KUDSI ERGUNER — Islam Blues (2001) FLAC (image+.cue), lossless

The Turkish-born ney flutist, composer and musicologist is one of the most important representatives of classical Ottoman music. As a master of the ney, a traditional Turkish reed flute, he has popularised the music of Sufism and Ottoman culture. In addition to releasing numerous solo albums, he has also collaborated with international artists. He has not only preserved traditional Turkish music, but has also realised innovative projects in which he combines Eastern and Western music. Kudsi Erguner is an important cultural ambassador who has contributed to the revitalisation and dissemination of traditional music in Turkey through his work. ACT
Tracklist :
1    One Word    8:19
Composed By – Kudsi Erguner
2    Adjem Blues    8:19
Composed By – Kudsi Erguner
3    Mediterranien    4:55
Composed By – Kudsi Erguner
4    Sarki    6:50
Composed By – Kudsi Erguner
5    Camel    12:40
Composed By – Kudsi Erguner
6    Moonrise    12:10
Composed By – Kudsi Erguner
7    Twins    8:20
Composed By – Kudsi Erguner
Credits :
Double Bass – Bruno Caillat, Renaud Garcia-Fons
Drums – Karim Ziad (tracks: 7), Mark Nauseef
Guitar – Nguyên Lê
Kanun – Hakan Güngor
Kemenche – Derya Turkan
Ney – Kudsi Erguner
Percussion – Bruno Caillat
Vocals – Halil Neciboglu, Yunus Balcioglu

KUDSI ERGUNER — Ottomania : Sufi - Jazz - Project (1999) FLAC (tracks+.cue), lossless

The first world music project that blends classical music from the Ottoman Empire with Western improvisation and jazz rhythms. ACT
Tracklist :
1    Semai    5:48
Written-By – Mesut Cemil Bey
2    Sufimaj    4:37
Written-By – Kudsi Erguner
3    Dua    12:55
Written-By – Kudsi Erguner
4    Free Space    7:47
Written-By – Kudsi Erguner
5    Nefes    9:06
Written-By – Kudsi Erguner
6        Hi-Jaz    9:18
Written-By – Kudsi Erguner
Credits :
Bendir, Goblet Drum [Zarb], Tabla, Daf, Percussion [Traditional] – Bruno Caillat
Double Bass – Yves Rousseau
Drums – Mark Nauseef
Kanun – Hakan Gungor
Kemenche – Derya Turkan
Lute [Ud] – Mehmet Emin Bitmez
Ney, Producer, Executive-Producer – Kudsi Erguner
Saxophone – Christof Lauer
Tambura [Tanbur] – Necib Gulses
Tuba, Serpent – Michel Godard

V. A. - THE MUSIC OF ISLÃM, VOLUME ONE : Al-Qāhirah, Classical Music Of Cairo, Egypt (1998) FLAC (tracks+.cue), lossless

Music of Islam 1: Al Qahirah Music of Cairo collects Islamic songs from Egypt, including "Khatwet Habibi," "Sama I Bayati," and "Bint Al-Balad," and provides insight into the diverse sacred music of this religion. by Heather Phares
Tracklist :
1 Khatwet Habiby 4:00
2 El Helwa Dayer Shebbak 6:08
3 Ud Solo 4:14
4 Ana Fi Entizarak Khalet 13:05
5 Nay Solo 2:42
6 Samra Ya Samra 5:35
7 Qanun Solo 2:50
8 Bint Al-Balad 4:26
9 Tabalah Solo 3:45
10 Sama'I Bayati (Al-Aryan) 6:22
11 Riqq Solo 2:57
12 Habibi Wa Enaya 6:46
Credits :
Daf [Duff] – Ibrahim Gomaa
Goblet Drum [Tabalah] – Khaled Gomaa
Kanun [Qanun] – Mostafa Abd El Khalek
Ney [Nay] – Mohamed Foda
Oud ['ud] – Mamdouh El Gbaly
Tambourine [Riqq] – Hesham El Araby

V. A. - THE MUSIC OF ISLÃM, VOLUME SEVEN : Al-Andalūs Andalusian Music, Tetouan, Morocco (1998) FLAC (tracks+.cue), lossless

From the vast series of Islamic music on Celestial Harmonies comes this album of Moroccan-Andalusian music. The performing ensemble makes use of an ud, ney, darbukka, tar, and a violin. Slightly different from the classical version of the genre, but there's enough freedom inherent in the music to allow for it easily enough. There's the usual call-and-response vocal that's so common in much North African music, but mixed in with instrumental solo breaks. The album opens with a lament at the loss of Andalusia that includes a noteworthy introductory section with instrumental preludes with and without rhythm (much like the alap and jor in Indian music). Another lament (at the loss of Alhambra this time) follows in much the same style (though without the tuchiya rhythmic prelude), and is followed itself by a more relaxed wedding song. Two more laments at the loss of Andalusia continue the progression, with another wedding song breaking the mood before two more laments at the loss of Alhambra finish the album. While the lyrical content is certainly not the most uplifting, the musical forms remain relatively upbeat throughout much of the album. A pulsing rhythm accentuated by the tar pushes the players forward into an ever more frenzied mood. The solo performers are worth hearing, though perhaps not of the virtuosic level of some others (Kudsi Erguner is a leading example for nay, Munir Beken for oud). As part of the series, this album has notable value as another piece of the worldwide puzzle of Islamic music. Give it a listen as part of the series, but don't seek it out alone. by Adam Greenberg
Tracklist:
1 Eshbehayn 8:49
2 Mkdam Sharki 9:08
3 Rashdayl 4:06
4 Esthlal 13:33
5 Times Mkdam Sharki 10:36
6 Rashdfa 7:22
7 Hijasoul (Chahshahachni) 11:04
8 Elhijaz 10:36
Credits :
Goblet Drum [Clay Darbūka] – Abdelilah Azlas
Kemenche [Kamanjā] – El Kacimi Mohamed
Leader – El Kacimi Mohamed
Ney [Nāy] – Abedlkarim Doukhou
Oud ['Ūd] – Ahmed El Kamas
Tambourine [Ṭār] – Mohamed El Rhouni
Transcription By [Annotation] – Timothy D. Fuson

V. A. - THE MUSIC OF ISLÃM, VOLUME NINE : Mawlawiyah Music Of The Whirling Dervishes (1997) FLAC (tracks+.cue), lossless

Part of the generally well-done series from Celestial Harmonies dealing with the musics of various groups in the Islamic spectrum. This album deals specifically with the Turkish Sufi mystics (whirling dervishes) who use the music in general as part of a ceremony of ecstatic motion (known as a "sema"). The first six tracks comprise the whole of a sema ceremony, or at least a short form of it. The music is primarily ritual, but is also wonderfully aesthetic at the same time. Of course, there is something missing without the visuals that are really needed to convey the ceremony (the dancing), but still, the hypnotic melodies are enough to please the average listener (with some background). Also included are two instrumental improvisations to showcase the secular musical ability of the troupe as well. For a nice look into the sounds of the Sufis, this isn't a bad place to start. Thorough liner notes also add an extra sheen to the package. by Adam Greenberg
Tracklist :
1 Na'Ti Sherif 5:45
Composed By – Buhûrîzade Mustafa Itrî Efendi
2 Nay Taksim 3:35
3 Peşhrev 2:54
Composed By – Sultan Selim III
4 Suzidilara Ayin 25:19
Composed By – Sultan Selim III
5 Kamanche Taksim 1:35
6 Feeynema Tuvellu / Fesemme Vechullah 3:45
7 Suite In Segah: Part 1, Peşhrev / Part 2, Sol Cennetin Irmaklari Akar / Allah Deyu Deyu / Part 3, Ey Allahim Beni Senden Ayirma / Part 4, Canim Kurban 12:45
Composed By – Amir Ates, Hulusi Gokmen, Neyzen Yusuf Pasha
Lyrics By – Esrefoglu Roumi, Yunus Emre
8 Tanbour Taksim 1:53
9 Suite In Rast: Part 1, Ka-Benin Yollari / Part 2, Ey Asik-I Dildade / Part 3, Erler Demine Destur Alalim / Part 4, Allahumme Salli Alel Mustafa 14:07
Composed By – Sadik Efendi
Lyrics By – Hafíz Sezai
Lyrics By, Composed By – Haci Tahsine Hanim
Credits :
Kemenche – Sedat Altinöz, Sedat Icoz
Lute [Bowed Tanbour] – A. Nuri Benli
Lute [Tanbour] – Mustafa A. Öksüz
Ney [Nay] – Eymen Gürtan, Mahmut Bilki
Performer – Sema Ensemble, The Galata Mevlevî Music
Vocals – Abdulhamit Cakmut, Ahmet Erdogdular, Cengiz Unal, Nuri Ozcan, Refik Akbulut
Vocals, Bendir, Drum [Kudum] – Hasan Semerkantli
Zither [Kanoun] – Osman Aksu

V. A. - THE MUSIC OF ISLÃM, VOLUME FOURTEEN : Mystic Music Through The Ages (1997) FLAC (tracks+.cue), lossless

From the surprisingly good and comprehensive series of Islamic music on Celestial Harmonies comes this volume, dealing with mystic musics of Islam, primarily that of the Sufis, and moreover that of Turkey to a large extent. The performers are the Galata Mevlevi house, led by Nail Kesova, also available on volume nine of the series (Whirling Dervishes). The playing is impeccable, with a trio of ney players providing the breathy sound that is so necessary for a good bit of Sufi music. The vocals are also perfectly in place, with an outstanding performance by Kesova. Songs are largely works of poetry, with three from the great Rumi, and a number from other mystics through the ages (as the title would suggest). For a nice look through all aspects of Islamic music, this series is probably the way to go. For a simple look into the Sufist traditions, this album fits right in competition with a number of other ones, but the quality of music here might give it a bit of an edge. by Adam Greenberg

Tracklist :
1 Şem-I Rûhuna Cisimi Pervane Düşürdüm 7:11
Composed By – Sultan Veled
Lyrics By – Sultan Veled
2 Ey Ki Hezâr Âferin, Bu Nice Sultân Olur 2:17
3 Bahri Ummân Dürriyem Yerim Mekânim Kandedir 2:29
Composed By – Ali Ufki
Lyrics By – Ali Ufki
4 Uyan Ey Gözlerim Gafletten Uyan 2:15
Composed By – Ali Ufki
Lyrics By – Sultan Murad III
5 Ya Rabbi, Zâtin Sirridir Bu Gülleri Handân Eden 4:33
Composed By – Ali Ufki
Lyrics By – Ali Ufki
6 Çün Sana Gönlüm Mübtelâ Oldu 2:14
Composed By – Hafiz Post
Lyrics By – Niyazi-i Misri
7 Tekbir: Allahu Ekber, Allahu Ekber, Lâ Ilâhe Illallah 3:49
Composed By – Buhûrîzade Mustafa Itrî Efendi
Ney [Nay] – Eymen Gürtan
Ney [Soloist] – Eymen Gürtan
8 Ya Hazreti Mevlânâ, Hakk Dost 8:09
Composed By – Buhûrîzade Mustafa Itrî Efendi
Lute [Soloist Tanbour] – Mustafa A. Öksüz
Lyrics By – Mevlânâ Celaleddin-i Rumi
9 Sultân-I Meni, Sultân-I Meni, Ender Dil-Ü Cân Imân-I Menî 2:48
Composed By – Buhûrîzade Mustafa Itrî Efendi
Lyrics By – Mevlânâ Celaleddin-i Rumi
10 Hîz Ki Imrûz Cihân Ân-I Mast, Cân-Ü Cihân Saki-Vü Mihmân-I Mâst 2:24
Composed By – Sultan Selim III
Lyrics By – Mevlânâ Celaleddin-i Rumi
11 Gelin Gidelim Allah Yoluna 3:20
Composed By – Hamamîzâde Ismail Dede Efendi
Lyrics By – Yunus Emre
12 Allah Emrin Tutalim - Rahmetine Batalim 2:06
Composed By – Zekâi Dede
Lyrics By – Yunus Emre
13 Alma Tenden Cânimi - Görmeden Cânânimi 2:13
Composed By – Sadettin Kaynak
Lyrics By – Yunus Emre
14 Sevelim Hazret-I Mevlana 'Yi 3:37
Composed By – Sadettin Heper
Lyrics By – Abdulbaki Dede
15 Ey Allahim Beni Senden Ayirma 2:18
Composed By – Hulusi Gokmen
Lyrics By – Esrefoglu Rumi
16 Hor Bakma Sen Topraga 4:23
Composed By – Hulusi Gokmen
Lute [Soloist Tanbour] – Mustafa A. Öksüz
Lyrics By – Bursali Dervis Yunus
17 Görmek Istersen Seni - Cân Içre Ara Câni 2:31
Composed By – Nail Kesova, Sheikh Ul Mevlevi
Lyrics By – Haci Bayram-i Veli
18 Velillahil Mesriku Vel Magrib, Feeynema Tuvellu Fesemme Vechullah 3:21
Credits     
Drum [Kudum] – Arif Şenyuz
Drum [Kudum], Bendir – Hasan Semerkantli
Kanun – Osman Aksu
Kemenche – Sedat Altinöz
Lute [Tanbour] – Mustafa A. Öksüz
Ney [Nay] – Cemal Kaḡitçi, Eymen Gürtan, Mahmut Bilki
Vocals, Co-producer – Al-Sheikh Nail Kesova

RABIH ABOU-KHALIL - Nafas (1988) APE (image+.cue), lossless

Recorded in Germany by Beirut native Rabih Abou-Khalil, this moody, atmospheric album is more like a soundscape than a collection of songs. Abou-Khalil's primary instrument is the oud, a lute-like instrument traditionally used in Arab music. This low, sweet-toned, obviously Far Eastern instrument is teamed up with nothing more than Arab drums in most of the songs. Sparse vocals, performed by Selim Kusur, do little to create any discernible melody. Instead, they add texture and effect -- or an intro in the case of "Incantation." Upbeat songs such as "Awakening" are carried along by the drums, while the melancholy sound of the oud dominates introspective tracks such as "Nafas." This album is a far cry from the complex, percussion-heavy, often slightly jangly albums that usually make it to the world music section in Western record stores. It is also unlike the techno-influenced worldbeat albums that found popularity amongst certain club circles. It is a wistful, lonely album. Its simple, spare instrumentation is its distinguishing feature; after listening to dozens of over-produced, musically complex albums, this one comes as a bit of a relief. Though certain world music experts consider Abou-Khalil to be an innovator within his subgenre, his music sounds neither new nor old. It's hard to fit within any time frame. by L. Katz  
Tracklist :
1     Awakening 2'06
Glen Velez
2     Window 8'56
Rabih Abou-Khalil / Selim Kusur / Setrak Sarkissian / Glen Velez
3     Gaval Dance 4'24
Setrak Sarkissian / Glen Velez
4     The Return 1 6'19
Rabih Abou-Khalil
5     The Return 2 4'28
Rabih Abou-Khalil
6     Incantation 6'03
Rabih Abou-Khalil
7     Waiting 7'32
Rabih Abou-Khalil
8     Amal Hayati 6'45
Mohamed Abdel Wahab
9     Nafas 1'37
Rabih Abou-Khalil
10     Nandi 2'07
Glen Velez
Credits :    
Frame Drum [Frame Drums] – Glen Velez
Goblet Drum [Darabukka] – Setrak Sarkissian
Ney [Nay], Voice – Selim Kusur
Oud – Rabih Abou-Khalil
Producer – Manfred Eicher

RABIH ABOU-KHALIL - Roots & Sprouts (1990) APE (image+.cue), lossless

In a satisfying stylistic experiment, Lebanese composer and oud player Rabih Abou-Khalil has decided to put together an album of jazz numbers with no Western instruments other than Glen Moore's standup bass. There is Yassin El-Achek on violin, but the violin is almost as much a Middle Eastern instrument as a Western one. El-Achek usually remains in the Middle Eastern style of playing, but occasionally, as on "Wordless," he double-stops and trills like Paganini.

The tracks are nicely constructed, and the improvisations are not allowed to run amok or become shapeless. The tunes are, as usual with Abou-Khalil, Middle Eastern melodies with phrases and turns that nod at Western notions of what "Oriental" music sounds like. This conceit paves the way for the extremely rare event of Abou-Khalil covering someone else's song. And which did he choose? Duke Ellington's "Caravan," the all-time most famous faux-Arabic jazz number! The song turns into a duet between El-Achek's violin and Selim Kusur's nay (Arabic flute). It's fun but lightweight compared to the album's originals. All the instrumentalists are in fine form, particularly Glen Velez, who really shakes his tambourine as well as pulling out his snare drums for several numbers. Abou-Khalil has never been better as a performer, especially on the opening of "Remembering Machgara," where he makes his oud sound like an electric guitar. It helps that the album is unusually well-arranged, even for Abou-Khalil, and well-recorded, even for Enja, everything sounding wonderfully present and defined. This album represents the expatriate Lebanese composer-musician in his prime. by Kurt Keefner  
Tracklist:
1    Remembering Machgara    7:10
Rabih Abou-Khalil
2    Walking On Air    9:03
Rabih Abou-Khalil
3    Nida    6:38
Rabih Abou-Khalil
4    Revelation    5:38
Rabih Abou-Khalil
5    Wordless    8:05
Rabih Abou-Khalil
6    Sweet Rain    4:59
Rabih Abou-Khalil
7    Outlook    8:25
Rabih Abou-Khalil
8    Caravan 5:32
Composed By – Ellington, Mills, Tizol
9    Dreams Of A Dying City    11:06
Rabih Abou-Khalil
Credits:
Bass – Glen Moore
Oud, Arranged, Producer – Rabih Abou-Khalil
Goblet Drum [Darabukka] – Mohammad Al-Sous
Ney [Nay] – Selim Kusur
Percussion [Frame Drums] – Glen Velez
Violin – Yassin El-Achek

RABIH ABOU-KHALIL - Tarab (1993) APE (image+.cue), lossless

Tarab is an unusual album for the great Lebanese jazz composer and oud player in that it features no Western instruments or musicians, except for Glen Moore on the acoustic bass. The melody instruments are the nay (Arabic flute) played by the Syrian veteran Selim Kusur and, as always, Abou-Khalil on oud or Arabic lute (which more or less functions like the piano in a standard jazz quartet). Rounding out the group are Nabil Khaiat on frame drums and percussion, and Rameesh Shotham on South Indian drums and other percussion. Everyone but Kusur has worked at least semi-regularly with Abou-Khalil. (Kusur did play on Abou-Khalil's Roots & Sprouts, an earlier instance of an album with no Western instruments.) The lack of Western instrumentalists gives Tarab a less jazzy, more Arabic feeling than Abou-Khalil's other albums. Abou-Khalil builds his albums around his guest instrumentalists, so Tarab features the nay prominently, but even more, this is an album for the oud and for showing off the rhythm section. For example, on "In Search of the Well" there is actually a bass solo. And there are a few other pleasant surprises scattered throughout the album. On "Awakening," someone -- just who is not credited -- lets forth a string of bol singing, that rapid-fire, tongue-twisting Indian chant made famous in the West by Sheila Chandra. And on "Arabian Waltz," a jaw harp appears out of the blue , presumably played by Shotham, who plays it on Between Dusk and Dawn, accenting the fast-paced original version of what later became the more lush title track of the album Arabian Waltz. This last song is especially welcome for its strong melody, standing out on an album that certainly does not lack for atmosphere, but which would have benefited from greater tunefulness. Still, a very worthy effort, though not the best place to start one's Rabih Abou-Khalil collection, especially if one is coming from a jazz background. by Kurt Keefner
Tracklist:
1 Bushman in the Desert 8:00
Rabih Abou-Khalil
2 After Dinner 5:53  
Rabih Abou-Khalil
3 Awakening 8:06
Rabih Abou-Khalil / Erik Berglund
4 Haneen Wa Hanaan 8:07
Rabih Abou-Khalil
5 Lost Centuries 7:10
Rabih Abou-Khalil
6 In Search of the Well 3:37
Rabih Abou-Khalil
7 Orange Fields 9:38
Rabih Abou-Khalil
8 A Tooth Lost 5:20
Rabih Abou-Khalil
9 Arabian Waltz 5:00
Rabih Abou-Khalil
Credits:
Bass – Glen Moore
Oud, Cover [Cover Design], Design [Cover Design] – Rabih Abou-Khalil
Drums [South Indian Drums], Percussion, Jew's Harp [Mouth Harp] – Ramesh Shotham
Frame Drum [Frame Drums], Percussion – Nabil Khaiat
Ney [Nay] – Selim Kusur

STEPHAN MICUS - Behind Eleven Deserts (1978-1998) FLAC (tracks+.cue), lossless

Tracklist :
1    Salinas Dance    5:29
Guitar [Steel-string, Spanish], Suling – Stephan Micus
2    Behind Eleven Deserts    5:10
Bodhrán [Bodhran], Vocals – Stephan Micus
3    Katut    5:28
Sarangi, Suling [Bass] – Stephan Micus
4    I Went On Your Wing    4:10
Tin Whistle, Guitar [Steel-string], Percussion – Stephan Micus
5    Over Crimson Stones    4:45
Suling [Bass], Bodhrán [Bodhran] – Stephan Micus
6    Pour La Fille Du Soleil    6:19
Guitar [Spanish], Vocals – Stephan Micus
7    The Song Of Danijar    12:36
Sitar, Vocals – Stephan Micus

Composed By, Performer [Played By] – Stephan Micus

STEPHAN MICUS - Wings over Water (1982) FLAC (tracks+.cue), lossless

Wings Over Water is a set of acoustic ambient creativity from Stephan Micus, a master sound designer. He uses a ney flute, Spanish guitars, Bavarian zithers, acoustic guitars, a sarangi, voice, and 22 flowerpots. This is very exotic and esoteric music. Micus takes advantage of the natural timbres and textures of these devices and creates a different kind of ambience. It is definitely not mainstream, decidedly avant-garde, and highly essential for the adventurous music lover. It is in a class by itself. by Jim Brenholts
Tracklist :
1    Part 1 7'21
Acoustic Guitar [5 Acoustic Guitars], Ney [Nay] – Stephan Micus
2    Part 2 6'04
Sarangi, Voice, Percussion [6 Flowerpots] – Stephan Micus
3    Part 3 12'49
Classical Guitar [2 Spanish Guitars], Percussion [9 Flowerpots] – Stephan Micus
4    Part 4 1'39
Ney [Nay] – Stephan Micus
5    Part 5 10'40
Percussion [22 Flowerpots], Ney [Nay] – Stephan Micus
6    Part 6 14'11
Classical Guitar [3 Spanish Guitars], Zither [4 Bavarian Zithers], Suling – Stephan Micus

Composed By, Performer [Played By] – Stephan Micus

STEPHAN MICUS - Twilight Fields (1987) FLAC (tracks+.cue), lossless

Twilight Fields is a set of smooth, acoustic ambience from Stephan Micus, a master of the craft. He uses flutes, marimbas, xylophones, and ethnic percussion to generate this atmospheric experience. Each instrument has its own sonority and Micus uses a natural reverberation to strike an overtone appeal. His sound design has some remnants of dissonance and avant-garde tendencies, and, within that realm, Micus uses experimental techniques to forge space music properties with acoustic tools. This CD will appeal to fans of Riley Lee, Stan Richardson, Nawang Khechog, and R. Carlos Nakai. by Jim Brenholts
Tracklist :
1    Part 1 8'35
Dulcimer [Hammered], Zither [Bavarian], Shakuhachi, Performer [Flowerpots] – Stephan Micus
2    Part 2 8'00
Shakuhachi, Performer [Flowerpots] – Stephan Micus
3    Part 3 4'27
Performer [Flowerpots] – Stephan Micus
4    Part 4 10'00
Dulcimer [Hammered], Zither [Bavarian], Ney, Performer [Flowerpots] – Stephan Micus
5    Part 5 15'01
Zither [Bavarian], Shakuhachi – Stephan Micus

Performer [Played By], Composed By – Stephan Micus

STEPHAN MICUS - To the Evening Child (1992) FLAC (tracks+.cue), lossless

Tracklist :
1    Nomad Song 8'58
Steel Drums, Voice – Stephan Micus
2    Yuko's Eyes 5'51
Steel Drums, Performer [Dilruba] – Stephan Micus
3    Young Moon 5'58
Steel Drums [3 Drums], Performer [Dilruba], Suling, Performer [Kortholt], Voice – Stephan Micus
4    To The Evening Child 9'30
Steel Drums [11 Drums], Performer [Dilruba], Ney [Nay], Voice, Performer [Sinding] – Stephan Micus
5    Morgenstern 2'08
Steel Drums [9 Drums] – Stephan Micus
6    Equinox 9'47
Steel Drums [3 Drums], Performer [8 Dilruba], Ney [Nay], Performer [Kortholt] – Stephan Micus
7    Desert Poem 4'11
Steel Drums, Voice – Stephan Micus

Composed By, Performer – Stephan Micus

STEPHAN MICUS - Athos (A Journey To The Holy Mountain) (1994) FLAC (tracks), lossless

Tracklist :
1    On The Way 4'57
Zither [Bavarian], Strings [Sattar] – Stephan Micus
2    The First Night 5'35
Voice [22 Voices] – Stephan Micus
3    The First Day 6'38
Shakuhachi, Soloist – Stephan Micus
4    The Second Night 4'47
Voice [22 Voices] – Stephan Micus
5    The Second Day 3'32
Suling, Percussion [22 Flowerpots] – Stephan Micus
6    The Third Night 6'19
Voice [22 Voices] – Stephan Micus
7    The Third Day 5'55
Ney [Nay], Soloist – Stephan Micus
8    On The Way Back 8'58
Zither [Bavarian], Strings [Sattar], Voice [11 Voices] – Stephan Micus

Composed By, Performer – Stephan Micus

STEPHAN MICUS - The Garden of Mirrors (1997) FLAC (tracks+.cue), lossless

Stephan Micus is an eclectic performer. He builds esoteric walls of sound with offbeat ethnic instruments and devices. The Garden of Mirrors is a set of gentle pieces constructed largely around acoustic sounds and simple percussion. Wordless chants carry the strange atmospheres to the edges of reality. At those distant points Micus shines. Such is the stature of an experimental artist. Just when Micus seems to be as far out as he can go, he stretches the limits some more. These delightful soundscapes waver between world fusion and avant-garde. There is not a lot of dissonance. This disc will appeal to fans of Terry Riley, Alvin Curran, Polly Moller, and Jocelyn Pook. by Jim Brenholts
Tracklist :
1    Part 1: Earth 6'24
Harp [Bolombatto], Voice [20 Voices] – Stephan Micus
2    Part 2: Passing Cloud 5'13
Steel Drums [4 Steel Drums], Harp [Sinding], Shakuhachi – Stephan Micus
3    Part 3: Violeta 6'42
Harp [Sinding], Voice [20 Voices], Harp [7 Bowed Sinding] – Stephan Micus
4    Part 4: Flowers In Chaos 4'36
Suling [22 Suling] – Stephan Micus
5    Part 5: In The High Valleys 5'07
Harp [Sinding], Voice – Stephan Micus
6    Part 6: Gates Of Fire 6'08
Percussion, Steel Drums [2 Steel Drums], Harp [Bowed Sinding], Shakuhachi [5 Shakuhachi], Ney [4 Nay], Tin Whistle [3 Tin Whistles], Harp [Sinding] – Stephan Micus
7    Part 7: Mad Bird 3'30
Tin Whistle [Tin Whistle Solo] – Stephan Micus
8    Part 8: Night Circles 7'38
Harp [Sinding], Voice [20 Voices] – Stephan Micus
9    Part 9: Words Of Truth 5'13
Shakuhachi [6 Shakuhachi] – Stephan Micus
Composed By, Performer – Stephan Micus

STEPHAN MICUS - Desert Poems (2001) FLAC (tracks+.cue), lossless

Tracklist :
1    The Horses Of Nizami 3'36
Sarangi, Talking Drum [5 Dondon], Voice [23 Voices] – Stephan Micus
2    Adela 5'43
Dilruba [22 Dilruba] – Stephan Micus
3    Night 2'48
Ngoni [Doussn' Gouni Solo] – Stephan Micus
4    Mikhail's Dream 8'20
Kalimba [2 Kalimba], Voice, Harp [Sinding], Steel Drums [2 Steel Drums], Percussion – Stephan Micus
5    First Snow 4'57
Shakuhachi [Shakuhachi Solo] – Stephan Micus
6    Thirteen Eagles 5'35
Ngoni [Doussn' Gouni], Ney [20 Nay] – Stephan Micus
7    Contessa Entellina 4'29
Voice [Voice Solo] – Stephan Micus
Text By [Poems "Contessa Entellina", "For Yuko"] – Stephan Micus
8        Shen Khar Venakhi 2'44
Dilruba [6 Dilruba], Strings [Sattar] – Stephan Micus
Traditional Georgian Chant (C. 1250)
Arranged By – Stephan Micus
9    For Yuko 8'11
Percussion [2 Flowerpots], Voice [8 Voices], Shakuhachi – Stephan Micus
Credits :
Composed By – Stephan Micus  
Text By [Poem] – Rumi

STEPHAN MICUS - Life (2004) FLAC (tracks+.cue), lossless

Stephan Micus is a composer who lives on the island of Mallorca, and is a compulsive collector of oddball musical instruments. An acoustic music purist, Micus generates unusual, almost electronic sounding textures from his collection of instruments through multi-tracking, but does not utilize anything electronic to generate the sounds. On Life, Micus plays such instruments as the bagana, tin whistle, various kinds of gongs, sho, zithers and Thai singing bowls, and uses recording techniques to build the multifarious parts played into a contiguous whole. The result is a very colorful blend of peculiar tones, gestures and voicings. Although Micus seems to release a new ECM album almost every other month, Life is the result of three years careful planning and labor, and Micus claims that the process of overdubbing is far more complex on this album than any other that he has done. Life is based on a Zen Koan, a short text which is like a cross between a lesson and a prayer. Micus sings the text in long Japanese phrases, occasionally shouting, humming or making other non-verbal vocal sounds to match with the music. As the piece unfolded this reviewer could have gone either way with Life; at times it seemed a little over the top dramatically, and at others a little too sweet and pretty. Once it is over, however, one feels rewarded, as the total effect of Life sticks together in an almost cinematic way that tells a clear story. Whether or not one finds the rarefied world of Stephan Micus appealing, Life is real music and an achievement to be proud of. by Uncle Dave Lewis
Tracklist :
1    Narration One And The Master's Question 14'26
Lyre [Bagana], Chimes [Tibetan Chimes], Chimes [Kyeezee], Sho [2 Sho], Voice [11 Voices], Gong [Maung], Tin Whistle, Zither [2 Bavarian Zithers] – Stephan Micus
2    The Temple 6'20
Singing Bowls [5 Thai Singing Bowls], Dilruba [2 Dilruba], Ney [2 Nay] – Stephan Micus
3    Narration Two 5'44
Lyre [Bagana], Voice [12 Voices] – Stephan Micus
4    The Monk's Answer 2'56
Dilruba [6 Dilruba], Voice – Stephan Micus
5    Narration Three 4'04
Lyre [3 Bagana], Tin Whistle, Voice [14 Voices], Zither [Bavarian Zither] – Stephan Micus
6    The Master's Anger 3'35
Cymbal [Tibetan Cymbals], Talking Drum [2 Dondon], Lyre [3 Bagana], Gong [Maung], Voice – Stephan Micus
7    Narration Four 4'54
Lyre [Bowed Bagana], Voice [17 Voices] – Stephan Micus
8    The Monk's Question 4'47
Gong [Balinese And Burmese Gongs], Voice – Stephan Micus
9    The Sky 4'10
Sho [Sho Solo] – Stephan Micus
10    The Master's Answer 3'21
Voice [Voice Solo] – Stephan Micus
Credits :
Composed By, Performer – Stephan Micus
Artwork [Cover Photo: From The Film "Chikuzan Hitoritabi", Director:] – Kaneto Shindo

STEPHAN MICUS - On the Wing (2006) FLAC (tracks+.cue), lossless

Stephan Micus' folk soundworld investigations have taken him all over the globe. He is a disciplined student of every musical instrument he encounters, and understands how to get what he needs out of them without comprising either the instrument's original purpose or history, or his own vision, and he lets the instruments (sometimes in strange combinations) speak for themselves from his inner well of inspiration and nearly egoless expression. For those interested in poetry, Micus does in his world of music what poet and translator Jerome Rothenberg (who has compiled countless important anthologies of poetic traditions from all over the modern and ancient world) does for the written and oral tradition in poetry: represents it for what it is and allows the reader/listener to experience it for themselves. The stark beauty of On the Wing is expressed by Micus using Middle Eastern and Asian instruments, from the Iraqi mudbedsh (a single reed instrument made from cane) to the long-necked and bowed Turkish sattar and the Egyptian nay. In addition, he uses the reed flute of the Balinese gamelan orchestras called the suling, the Japanese harmonica known as the sho, the double-reeded hné from Burma, the shakuhachi, sitar, the hang from the Caribbean (a new percussion instrument) and his own 14-string guitar that is able, in its various stringing formations, to create the tonalities of a sitar or other overtone instrument. The beautiful thing about On the Wing is the way Micus combines instruments, or uses them solo: his investigations never come off as academic. They are full of quiet soul and deep mysterious power. His pieces are in their own ways, songs more than improvisations, capable of being remembered after hearing them only once. His traditional excellence is everywhere here, but his lyrical sense is perhaps more defined and important than ever.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1    On The Wing 3'19
Strings [2 Sattar], Reeds [Mudbesh] – Stephan Micus
2    Winterlight 5'10
Strings [3 Sattar] – Stephan Micus
3    Gazelle 3'35
Classical Guitar, Ney [Nay] – Stephan Micus
4    Blossoms In The Wind 4'33
Strings [2 Sattar], Sho, Reeds [3 Hné], Suling [2 Suling] – Stephan Micus
5    The Bride 6'25
Cymbal [Tibetan Cymbals], Gong [Korean Gong], Gong [Burmese Gong], Percussion [3 Hang], Guitar [14-String Guitar], Guitar [Steel String Guitar], Reeds [Mudbesh], Shakuhachi – Stephan Micus
6    Ancient Trees 5'16
Shakuhachi [6 Shakuhachi], Strings [2 Sattar], Strings [4 Mandobahar] – Stephan Micus
7    In The Dancing Snow 5'05
Strings [3 Sattar], Reeds [Mudbesh] – Stephan Micus
8    The Gate 4'17
Sitar [Sitar Solo] – Stephan Micus
9    Turquoise Fields 7'03
Guitar [2 Steel String Guitars], Reeds [3 Hné], Suling [2 Suling], Strings [3 Sattar], Ney [3 Nay] – Stephan Micus
10    Morning Sky 3'17
Reeds [5 Hné] – Stephan Micus
Credits :
Composed By, Performer – Stephan Micus

STEPHAN MICUS - Panagia (2013) FLAC (tracks+.cue), lossless

Multi-instrumentalist, composer, and musical anthropologist Stephan Micus has always created according to very simple principles; simple, not easy. On all of his recordings he has relentlessly sought to expand his musical universe by digging deeply into the sounds, traditions, and instruments of other cultures, often traveling great distances to study with masters of certain kinds of instruments. He never tries to replicate them but instead has sought to create new music from his discoveries. Panagia is his 20th album for ECM. Its Greek title reflects one of the names used in Orthodox religion for Mary, the mother of Christ (it literally translates as "most holy"). Of these 11 pieces, six are sung prayers with texts dating back to the seventh century Byzantine era. They were chosen and edited by Vassilis Chatzivassiliou. They are interspersed with instrumental pieces played mostly on stringed instruments, ranging from Bavarian zither, Chitrali sitar, Uyghur sattar (a 14-string guitar), and the bowed Sikh dilruba to percussion instruments including Chinese gongs, Burmese temple bells, Tibetan chimes and, on one song, five multi-tracked Persian nay (i.e. ney), a pipe instrument. Micus never takes a strict approach in interpreting the prayers, choosing instead to reflect a transcultural respect and honor for a female goddess drawing from a multiplicity of cultures, while fully and simultaneously utilizing the spaces, tonalities, and silences employed in Orthodox music for centuries. The effect is otherworldly. On opener "I Praise You, Unfading Rose," his baritone voice is accompanied only by a Bavarian zither. On "I Praise You Lady of Passion," he multi-tracks his own voice to simulate a 22-voice choir in Eastern mode. "You Are Full of Grace" is performed by two Chitrali sitars and six sattars, while "You Are a Shining Spring" offers chimes, bells, and two dilrubas, and the percussive tonalities shimmer around the droning bowed instruments. This is all music that emerges from silence and doesn't project so much as resonate within it. In Micus' restrained sense of dynamics, various textures communicate with one another so that sonorities emanate from the instruments, voices, and the recording environment, as well as from nature itself. Panagia is a small part of his larger body of work to be sure, but it's as different from his other recordings as they are from one another, and makes for a compelling, if serene, experience with a slow, unhurried approach that encourages the listener's own encounter with the divine.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1    I Praise You, Unfading Rose 6'41
Zither [Bavarian Zither], Voice – Stephan Micus
2    You Are The Treasure Of Life 5'03
Chimes [Tibetan Chimes], Temple Bells [Burmese Temple Bells], Bells [Zanskari Horsebells], Dilruba [2 Dilruba] – Stephan Micus
3    I Praise You, Lady Of Passion 6'26
Voice [22 Voices] – Stephan Micus
4    You Are The Life-Giving Rain 7'10
Sitar [Chitrali Sitar], Dilruba [6 Dilruba], Strings [5 Sattar] – Stephan Micus
5    I Praise You, Sacred Mother 5'08
Voice [20 Voices] – Stephan Micus
6    You Are Like Fragrant Incense 3'04
Strings [3 Sattar] – Stephan Micus
7    I Praise You, Sweet-Smelling Cypress 9'07
Guitar [14-String Guitar], Dilruba [8 Dilruba], Strings [3 Sattar], Ney [5 Nay], Voice [10 Voices] – Stephan Micus
8    You Are Full Of Grace 6'22
Sitar [2 Chitrali Sitar], Strings [6 Sattar] – Stephan Micus
9    I Praise You, Shelter Of The World 5:25
Gong [Chinese Gongs], Voice [10 Voices] – Stephan Micus
10    You Are A Shining Spring 4'29
Chimes [Tibetan Chimes], Temple Bells [Burmese Temple Bells], Bells [Zanskari Horsebells], Dilruba [2 Dilruba] – Stephan Micus
11    I Praise You, Cloud Of Light 6'05
Zither [Bavarian Zither], Voice – Stephan Micus
Credits :
Composed By, Performer – Stephan Micus
Text By [Quote In Booklet] – Lao Tsu

STEPHAN MICUS - Nomad Songs (2015) FLAC (tracks+.cue), lossless

Tracklist :
1    Part 1 - Everywhere, Nowhere 4'40
Kalimba [Ndingo], Flute [Genbri] – Stephan Micus
2    Part 2 - Leila 5'27
Guitar [Steel-String Guitar], Suling – Stephan Micus
3    Part 3 - The Promise 8'19
Flute [Genbri], Ney [Nay], Lute [Rewab], Rabab – Stephan Micus
4    Part 4 - The Stars 2'47
Twelve-String Guitar [Twelve-String Guitar Solo] – Stephan Micus
5    Part 5 - The Spring 2'54
Kalimba [Ndingo], Flute [Genbri] – Stephan Micus
6    Part 6 - The Blessing 4'30
Voice [Voice Solo] – Stephan Micus
7    Part 7 - The Feast 5'04
Guitar [2 Fourteen-String Guitars], Guitar [Steel-String Guitar], Ney [Nay] – Stephan Micus
8    Part 8 - Laughing At Thunder 4'21
Flute [5 Genbri] – Stephan Micus
9    Part 9 - Sea Of Grass 5'01
Tin Whistle [2 Tin Whistles (One Player)] – Stephan Micus
10    Part 10 - The Dance 6'12
Twelve-String Guitar, Lute [Rewab], Rabab, Flute [Genbri], Guitar [2 Steel-String Guitars] – Stephan Micus
11    Part 11 - Under The Chinar Trees 6'42
Kalimba [3 Ndingo], Shakuhachi, Voice – Stephan Micus
Credits :
Composed By [All Music And Voices Composed By], Performer [All Music And Voices Performed By] – Stephan Micus
Text By [Quote In Booklet] – Khalil Gibran