Archive for the ‘Instrumental’ Category

Naseer Shamma - 1999 - The Moon Fades نصير شمه – رحيل القمر

ولد نصير شمه في مدينة الكوت بالعراق عام 1963، أكمل دراسته الجامعية في معهد الدراسات الموسيقية في بغداد عام 1987. بعدها أصبح تخصصه هو العزف على آلة العود، يعدّ نصير شمه واحداً من أبرز الموسيقيين العرب الذين برزوا بجدارة مع نهاية القرن العشرين، واستطاعوا أن يدخلوا القرن الواحد والعشرين بخطوات راسخة تستند على منجز تراكمي ونوعي من التأليف الموسيقي المنفرد، حصل نصير شمه على العديد من الجوائز التقديرية والتكريمية وقدم العديد من العروض الموسيقية في العديد من دول العالم. يعمل الفنان نصير شمه حالياً أستاذاً للعود بدار الأوبرا المصرية في مشروع أسسه نصير مع الأوبرا لخلق مواصفات للعازف المنفرد (بيت العود العربي). كما وأسس فرقة عيون لموسيقى التخت العربي في القاهرة.

نصير شمه
نصير شمه في سطور:
* موسيقي من العراق استلهم من الحضارة القديمة وهموم وطنه قطعه الموسيقية.
* عزف على عوده (إشراقة أمل) و (قصة حب شرقية) والكثير من الأعمال المهمة.
* حلم مريم كانت بمثابة رسالة دبلوماسية عن معاناة أطفال العراق.
* حوّل خمسة قصائد من شعر محمود درويش إلى قطع موسيقية.
* تعاون مع المخرج التونسي المنصف السويسي في مسرحية (البلاد طلبت أهلها) عام 1988 .
* معزوفته (العامرية) تحولت إلى أعمال مسرحية وباليه وأفلام وثائقية وروائية ولوحات تشكيلية .
* يعد نصير شمه واحداً من أبرز الموسيقيين العرب الذين برزوا بجدارة مع نهاية القرن العشرين، واستطاعوا أن يدخلوا القرن الواحد والعشرين بخطوات راسخة تستند على منجز تراكمي ونوعي من التأليف الموسيقي المنفرد. يعمل الفنان نصير شمه حالياً أستاذاً للعود بدار الأوبرا المصرية في مشروع أسسه نصير مع الأوبرا لخلق مواصفات للعازف المنفرد (بيت العود العربي).
* أسس فرقة عيون لموسيقى التخت العربي في القاهرة.
* حصل على العديد من الجوائز التقديرية والتكريمية وقدم العديد من العروض الموسيقية في العديد من دول العالم

Track List:
1 – The Moon Fades
رحيل القمر
2 – An Eastern Love Story
قصة حب شرقية
3 – Tender Breeze
نسمات عذبة
4 – From Assyria to Seville
من أشور إلى اشبيلية
5 – Bagdad Night
ليل بغداد
6 – Birds Love
حب العصافير
7 – Happened At Al-Amiriyya
حدث في العامرية

Duration: 57:57 | Bitrate: 192 kBit/s | Year: 1999 | Size: 85 mb

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DuOud - 2002 - Wild Serenade

DuOud are the latest North African sensation to prove that tradition and technology can mix and match to create a sound full of possibilities.

DuOud consist of two oud-playing Parisians who combine their North African heritage with the latest in Western technology. Jean-Pierre Smadja – already noted for the two albums he issued as Smadj on MELT 2000 – is Tunisian by birth and trained as a jazz musician and sound engineer. Mehdi Haddab was born in Algiers. He spent time in Burundi, Central Africa, before settling in Paris. He was a third of the Parisian based trio Ekova, who specialised in the sort of global-meets- electronic-fusion that thrives in Paris.

Jean-Pierre Smadja Smadj - Mehdi Haddab

‘I’d been playing oud for a long time and had started to experiment with electronics,’ says Mehdi. Smadj was creating electronic music for many years but he only recently started playing the oud. Once we sat down to make music together it turned out we complimented each other.’

‘We began to compose our own material,’ adds Smadj, ‘so we needed rhythms to support our improvisations – that’s when we decided to put electronic beats behind our rehearsals. With time we just got involved in compositions with electronics.’

The oud is one of the most beautiful instruments in the world, lending itself to Turkish, North African and Middle Eastern interpretation. Yet DuOud’s debut album, Wild Serenade (Label Bleu) takes the oud into a different context. With the electronic programming expertise of Smadj and the virtuoso performances of Mehdi Haddab, the oud is immediately brought into the 21st Century.

While DuOud are not the first musicians to mix the North African lute with electronic technology, they do it with an imaginative freedom that sets them apart from their contemporaries. DuOud never engage in the world fusion cliché of playing over a thudding house beat. Instead, they build a musical cycle that looks both to African roots while absorbing elements of contemporary French music – break beats, jazz grooves and metal guitar are all invited to join the party. Wild Serenade is an album of dialogues between two men and two cultures.

bbc.co.uk

Track List:
1 – Yarimo
(02:24)
2 – Racailles (03:34)
3 – Zanzibar (05:58)
4 – Interluth (01:42)
5 – Chase (04:44)
6 – Ne Yalam Soyleyeyim (02:34)
7 – For Nedim (05:18)
8 – Racine d’enneade (03:36)
9 – Berlin Paris (05:07)
10 – Le Retour d’Ulysse (07:35)
11 – Midnight For Dancing With Frien (05:00)

Duration: 47:25 | Bitrate: 192 kBit/s | Year: 2002 | Size: 68 mb

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Luay Rifai - 2009 - Vital

Born in the world’s oldest capital city of Damascus – Syria on August 13th 1982, Luay Rifai’s self-taught approach to the instrument of electric guitar, revealed high dexterity in original and cunning playing, bringing together his diverse passionate melodic licks and rhythms along with remarkable over the top shred-ability, emerging him as an outstanding upmost instrumental rock guitar virtuoso. Throughout the years, Luay Rifai has been part of numerous genre-specific online communities, participating in various collaboration projects with independent musicians around the globe.
Being a medical doctor further contributed his mind-set and very detail-oriented demeanor of always willing to go the extra mile to get the perfect take & feel he’s looking for. Coordinating both, music & medicine, reflects his well-rounded personality, as he thrives to establish where those two worlds collide.

Luay Rifai لؤي رفاعي

New album release is due (March 6th 2009); “Vital” is a concept album in the style of instrumental rock guitar, the album includes the track “Vital”; 36 min long concept instrumental piece split into 7 tracks, in addition to 5 stand-alone tracks.

The concept revolves around the miracle of being alive. A truly pulsating and dynamic, vibrant entity that is full of life, breathing, beating, with vivacious energy.
The dialogue is on how merely having organic material as it is will not be sufficient to manifest life, it requires something very “Vital” which is the non-organic “essence” or soul that runs through to connect all the different portions essential for the persistence of life. It’s the search between body & soul.
The musical counterpart to the concept is interpreted as the song being divided into several movements, each representing a fundamental element of a living entity. In addition to the “essence of living” which is signified by the main theme; a melodic run played in different modes, recurring in each separate component of the entire instrumental. Without the essence, every other part is only organic and devoid of life. Yet still, if it isn’t for each of the single organic constituents in every section, this very essence of living will also be lost.
The essence of living is thriving to unite with the body throughout the whole track; it emerges frequently as the melodic theme in various shapes in attempts to join different organs together. Although tough at first with seemingly distant parallel alignment, by the finale they form one in harmony, denoting in totality the vital existence of the miracle of living.

http://www.luay-rifai.com/

Track List:
1 –  Vital I-Nucleus (04:14)
2 –  Vital II-Circulation (06:05)
3 –  Vital III-Pulse (04:24)
4 –  Vital IV-Intelligence (08:06)
5 –  Vital Vl-Breath (02:50)
6 –  Vital VI-Sentiment (04:48)
7 –  Vital VII-Essence (05:32)
8 –  Faithful Spirits (05:02)
9 –  Prelude For Glenn Gould (05:32)
10 –  Voodoo Frenzy (05:03)
11 –  Bloodshed (04:20)
12 –  Of Cold Dreams and A Mirror (10:27)

Duration: 68:20 | Bitrate: 320 kBit/s | Year: 2009 | Size: 166 mb

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if you like the album please buy it to support the Artist:
http://www.guitar9.com/vitallr.html
http://www.cdbaby.com/cd/luayrifai

Nguyen Le duos with Paolo Fresu, Dhafer Youssef - 2006 - Homescape

Where does jazz stop and world music start? The boundaries are getting more blurred by the minute. We’re all postmodernists now, and many musicians under fifty reflect a range of influences beyond those traditionally associated with their own core style. Some, like French-Vietnamese guitarist Nguyen Le, are so polyglot as to be practically beyond category.

Le started out down the cultural miscenegation road with his first band, the multi-ethnic Ultramarine, whose 1989 album, De, was named World Music Album of the Year by the radical French newspaper Liberation. He’s continued to mix it up ever since—prominent genre-benders he’s worked with include Miroslav Vitous, Trilok Gurtu, David Liebman, Paul McCandless, Peter Erskine and Mino Cinelu. In the late 1990s Le became increasingly interested in Maghrebi music, working with Algerian singers Safy Boutella and Cheb Mami, and in 1998 he brought Maghrebi and Vietnamese musicians together on the album Maghrebi & Friends.

None of this, however, can prepare you for the galaxy of sound sources on Homescape, a series of alternating duets with Sardinian trumpeter Paolo Fresu and Tunisian oud player Dhafer Youssef. Some of these sources are developed and explored, others are referred to only in passing, and they include—but aren’t limited to—post-Hendrix rock, Milesian harmon-mute free improv, Maghrebi trance music, Ellingtonia, ambient, a Papua New Guinea vocal choir (sampled and replayed backwards), Delta blues, Vietnamese folk tunes, flamenco, Iranian modes, a Sardinian choir, Australian aboriginal ritual music, French chanson, Gregorian chant, and Indonesian gamelan/gong music.

Guitars, trumpet/flugelhorn and oud aside, the music is generated by loops, samples and overdubs, and the entire heavily post-produced album was recorded and mixed in Le’s Paris apartment – since 2003, his friends and neighbours Fresu and Youssef have been dropping by to home-record. The duets with Fresu are typically in free-improv mode (the exception being Duke Ellington & Billy Strayhorn’s lovely “Chelsea Bridge”), while the Youssef duets tend to be song or structure-based.

In the main sunny and joyful, though not without some darker and more abrasive moments, the fifteen tracks—average length three minutes, a handful six or seven—resemble a series of round-the-world postcards sent by Le, who mixed and post-produced everything solo, to his collaborators. As a soundtrack to an evening communing with the big bamboo, the exotic and the very exotic drifting in and out of the mix, it’s rich, colourful and beguiling.

allaboutjazz.com

Nguyen Le duos with Paolo Fresu, Dhafer Youssef - 2006 - Homescape

Paolo Fresu (born February 10, 1961) is a trumpet and flugelhorn jazz player, as well as an arranger of music, and music composer. Fresu was born in Berchidda, Sardinia. He picked up the trumpet at the age of 11, and played in the band Bernardo de Muro in his home town Berchidda.[1] Fresu graduated from the Conservatory of Cagliari in 1984, in trumpet studies under Enzo Morandini, and attended the University of Musical and performing arts in Bologna.
http://www.paolofresu.it/

Nguyên Lê (b. Paris, France, 14 January 1959) is a French jazz musician and composer of Vietnamese ancestry. His main instrument is guitar, and he also plays electric bass guitar and guitar synthesizer.
He has released numerous albums, both as a leader and as a sideman. His 1996 album Tales from Viêt-Nam blends jazz and traditional Vietnamese music. Nguyên Lê has performed with Randy Brecker, Vince Mendoza, Eric Vloeimans, Carla Bley, Michel Portal, and Dhafer Youssef.
http://www.nguyen-le.com/

Dhafer Youssef (born 1967 in Teboulba, Tunisia) is a composer, vocalist, and oud player. He has been living and working in various European countries since 1990. During this time he had the opportunity to perform his music on stages in Austria, France, Germany, Switzerland, the UK and other countries as well as his native Tunisia (where he started singing in the Islamic tradition  at age 5 ).
http://www.dhaferyoussef.com/

Nguyen Le – electric, acoustic, fretless, synthesizer, e-bow, Vietnamese guitars, computer programming & electronics.
Paolo Fresu – trumpet, fluegelhorn & electronics.
Dhafer Youssef – oud, vocals & electronics.

Track List:
1 –  Stranieri
(Paolo Fresu / Nguyên Lê) (06:00)
2 –  Byzance (Dhafer Youssef / Nguyên Lê) (04:25)
3 –  Muqqam (Dhafer Youssef) (02:44)
4 –  Mali Iwa (Nguyên Lê) (06:27)
5 –  Zafaran (Dhafer Youssef / Nguyen Le) (06:02)
6 –  Domus de Janas (Paolo Fresu / Nguyên Lê) (02:18)
7 – Kithara (Dhafer Youssef) (02:18)
8 –  Chelsea Bridge (Billy Strayhorn) (03:00)
9 –  Safina (Dhafer Youssef / Nguyên Lê) (03:27)
10 –  Des Pres (Paolo Fresu / Nguyên Lê) (02:19)
11 –  Thang Long (Nguyên Lê) (05:33)
12 –  Neon (Paolo Fresu / Nguyên Lê) (03:12)
13 –  Mangustao (Dominique Borker) (07:26)
14 –  Lacrima Christi (Paolo Fresu / Nguyên Lê) (03:14)
15 –  Beyti (Dhafer Youssef / Nguyên Lê) (02:53)

Duration : 61:19 | Bitarte : 320 kBit/s | Year : 2006 | Size : 144 mb

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Malek Jandali - 2009 - Echoes From Ugarit مالك جندلي – أصداء من أوغاريت

• Award-winning composer and pianist Malek Jandali is one of Syria’s most versatile and imaginative musicians. He is recognized as a leading figure in today’s piano world. “a major artist with remarkable musicianship and a world of technique,” marvels The Observer, his compositions have “pristine clarity and logic”. The Huntersville Herald called him “a new piano talent”. His outstanding recordings and extensive concert tours receive abundantly glowing praise
• Malek is the only Arab musician and the first Syrian composer to arrange the oldest music notation in the world! His new album “Echoes from Ugarit” includes original compositions for piano & orchestra recorded in Moscow with The Russian Philharmonic Orchestra. His diverse career remains truly international, as he continues to captivate audiences in concerts throughout North America, Europe and Middle East.
• Malek began his musical career as a classical pianist, winning the first prize at the National Young Artists’ competition in 1988. He received numerous prizes including the Stegner Foundation for the Arts Fellowship and the 1997 Outstanding Music Award.
• Active as a performer for many years, he decided to shift his attention to composition. Malek developed a special interest in near Eastern music and the ancient music of Syria. He began to integrate Arabic “maqams” or modes with Western harmonies in his music. This led to his current project, “Echoes from Ugarit”, based on the music of Ugarit, the oldest musical notation in the world, dating back to 3400 B.C.
• A prolific composer, Malek has written and produced music for TV shows, corporate multimedia, video presentation and commercials. His music compositions embrace the great diversity of his international background and influences. Malek is a member of The Recording Academy and The American Society of Composers, Authors and Publishers (ASCAP). One of his most memorable performances was playing Tchaikovsky’s Piano Concerto No. 1 in B Flat Minor.

Malek Jandali مالك جندلي

المؤلف الموسيقي و عازف البيانو السوري مالك جندلي

وُلد مالك في ألمانيا عام 1972 لعائلة ذات إهتمام و ولع بالموسيقى الكلاسيكية بدأ بتلقّي علوم الموسيقى في الرابعة من عمره, وكان أول حفل بيانو له على خشبة المسرح في الثامنة من عمره. التحق بالمعهد العربي ثم بالمعهدالعالي للموسيقى بدمشق. وتتلمذ على يد البروفسورمن Victor Bunin و Vladimir Zaritski من Moscow Tchaikovsky Conservatory

في عام 1995 نال مالك منحة دراسية كاملة لإتمام دراسته الموسيقية من North Carolina School of the Arts في الولايات المتحدة. تابع دراسة التأليف الموسيقي خلال فترة تحصيله لشهادة الماجستير في إدارة الأعمال و تخرج بدرجة شرف من University of North Carolina

ألبوم “أصداء من أوغاريت” كان حصيلة محاولاته لمزج المقامات الشرقية بطريقة أكاديمية مع النظرية الهارمونية للموسيقى الكلاسيكية, وقد قام بتسجيله في موسكو مع الاوركسترا الفلهارمونية الروسية.

مالك جندلي هو أول مؤلّف سوري قام بتوزيع أقدم تدوين موسيقي في العالم اكتُشف في مدينة أوغاريت على لوحات مسمارية تعود للقرن الرابع قبل الميلاد. قدّم مالك مؤلفاته الموسيقية برفقة العديد من الفرق السمفونية العالمية في أوروبا والولايات المتحدة

http://www.malekjandali.com

Track List:
1 –  Andalus (أندلس (05:48
2 –  Sulaima (سُليمى (08:05
3 –  Piano Dream (حلم البيانو (03:2
4 –  Leil (ليل (06:03
5 –  Yafa (يافا (07:21
6 –  Echoes From Ugarit (أصداء من أوغاريت (04:59
7 –  Eid (عيد (04:42
8 –  Arabesque (أرابيسك (05:05

1 – أندلس
ينصهر الغرب مع الشرق… تتمازج الثقافات… تتلاحم الحضارات… تتعدد الديانات في أندلس عربي زاهر!
وتسمو الموسيقى… تُكسر القيود… تُهدم الأسوار… وتنطلق أصداؤها في مقطوعة سماتها عربية وإيقاعاتها تانغو غربيّة.

2 – سُليمى (إلى روح جدي)
صوتَ شجي لأغنية نبيلة,برهان حبِ عميق,وفي وصادق, ينساب حزيناً… معبّرا… رقراقاً… شفافاً… يُناجى… يهمس… يداعب… يُذكر… يسرح في متاهات الهوى والعاطفة.
يتحول الحرف إلى نغم يدمدم: العمر سراب, الحبّ خلود, والفراق أسى. ,

3 – حلم البيانو
موسيقى البيانو… عالم آخر… خيال… حلم بعيد المنال.
سورية القديمة , بأبوابها الساحرة, وأسواقها العتيقة, بأجوائها الدافئة, فلكلورها الزاهي وزخارفها الناطقة. المدينة تتلألأ, والشوارع تنبض بديناميكية معبّرة يخفق لها قلب زائر من عصر الباروك.. يقف مشدوهاً أمام نكهاتِ عربيّة بقوالب “باخ” المركبّة.

4 – ليل
سكون اليل. تأمّل… سلام… دفء… عودة إلى الذات…
تأجج المشاعر, تدفق العواطف. الأمواج تلاشت… الموسيقى همست بنغمة شوق ترتل الأشعار والأحان… تُحاكي القلب والروح.

5 – يافا
الماضي جميل. يافا هانئة,الذكريات راسخة,وأهلها في سلام ساكنون.
الحاضر مُحبط… قهر… ألم… يأس… معانة… غضب… مقاومة.
أبطال اندفعت كالشّهب صرعى… عائلات سارت على الشوك في رحلة الضياع إلى الشتات… دمع تناثر في زوايا البيوت المهجّرة. صرخة من أعالي الربا تستنجد…
اسودّ الكون وحزن المحراب وتزلزلت لبكائه الأركان
لوعة كنغمة قيثارة الرعيان
دموع تحرق الوجنات… مشاعر تتضارب والموسيقى تصدح,تعبّر بصدق وقوة عن حزن عميق وألم مفقود, عزلة أليمة وتحمّل لايوصف. تتمازج الأنغام مع حنين إلى وطن مسلوب…
من بعيد يهمس صوت مفتاح موسيقي دفين يدق على بيت مهجور متسائلاً متى الرجوع ؟!

6 – أصداء من أوغاريت
البداية كانت في أوغاريت!
أصداء تتعالى… تتجسد في صرخة امرأة… تمزّق صمت الجبال. تُناجي الآلهة… تشكو عقمها.
أقدم موسيقى في العالم,دُوّنت على رقم فخاري من ترابٍ سوري, وُلدت قبل خمسة آلاف سنة… مع مرور الأبجدية… لتّواصل البشرية.

7 – عــيــد
اليوم مقّدس,اليوم عيد, صلوات… ألوان… أطفال… حركات… أراجيح… عائلات… تقارب… رقصات تتطاير… كالفراشات على وقع ألحان شعبيّة بسيطة عفوية تفوح نكهتها في جوّ حميم دافئ … معطّر بأريج لحن سوري معتّق.

8 – آرابيــسك
قطعَ ملوّنة… متناثرة… تُلملم شتاتها يدَ عربيّة مبدعة, ترصفها بمهارة… لزخارف وتزيينات,خطوط… وأشكال بلا نهايات… يزيغ فيها البصر… وينطق لها الحجر.
تتجسد في محراب قديم… في زاوية من بلد عتيق… تصدح جدرانه بإيقاع موسيقى (أرابيسك) تتراكب أجزاؤها وتلتحم في وحدة يغرق فيها الخيال, بحر فن لا محدود …

Length : 45:21 | Bitarte : 320 kBit/s | Year : 2009 | Size : 126 mb

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