Various Artists - Ottoman Splendours (Various Artists) - COMPACT DISCS [CD]

Cinuçen Tanrikorur's case is that of a genius who, revitalized by an ancestral heritage, crystallizes the transports of his imagination in traditional forms and intentions; the crystals are the creations, the forms are the modes and the various frameworks of composition (pesrev, semâï, beste etc.), and of improvisation (taksim) and the intention is that of traditional art in general and of Moslem art in particular it must contribute to the most central function of the man who is to be an intermediary between heaven and earth, the khalifat (cf. Titus Burckhardt, InchThe Art of IslamInch). Cinuçen Tanrikorur's style is a kind of paroxysm of Turkish savant art. The voice is characterized by the variety and the subtlety of intonations and timbres, and is placed under the sign of the symbolic conjunction of air and water a fluidity which transcends both of these elements to the point of evoking the ether, and then the quintessence of sound. The Sufi doctrine of the alternation of light and veils is prolonged here in the domain of sound vibration one sometimes finds oneself where the InchwhenInch and the InchwhereInch no longer exist, when InchsoundInch and InchsilenceInch are one. The initial intention and the concomitant ambiance permitted the autodidact to invent a style of the ud which is completely traditional at it's foundation and completely unusual in it's form. The result is a different tuning of the lower strings (4th, 4th, 4th, 4th, 5th), and a right hand technique of playing without a rolling motion, and a fantastic dynamic of the left hand which explores to the utmost the intimacy of each string in order to elicit harmonic resonances which had not even been suspected before. Lyricism, fluidity, precision and hypersensitivity are the requirements of this style which has already begun to develop into a school. Album Tracks 1. Bayatî Araban Ayîn-I-Serîfi

Alan Shavarsh Bardezbanian was the unparalleled master of the oud, the Middle Eastern lute. Here he showcases many styles of oud playing, with fourteen folk songs and original compositions from his homeland of Armenia, as well as Turkey, Lebanon and Greece. InchOud at lightning speed with incredible sensitivity to the melodyInch - Allmusic. Com InchAn earthy, elevating sound... Inch - Elsewhere New Zealand InchThe improvisational work is world class... Inch - OmRadio USA ALAN SHAVARSH BARDEZBANIAN was born into an Armenian family in the thriving ethnic community of Watertown, Massachusetts, in 1950. Musically gifted from an early age, Al began playing the oud as a child, modeling his playing on the versatile dance band musicians like George Mgrditchian and Richard Hagopian who performed in the local clubs every weekend. By his teens, Al had already mastered the Armenian dance hall repertoire, which he continued to perform for the rest of his life, and began exploring a wide range of other musical idioms, particularly the contemporary jazz scene of the 1960s. Album Tracks 1. Rampi Rampi 2. Siseler 3. Dari Lolo 4. Shek Mazerov 5. Itia 6. Nihavent Taksim 7. Bint Al Shaliba / Shetti la Dunya 8. Zeytoun / Cheynir Boyov 9. Kale Kale 10. Sevan Uncles 11. Tamara 12. Hüseyni Taksim 13. Hüseyni Saz Samai 14. Farahfaza Longa

A sizzling mosaic of music from sixteen countries and five continents. Music that you never knew of, melodies that have survived for centuries and songs created just the other day. Blues from the Mekong Delta and topical verses from the streets of Kampala, funeral tunes and love songs - enormous variety! Percussion intertwining with lutes and flutes. Let an amadinda, a cinh-k'naar or a kaval enthrall you! Listen to great singers and instrumental virtuosos! These recordings were made in site but are neither traditional field recordings nor regular studio products. InchWe recorded authentic music, the kind that can be of interest to listeners the world overInch, to quote Sten Sandahl, one of the producers who contributed to the series InchMusic from...Inch. The majority of these recordings were made with support from SIDA with the aim of raising the status of music both inside and outside the countries.