22 Results for : santur

  • Thumbnail
    Nordindien-North India: Sangeet Trio in Concert
    Das ungewöhnlich besetzte Sangeet Trio (Tarun Bhattacharya, Santur, Vishwa Mohan Bhatt, Gitarre &amp, Ronu Majumdar, Flöten) präsentierte 1995 in einem Livekonzert in Paris überraschend dynamische indische Musik im Raga Jog, dessen Intervalle an amerikanischen Blues und Jazz erinnern. Der moderne Tonfall der drei Schüler von Pandit Ravi Shankar verbindet sich dabei mit alten nordindischen Traditionen.
    • Shop: odax
    • Price: 17.94 EUR excl. shipping
  • Thumbnail
    The Illuminated Path
    Das Album enthält Musik und geschriebene Anleitungen für zwei kraftvolle Kundalini-Yoga Meditationen zur persönlichen Ausrichtung und für tiefgehende Heilung. Praktiziere diese Meditation mindestens für 40 Tage und entdecke, wie sich dabei deine persönliche Transformation entfaltet. Ashanas wundervoller Gesang und die Alchemie der Kristallklangschalen begleiten dich auf dieser meditativen Reise, leiten dich auf dem "Illuminated Path". Zusätzliche Instrumente sind Santur, Sarangi, Keyboards (Thomas Barquee) und Gitarre.
    • Shop: odax
    • Price: 16.33 EUR excl. shipping
  • Thumbnail
    In Convergence Liberation
    Hafez Modirzadeh (Alto & Tenor & Saxo), Amir Elsaffar (Trumpet), Mili Bermejo (voc), Amir Abbas Etemadzadeh (tonbak), Faraz Monooei (santur)
    • Shop: odax
    • Price: 18.64 EUR excl. shipping
  • Thumbnail
    One Sky
    "One Sky" ist der kritische Aufruf des Oud Virtuosen und Komponisten Rahim Alhaj an jeden von uns: verändert die Welt auf die für Euch mögliche Art und Weise zum Besseren. Als irakischer Immigrant in den Vereinigten Staaten versucht Rahim Alhaj mit seinen musikalischen Talenten Hoffnung und Frieden zu verbreiten. Alhaj schafft zusammen mit dem iranischen Santur-Spieler Sourena Sefati und dem dem palestinensisch-amerikanischen Percussionisten Issas Malluf ein klanggewaltiges Statement für Freundschaft, Verständigung und das Bewusstsein, dass wir alle unter dem gleichen Himmel eine Einheit bilden. 57 Minuten, 20-seitiges Booklet mit Texten auf Englisch und Arabisch.
    • Shop: odax
    • Price: 16.66 EUR excl. shipping
  • Thumbnail
    Namaste
    Rund 25 Jahre lang galt der Saxophonist Kenny G als die Symbolfigur des Smooth Jazz. Nachdem er ein Vierteljahrhundert für Arista ein Hitalbum nach dem anderen aufgenommen hatte, wechselte er 2008 zu Concord Records. Und einher ging mit diesem Labelwechsel auch eine Änderung seiner musikalischen Ausrichtung. Zunächst überraschte er mit dem Latin-Album "Rhythm &amp, Romance", auf dem er eine einzigartige Mischung aus Samba, Salsa, Tango, Bossa und anderen lateinamerikanischen Stilen präsentierte. Dann folgte 2010 mit "Heart And Soul" ein Album, für das er den Geist und die Vibes des klassischen Rhythm'n'Blues und Soul einfing, mit dem er einst in Seattle aufgewachsen war. Jetzt legt Kenny G mit "Namaste " sein bislang abenteuerlichstes Album vor. Es dokumentiert seine faszinierende Zusammenarbeit mit dem indischen Musiker Rahul Sharma, der ein Meister des Santur ist, einer 100-saitigen Kastenzither. Für den chilligen Mix dieser außergewöhnlichen musikalischen Begegnung sorgte der Produzent Kid Tricky.
    • Shop: odax
    • Price: 15.62 EUR excl. shipping
  • Thumbnail
    Visions-Percussion Between Hands And Mallets
    David Friedman, auf der Marimba und dem Vibraphon, gilt als "Grandseigneur" des Jazz Vibraphons. Nicht umsonst, hat er doch mit seinen musikalischen Visionen dem Spiel auf diesem Instrument neue Dimensionen eröffnet und viele andere Vibraphonisten weltweit mit seiner Spielweise fasziniert und angeregt. Die virtuose persische Santur-Spielerin Arezoo Rezvani konnte sich eine ihrer Visionen erfüllen: Die Iranerin hat ihre Heimat verlassen, in der ihr es verboten war, ihre Kunst auszuleben und entfaltet ihr großes Talent und ihre Liebe zur Musik nun in Deutschland. Friedman und Rezvani spielen ihre Instrumente mit Mallets und Schlägeln, und setzen diese ebenso als Percussion-Instrumente ein. Mit einer Leichtigkeit und Eleganz wechseln sie zwischen den Stilen, probieren Neues aus und geben sich nicht mit dem "Ist" zufrieden.In den Duo-Stücken mit Murat Cokun tauchen die Musiker in kontrastreiche rhythmisch-musikalische Welten ein, mal sind es meditative, an Minimalismus angelehnte Muster, dann wieder sehr kraftvolle, virtuos-wirbelnde Rhythmen und Melodiebögen. Die Musik wechselt im Spannungsfeld von Kulturen, komplexe Rhythmen weichen einfach gehaltenen Grooves. Rhythmen aus Korea gehen eine Synthese mit nordafrikanischen Trommeln und türkischen Tanzweisen ein. Stets ist die Rahmentrommel das verbindende Element zwischen den Kulturen und unterstreicht den künstlerischen Leitspruch "connecting cultures", die wohl größte Vision Murat Cokuns
    • Shop: odax
    • Price: 17.79 EUR excl. shipping
  • Thumbnail
    Per il Salterio-Sonaten für Hackbrett und B.c.
    Jürgen Banholzer (Cembalo - Orgel) // Es existieren heute verschiedenste Typen eines meist mit lokaler volkstümlicher Musik in Verbindung gebrachten Instruments, das in deutschsprachigen Ländern als Hackbrett oder Zither bekannt ist, als Zimbal in Osteuropa, als Santur in Persien usw. Unsere Aufnahme widmet sich dem Salterio, der spezifisch italienischen Form dieses Instruments, für das im 18. Jahrhunderts eine beachtliche Anzahl von Werken komponiert worden ist.
    • Shop: odax
    • Price: 17.94 EUR excl. shipping
  • Thumbnail
    Palace Troubadour
    Palace Troubadour, Debu's acclaimed fifth offering, is a musical feast straight from the Royal Court! This 15-song album reflects Debu's versatility and international appeal, featuring songs in English, Spanish, Italian, Turkish, Arabic, Indonesian and Chinese. "DEBU's sound is a heady mix of Middle Eastern strings, thumping drums, flutes, violins, a harp and other Indonesian instruments picked up during the band's travels through this vast archipelago." (AP Jakarta) DEBU PROFILE AND HISTORY DEBU fuses East and West, traditional and contemporary, acoustic and electric. This award-winning world music ensemble is known for playing anything from funk fusion to classical Turkish, then blending these various styles and rhythms to create something new and exciting. DEBU's percussion section consists of Indian, Peruvian, Persian, Arabic, Turkish and Western drums. Add violins, Turkish baglama, oud, Iranian santur, Middle Eastern qanun, acoustic guitar, keyboard and a 6-string bass, and the result is a mini world music orchestra. It is only fitting that this diverse and talented group also sings in nine different languages. DEBU's inspirational multilingual lyrics, written by Shaykh Fattaah, convey the message inherent in the shaykh's Sufi poetry of universal love of the one True Love. Most of DEBU's music is composed by Mustafa Daood, who is also their lead vocalist and arranger. Currently residing in Jakarta, DEBU has topped the charts in Indonesia since the band formed in 2000. DEBU's first album Mabuk Cinta (Drunk with Love), released in 2003, achieved instant success with it's hit single "Cinta Saja," played on MTV Asia daily. The next year, DEBU captured the attention of MTV Asia and worldwide Link TV with "Mazhab Cinta," from their second album Makin Mabuk (Even More Drunk). DEBU soon learned the ropes in the recording studio and decided to build their own studio in Jakarta, where they have produced, mixed and mastered their next five albums. These include three Indonesian albums - Nyawa dan Cinta (The Soul and Love), Gubahan Pecinta (A Travel Guide) and Dianggap Gila (Mad?), a Turkish album entitled Hep Beraber (Let's Say It Together), and their Persian album Soorinaas (A Celebration). Countless performances in a variety of settings, from intimate gatherings to corporate galas, and many television appearances (including several award-winning series featuring DEBU's poetry and music, relief benefits and daily Ramadan specials) have made DEBU famous throughout Indonesia. DEBU's music has attracted global attention - live, through album and digital distribution, and on the internet. DEBU has toured Indonesia, Malaysia (including participation in the renown Rainforest World Music Festival in Borneo), Turkey, Singapore, Iran and Canada. They continue to be invited to events worldwide and are currently working on new releases in English, Spanish, Arabic and Indonesian. 'They have as much fun as Natasha Atlas. They're as suave as Cheb Mami. They're as fresh-faced and sincere as any of the Sami Yusufs and Dawud Wharnsby Alis of the modern Islamic music scene, and they're about to take the Muslim West by storm, a dust storm, in fact. 'DEBU' - which means 'dust' in Malay and Indonesian - has already gone gold in the Archipelago.' Isla Rosser-Owen, Emel Magazine 'The songs DEBU sings - in Indonesian, Turkish, English and Arabic - are mostly about love and peace, and the band members exude goodwill and equanimity. They clearly revel in the opportunity to reach more and more people through their music.' David Kennedy, Jakarta Post 'DEBU's popularity rose quite a few degrees higher at the Rainforest World Music Festival this year, and although many in the audience knew them as stars already, they easily won a large new following.' Randy Raine-Reusch, Artistic Director, Rainforest World Music Festival Music from the heart, to the heart! BAND MEMBERS AND THEIR INSTRUMENTS Kumayl Mustafa Daood Born: July 9, 1981 Place of Birth: Oregon, USA Position: Composer, Arranger, Lead Vocalist, Oud, Glama and Harmonium Mustafa is the musical director and arranger of all of DEBU's music. As he is proficient on many different instruments, it is not uncommon for Mustafa to single-handedly create a demo song in the studio using most of DEBU's pieces. During a live performance, however, he generally plays up to three instruments: Oud: Also known as the lute, this round-bodied instrument is the guitar of the Middle East. It is said to be the grandfather of the guitar. Mustafa uses a Turkish oud, an Egyptian oud and an electric oud that he had custom-made in Indonesia. Glama: This Turkish long-necked lute, also known by some as the saz, is commonly used in central Asia, the Near East and the eastern Mediterranean. Harmonium: Also known as peti or baja, the harmonium is a European instrument that was introduced into India in the 19th century. It is a small organ that has bellows and is pumped by hand through free reeds to produce sound. A lever at the base of the harmonium can adjust it's scale. The keys and their intervals are the same as that of a piano. Muhammad Saleem Born: December 15, 1986 Place of Birth: Oregon, USA Position: Wind Instruments, Vocalist Although Saleem's main role in DEBU is playing wind instruments, he occasionally plays percussive instruments like the Arabian tambourine (riq). Saleem does not limit himself to one specific wind instrument. He has a large collection from around the world. Some of his favorites include: Turkish Ney: This reed flute is one of the most commonly used instruments in Turkish classical music. It has six holes on the top and one on the back, which is covered by the thumb. Sound is produced by blowing on the rim of the ney. Sundanese Flute: This bamboo flute is used in traditional Sundanese music from Indonesia. It's scale is not Western, but rather a traditional Sundanese scale. It has 6 holes and is blown from the top. Fife: Originally found in medieval Europe, this high-pitched flute is held at the side and blown from the top. Like many flutes it uses a standard 6-hole system. Though generally played in a 2-octave range, it can be played up to 3 octaves. Daood Abdullah Born: September 28, 1988 Place of Birth: Texas, USA Position: Drummer and Percussionist Daood mainly plays the darbuka, drumset and cajon. He is, however, proficient on many other percussion instruments like the Persian daf and tombak. Daood is known for his unique playing style. He takes techniques used on various instruments, such as the flutter of the flamenco guitarist, and incorporates them into his playing. The combination of playing the drum set and the handheld darbuka at the same time is another one of his distinctive talents. He has studied music and played percussion with great musicians from around the world like Gilang Ramadan, Tanmoy Bose, Dwiki Darmawan, Sadao Wantanab, Bilen Isiktas, Onur Nar, Yuyun George and Kousik Dutta. Darbuka: Known by many names (such as the dumbek, goblet drum and chalice drum), the darbuka is played in many Middle Eastern countries. It has a thin head that can be made of skin, plastic or even fiberglass. The middle of the head is hit with the hand to produce a low "DUM" sound and the rim is hit for the higher "TEK" sound. Daood uses an Egyptian darbuka, although he favors the Turkish style of playing. Cajon: This Afro-Peruvian percussion instrument is a wooden box with a hole cut out of the back. The player sits on the box and hits the face of it, usually made of plywood, with his hands. Drum Set: This western instrument is a combination of drums and percussive instruments collected and set up around the drummer. It is played using drumsticks and foot pedals. Daood personally prefers to have double foot pedals on his kick drum and he never performs without using his Mapex snare. Ali Al-Mujahid Abdullah Born: November 10, 1978 Place of Birth: Michigan, USA Position: Bass, Sound Technician Mujahid oversees all set up and technica
    • Shop: odax
    • Price: 15.92 EUR excl. shipping
  • Thumbnail
    Tarab Trio: Wege nach Kurdistan
    Ein kurdischer Santur-Virtuose aus dem Iran, der mit den Peschmerga gegen den IS kämpfte, ein charismatischer junger Sänger aus der jesidischen Community im Irak, der 2014 vor dem Völkermord floh, ein deutscher Harfenist mit Background in Alter Musik und Folk. Gemeinsam gründeten sie 2015 das Tarab Trio. Den zwei kurdischen Musikern ist die Rückkehr in ihre Heimat verwehrt. Mit der CD "Aman hey Aman" lädt das Ensemble ein zu einer musikalischen Phantasiereise - entlang der Route, auf der die beiden nach Deutschland kamen. Kurdische Lieder über Liebe, Leid und den Kampf für Freiheit, Melodien der Ägäis-Region und der osmanischen Tradition, instrumentale Tanzstücke.
    • Shop: odax
    • Price: 19.92 EUR excl. shipping
  • Thumbnail
    Felt Hammer Improvisations, Vol. 1
    Liner Notes: Felt Hammer Improvisations, Vol. 1 Music by Paul Astin (piano) and Peyman Hedarian (santur) Today I flew in from Greece to London. As we taxied to a standstill the musics on the inflight stereo were well-known songs by the famous Rebetiko composer Vassilis Tsitsanis. Delightfully attractive music, enough to lift the heart after a tiring journey. But problematic. It was played on a piano. The piano plays on tempered scales. On a piano you cannot play the microtonal intervals that originally sat at the heart of Tsitsanis' music. Myself, I play the diminutive Greek baglama, and my instrument (with tempered-scale frets) has exactly the same problem. This tension between the microtonal intervals of Anatolian music and the do-re-mi of the Western scales is the salt and pepper of Rebetiko. It happens that Peyman Heydarian and Paul Astin are good friends of mine. We share a fascination with modal music, and it is the research and practice of Greek Rebetiko that originally brought us together. So when I arrived home in the early hours with a head full of microtonal questions (I was reading al-Farabi and Safi al-Din al-Urmawi and their reworkings of the Pythagorean scale en route) it was a shock both delirious and delicious to find the 18 files of this improvisatory adventure sitting in my in-box. Not Rebetiko, not Anatolian, not Western, rather something new. Recorded in Los Angeles. Two musicians - an American and an Iranian. That in itself symbolic in our troubled times. But doubly symbolic in the meeting of their two musical cultures. Actually, no, it is more than that. The musical cultures of these two men extend through time and across spaces to a diversity of inspiration. My idea of heaven includes two special corners - Astin pumping out the angular rhythms of black bebop when he played Thelonious Monk tunes on a grand piano that I procured for him when we met in Greece... and Heydarian when we sit in a corner of a London venue on a dark November evening and rattle through the pulsing rhythms of Irish reels and jigs on both fiddle and santur. There is a sympathetic rapport between the musicians, both dynamically and rhythmically. Heydarian plays the 9-bridge (salari) and 11-bridge (baziar) santur, tuned closely to the Western keys of F and D respectively, while Astin plays a Yamaha C7 acoustic grand piano. Many of the tracks stay within the parameters of the santurs' tunings, though a few move beyond these confines, resulting in a mix of tonal and atonal improvisations. Astin, having a jazz background, uses bass tones such as the fa, creating a harmonic framework with a raised 11th (the Lydian scale). Heydarian is not generally put out by such explorations, which differ sharply from traditional Persian or maqam (modal) music. In addition to performing, Heydarian develops computer algorithms to identify musical modes in recorded music. Not surprisingly, many of his melodic ideas blend phrases from Persian, Kurdish, Greek, and Celtic songs. To preserve the integrity of this session, the pieces are presented in the order in which they were recorded. No tracks have been deleted and there were no second takes. This is the complete session. Towards the end of the recording, Astin reaches inside the piano, using his hands to strum, dampen, and strike the strings, while Heydarian uses the tail of his hammer and also plays sequences in the untuned fourth region of the Santur. In addition, Heydarian introduces novel tunings on his instrument. This collaboration is a daring step. The music made by our two musicians is not pre-notated. It is improvised. It is dangerous. It is a conversation between musical languages in which commonalities and differences are explored - sometimes tentatively, sometimes boldly - and a discourse is produced in which you and I can share. While the musicians possess a deep understanding of their unique genres, together they create something quite unlike what one usually hears from the santur or piano. Pythagoras and Euclid theorised their scales on the single string of a monochord. The ratios that they established were conceived as a harmony of the spheres, the elements, the humours and all things divine and mundane. The simple monochord then took a notion to elaborate itself. One string became two, and then four, and eventually multiplied to the point that gave us the santur in the East and the piano in the West. An astonishing world of art music was created through hitting these strings with small felt hammers. And that is the world that is explored in this collection of tunes. Ed Emery Institute of Rebetology London, England.
    • Shop: odax
    • Price: 26.32 EUR excl. shipping

Similar searches: