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Loreena Mckennitt - B1 - In Praise Of Christmas Loreena Mckennitt - B2 - The Seasons Loreena Mckennitt - B3 - The King Loreena Mckennitt - B4 - Banquet Hall Loreena Mckennitt - B5 - Snow Loreena Mckennitt - B6 - Balulalow Loreena Mckennitt - B7 - Let Us The Infant Greet Loreena Mckennitt - B8 - The Wexford Carol Loreena Mckennitt - B9 - The Stockford Carol Loreena Mckennitt - B10 - Let All That Are To Mirth Inclined
Donde Sea Que Hoy Estes Tesoros Nostalgia Sueños A Paso Lento Sed De Ti Librame Por Haberte Conocido Nuevo Amanecer Porque Te Sigo Amando Amar En Tiempos Revueltos
Tu Despedida Perdida En Mi Piel Entre Tus Ojos Y Los Mios Y De Que Manera Agua Y Sed De Tu Recuerdo Jovenes Amantes Tu Nombre Me Sorprende Esta Hora De Los Besos Un Lugar Lejano
...Ladino music also changed its role in the Jewish community from the beginning of the 20th century: Little by little it lost its function inside the community in the traditional rituals of the life cycle and the year cycle and moved into other contexts such as commercial recordings and performances. The new medium of music distribution: commercial recordings, exposed people in the Ottoman Empire to Turkish, Greek, Arabic and European music and Jewish artists were inseparable part of this industry. A relatively large number of Ladino recordings were released and also non-Jewish artists recorded this repertoire in Thessalonika (see Bresler, Old recordings). Rabbi Isaac Algazi and Haim Effendi were the main Sephardic music representatives on the Gramophone/ Zonophone, Orfeon, Colombia and Odeon labels at the beginning of the century and after. In the 50’s Victoria Hazan and Jack Mayesh were the up and coming stars and were recorded in Metropolitan and Me-Re record companies. All of them were of Turkish origin. The more that local and European music became available and accessible the more we could find Ladino songs borrowed from Smyrnaica, Rebetika, Turkish Şarkılar, Kantolar and folklore music, Tangos, Foxtrots, French songs and Italian operettas repertoire. The famous popular tunes of the time were performed, not in the original language, but with new texts in Ladino. This phenomenon is called contrafacta (About contrafacta see Dragoumis, Greek; Havassy, Sadik y Gazoz; Kats, Contrafacta; Seroussi, Turkish Music; Seroussi and Weich-Shahak, Contrafacta; Weich-Shahak, Adaptations) and is well demonstrated in the case of Sadik i Gazoz (see information in songs nos. 2,14, 11).
This album contains various song types from the four main Jewish centers in the Ottoman and post-Ottoman era. All of them maintained prosperous Sephardic community life that enabled rich cultural and musical means of expressions. In Thessalonika we have a vast documentation from numerous Jewish newspapers and other sources about the distribution of Sephardic music in cafés, Theaters, LP recordings and the press. Izmir is known for its rich female oral tradition well demonstrated by the list of archival-recorded sources for the songs in this album. The unique geographical and demographic situation of this city, multicultural in all aspects including musical is reflected in the many Ladino songs of Turkish and Greek origin. Istanbul had developed a rich and broad Sephardic religious repertoire based on Ottoman instrumental and vocal music. This tradition is still alive now and one of the strong evidences is the existence of the old tradition of the maftirim. Jerusalem also has it own unique style of Sephardic music because of the cultural influence of Ottoman music and the local influence of Arabic music. In addition, the music in Jerusalem reflects its main cultural origins of Sephardic population from the Balkans (especially Bulgaria and Yugoslavia).
This album of popular yidish songs is the logical result of a series of encounters. First, there was the encounter of three artists whose friendship grew while making this record. The second was their common approach to the music. The third was the blending of each musician's sensitivity and artistry. The adventure began during an evening shared among friends. Spontaneously, a person took his violin, a second picked his accordion, and a third added his voice. That jam session, performing yiddish songs, was the first step toward recording this album. The recording was made a few weeks afterwards by the same friends at the same place. The present recording is more than just a personal attachment to the music it contains, it's a nostalgic feast of a forgotten era. A deeply heartfelt album of eastern Europe jewish music perfectly performed by the trio.
Track list:
Avreml Hulyet Oyfn Veg Az Der Rebbe Partizanenlied Modeh Ani Lifonekho Rozhinkalekh Mit Mandlen Reyzele A Kalte Nakht Drey Tekhterl Lomir Alle Mamele Fraylekh
I am grateful that Chansons Yiddish has been reprinted. One of the best ensembles I heard, instruments and voices are just perfect.
By I. A. Finkelstein:
This recording has been out of print in the US for years. After I bought Leiser's sequel CD, Yankele, I really wanted this one. I finally found it in a music store in Paris last year. These are wonderful performances, from the heart and soul, performed brilliantly. Leiser is not a professional singer, but the wisdom and joy he brings to these songs makes this a special album for lovers of Yiddish music. Highly recommended.
Viens Danser [Swing de Bop] Histoire d'Un Amour [Tango Bolero] Mambo Italiano Strangers in the Night [Jerk] Volare [Lindy Hop] Ay! Mourir Pour Toi [Samba Bossa Nova] You Don't Have to Say You Love Me [Slow] Hava Naguila [Quick Step] Besame Mucho [Fox-Trot] Belle Vie [Slow Fox] Buona Sera [Boogie Woogie] Moulins de Mon Coeur [Rumba Lente]
Jarnana Grabile, Ya Nane Mori Lalun Flogeres Razbolese Tsare Suleyman Ediye Milo Mi E Magde Saraka Inima Me Radile Re Rasplakal Star Bel Dedo Kerem Eyle Cobankat Ayde Vino Piyam Vale Populare Tri Mi Zvezdo
1. Persepolis Theme 2. Teheran Disco 3. Tout Ce Qui Est Ŕ Vous M'Appartient 4. Manifestations 5. La Bonne Lecon 6. L'Apogée d'Anouche 7. Le Prolétariat 8. Va T'en 9. La Guerre 10. Master Of The Monsters (50 Toumans) 11. Dans La Vie Tu Rencontrears Beaucoup De Cons 12. Marche Persane 13. Balčze 14. Rosen Aus Dem Süden (Hormones) 15. Musique De Merde 16. Frenchie 17. Flower Power 18. Love And Hate 19. Sachertorte 20. The Eye Of The Tiger by By Chiara Mastroianni 21. Teheran 22. Absurde 23. Clair De Lune 24. Adieu
1. Como el agna - Camaron (3:42) 2. Almoraima - Paco de Lucia (5:26) 3. Luna de la Victoria - Jose Merce (5:23) 4. Los Cuatro Muleros - Estrella Morente (3:21) 5. El Mandiato - Vicente Amigo (7:00) 6. Mirador de San Nicolas - Arcangel (5:09) 7. Cantares - Carmen Linares (4:51) 8. Toca Madera - Juan M. Canizares (3:33) 9. Ay Tristeza - La Macanita (4:33) 10. Sevillanas de la Vida - Alboa Monila (4:29) 11. Vidalita - Mayte Martin (5:07) 12. La Telita - Duquende (5:24) 13. El sereno de mi calle - Indio Gitano (4:05) 14. Chicuelina - Rafael Riqueni (3:20) 15. Dime - Lole y Manuel (2:51) 16. Cantar del Alma - Enrique Morente (4:10)
01. So Fell Autumn Rain 02. Hold On Tight 03. Forever Autumn 04. Pagan Wish 05. Otherwheres 06. The Homecoming 07. Come Night I Reign 08. Demon You / Lily Anne 09. To Blossom Blue
Forever Autumn Lyrics: So, the season of the fall begins Down the crossroads in a sleepy little inn By the fire when the sun goes down
But the night becomes you And the secrets of the rain
Forever autumn
And the season of the fall begins Out the nightlands when the thunderstorm sets in The secrets clear in the cloudy night
But the night becomes you And the secrets of the rain, they will stay the same And the time will come soon With the secrets of the rain, and the storm again
Coming closer every day, forever autumn
And the season of the fall begins Past the passingbell, past willows weeping A ripple forms on the brinks of time
But the night becomes you And the secrets of the rain, they will stay the same And the time will come soon With the secrets of the rain, and the storm again