.
Miniyamba 05:16
4.
Salama 04:49
5.
Bafoulabe 03:55
6.
Si Naani 05:49
7.
Maimouna 04:13
8.
Korobali 05:16
9.
Alfa Yaya / Anna Magdalena 07:45
about
"En Afrique, quand un vieillard meurt, c’est une bibliothèque qui brûle." 

"In Africa, when an old man dies, it's a library burning." Amadou Hampate Ba" 

...quote with thanks to Ben Mandelson and Lucy Duran
credits
released November 10, 2015 

Recorded and Mastered by Simon Ratcliff at Sound and Motion Studios 
Guitar arrangements by Derek Gripper 
Guitar by Hermann Hauser III 
Cover by Twoshoes 
Produced by Derek Gripper 

Lampedusa and Miniyamba by Toumani Diabate and Sidiki Diabate 
Duga by Sekou Batourou Kouyate 
Salama, Bafoulabe, Korobali by Toumani Diabate and orig. performed with Ballake Sissoko for "New Ancient Strings" 
Maimouna by Ballake Sissoko 
Si Naani by Toumani Diabate 
Alfa Yaya by Amadu Bansang Jobarteh 
Anna Magdalena by Derek Gripper

09 Alfa Yaya   Anna Magdalena

Original Track: https://www.youtube.com/watch?v=JoLA1tCLcBI
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<a href='https://theartistunion.com/tracks/8c1041'>Download for free on The Artist Union</a>

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Soap Kills - Wadih (Rabih Rizk Remix)

Live version of 'Look Me In The Eye', the original appears on Nightports w/Matthew Bourne (2018)
nightports.bandcamp.com/album/nightpo…atthew-bourne

nightports.co.uk
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@matthew-bourne @theleaflabel

Nightports w/Matthew Bourne - Look Me In The Eye(Live)

Amankor / The Exile marks the long-awaited return of the iconic guardians of Tuareg music Tartit, whose hypnotic music speaks of the issues of a culture under attack. With heartfelt songs of nostalgia for their homeland, Tartit spread the message of love and peace whilst transporting the listener to the expanses of the Sahara.

http://www.worldmusic.net/store/item/TUG1120

Amankor / The Exile

Afous Dafous Bip

سه‌ تار عطااله ایمانی‌ 

نمونه صوتی سه‌ تار کاسه متوسط الگوی استاد محمود هاشمی‌

ساخته محمود صادق محمدی

Setar Ata Ollah Imani I سه‌ تار عطااله ایمانی‌

WMN is one of the leading forces on the world music scene & consists of 4 labels – Music Rough Guides, Think Global, Riverboat Records & Introducing.

Ramzi Aburedwan: Tahrir (taken from The Rough Guide To Arabic Cafe

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