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Примечание модератора: Данный альбом вошел на диск M1, распространяемый бесплатно в рамках проекта «DVD по обычной почте и лично в руки»
[New Age] Al Gromer Khan - Black Marble & Sweet Fire
Al Gromer Khan & Kai Taschner "Black Marble & Sweet Fire."
01. Ghazal de Savoy 06:12
02. Bahadur Shah's Last Poem 09:02
03. Black Marble and Sweet Fire 12:34
04. Prayer for X 02:48
05. Boot and Paisley 08:01
06. Night Crossing 05:46
07. Mercedes (The Passion of the Late Nizam) 05:52
I am Al-Kahira, the comparer of nonsense and flowers.
I am grateful for my stupidity; admitted easily; yet I am conserned with specific details of style as I sit here in rags.
By circumstance not by choice this shrub has blossomed: by choice and not by circumstance this life has been kept plain.
I made an effort and found stuff to ignore, leaving rusty strings unstruck. I neglect the spectacular and overlook the apparently importatnt with deliberation.
I've waited aeons for the reversal of my interests: Now life has become the joke and the sweetness and hilarity of my own thoughts have turned into a point of fascination for me.
No matter what anyone tells you: I don't belong to any creed or sect , culture or race, nor to any period in history.
My only qualification is the age of my soul: I own three hillside palaces of quiet pre-dawn moon sound.
Humiliation is my clothing that I wear to sit and bark with the dogs. I disconnect like dusk and most likely no one will bring flowers to my grave.
I am ardent without deed and I am information zero, unimportant iridescent: Grand Palace of Mercy.
Till now I stayed in one place not avoiding you: now that the traditions are beginning to dissolve, I put on my wintercoat and walk away. Business done;
My contemporaries have declared society to be the central item and are discussing things of importance as I'm speaking to you now.
As my mother taught me to, I keep to myself a lot.
I am the lover of trees, found worthy of loneliness.
I could be the postman, the milkman, the sick person, the transvestite. It takes 1, 2 recognize 1...
I am the unknown dervish.
Треклист:
1. Chanson de la Rose
2. Dance the Hadra
3. Wayfarer
4. Vilayat's Song
5. Utopia Al-Kahira (Hymn to the Unknown Dervish)
6. Mast Africaine
7. Samarkand Run
8. How Can We B Sure?
Al Gromer Khan spent his early years in London and India where he studied Indian music with renowned musical masters. Since that time he has been practicing sitar and surbahar daily. He travelled a great deal and has given breath-taking concerts in Europe and India. As a composer and producer he developed a style of contemporary music that was originally influenced by John Cage, Joseph Beuys and Vilayat Khan. It has become known as Paisley Music to lovers of
Ambient music around the world. As a writer he contributed documentations on music for a number of radio stations. In 2006 he completed his novel The Paisley Handicap.
Tan Dun - Marco Polo (1997)
при участии Al Gromer Khan
Диск 1
1. Marco Polo: 'I Have Not Told One Half Of What I Saw'
2. Marco Polo: 'No'
3. Marco Polo: 'What A Place That Was'
4. Marco Polo: 'Venezia vento'
5. Marco Polo: 'Journey - shin tsen'
6. Marco Polo: 'Wayward The Air This Morning' Listen Listen
7. Marco Polo: 'Listen' Listen Listen
8. Marco Polo: 'The Past Goes On' Listen Listen
9. Marco Polo: 'We Stood At The Harbor' Listen Listen
10. Marco Polo: 'Such A Moment' Listen Listen
Диск 2
1. Marco Polo: 'Desert... As Near As My Finger's End'
2. Marco Polo: 'M-'
3. Marco Polo: 'Silence'
4. Marco Polo: 'I Wait'
5. Marco Polo: 'Himalaya'
6. Marco Polo: Himalaya (Dance) Listen Listen
7. Marco Polo: 'Himalaya' (Overtone Singing) Listen Listen
8. Marco Polo: 'Stone Song' Listen Listen
9. Marco Polo: 'Human, A Grace Note' Listen Listen
10. Marco Polo: 'Was This In The Book?' Listen Listen
Original Release Date: February 6, 2001
Label: New Earth Records
Al Gromer Khan , has built many soundscapes from his cross-cultural virtuosity. For Sufi, he relies heavily on Indian acoustic instruments and contemporary electronics. The CD is based on the intense poetry of the Sufi and the purity of their spirituality. Khan was deeply influenced by the teachings of Ustad Vilayat Khan and his demonstration of how a small fragment of music begets new realities. He embraces Sufism that works from direct experiences and allows it to affect his music - deeply. This gentle soundscape is very subtle. The atmospheres are vacuous and large; Al Gromer Khan's sound design is flawless. The music builds and collapses upon itself continuously. Deep listeners will be fascinated by the depth of the journey. The unique soundscape will appeal to fans of David Parsons, Jalan Jalan, and Angelo Riccardi. It was a finalist in the New Age Voice 2001 music awards - deservedly so.
~ Jim Brenholts
Tracklist:
01. Khanqah
02. Moderate Mast Near Motor Station
03. Zikr
04. Futura
05. Hal-Fez
06. Tanyet
07. Ya Aziz (Ambient-Adagio-Alap)
08. The Crowning Of H.S.
09. Dargah
Original Release Date: August 15, 2000
Label: Bluestar Comm.
The God Perfume II is traditional ambient music mixed with elements of the far east. Khan uses traditional ambient elements, such as droned synthesizer chords and drowned beats, mixing them with things such as the sitar and heavenly female vocals. Khan's music is comparable to a lot of the ambient music that follows in the same vein, however in some unexplainable way, Khan's music seems more authentic.
~ Diana Potts
1 Kailash Castles
2 Neon Mond
3 Shirdi (Good To Give Respect)
4 Gensing Antiques
5 Foret Diplomatique
6 In October We Take Rose
7 Shadwell
8 After The Crash
9 Kashi
10 Winter 1958
11 Chai & Roses (Assam Light Inf.Ret.)
Al Gromer Khan & Amelia Cuni - Monsoon Point (2007, 1995)
mp3 | 224 kbps | 89 mb | 55:30 min
Al Gromer Khan is probably best known for his superior sitar abilities, having been formally trained by the Khan-i-Gharana family of sitarists, a family which dates back to Mughal India. On this piece, Mr. Khan plays electronic keyboards of his own composition, which is accompanied by the accomplished Dhrupad singer Amelia Cuni.
Dhrupad is said to be the oldest form of vocalization/music originating in North India. It has become the basis for the classical form of Indian music, and its roots are said to be found in the recitation of sacred Sanskrit texts.
Traditional Dhrupad is in two major parts, alap and Dhrupad. Alap is vocalization without words, and is the meditative part of the traditional compositions. The second part, Dhrupad, is usually chanted accompanied by a two headed barrel shaped drum called a pakhawaj. The alap portion usually builds the raga and the dhrupad part becomes a worded chant in rhythm cycles. It is a very complex construction of composition, and to be a Dhrupad singer requires years of practice and a lifetime of devotion to the art form.
Al Gromer Khan provides a composition here that is soft, floating, never intrusive and allows for Ms. Cuni to fill the spaces between the keyboard accompaniment with her mellow vocals. I believe the piece never progresses beyond the alap form, allowing this to be a completely meditative composition.
To some people, Dhrupad may be an acquired taste. If you are not familiar with this form of music it may seem foreign to the Western ear. However, Ms. Cuni's skills make this an excellent example of the art form. Mr. Khan has provided a background somewhere between Eastern and Western music styles, giving enough "Eastern Influence" to allow Ms. Cuni to not seem out of place, yet having enough "Western Influence" to allow the "Western" listener to find some hold on the music.
The style is floating, soft, like a still pool on a calm day, allowing Ms. Cuni to produce gentle ripples on the water. This is not traditional Dhrupad, which is why it works well to the Western ear. This is a very lovely work provided by both Al Gromer Khan and Amelia Cuni. ~amazon.com
Al Gromer Khan (aka Aloysius Gromer) has built many soundscapes from his cross-cultural virtuosity. For Sufi, he relies heavily on Indian acoustic instruments and contemporary electronics. The CD is based on the intense poetry of the Sufi and the purity of their spirituality. Khan was deeply influenced by the teachings of Ustad Vilayat Khan and his demonstration of how a small fragment of music begets new realities. He embraces Sufism that works from direct experiences and allows it to affect his music -- deeply. This gentle soundscape is very subtle. The atmospheres are vacuous and large; Al Gromer Khan's sound design is flawless. The music builds and collapses upon itself continuously. Deep listeners will be fascinated by the depth of the journey. The unique soundscape will appeal to fans of David Parsons, Jalan Jalan, and Angelo Riccardi. It was a finalist in the New Age Voice 2001 music awards.
1. Khanqah
2. Moderate Mast Near Motor Station
3. Zikr
4. Futura
5. Hal-Fez
6. Tanyet
7. Ya Aziz (Ambient-Adagio-Alap)
8. The Crowning Of H.S.
9. Dargah
This Ambient music is based on many years of experimentation with simple melodic cycles on different levels of emotion.
The aim is to re-awaken a familiar state of feeling that has been covered through layers of thought. In terms of melody the transition from stage three to stage four and from stage four to stage five seems important. The fourth note represents - not symbolises – the female aspect which is thus fecundated in terms of the spirit: the original tantra.
TURYA aspires to go to the place where music originally comes from. TURYA is not composed music in the old sense. At the same time it is based on decades of research, practise and sifting. Ordinary music produces outer intensity while TURYA seeks inner intensity . The two types are reciprocal in their relationship. This inner intensity is experienced as a kind of magnetism, sanctifying ordinary circumstances and objects. TURYA´s music takes place inside the music. It does not require confirmation through trends.
AGK 8. April 2006
´In India there once lived a saint who was known for his goodness´. The sentence both elated and depressed me on account of my own limited capacity. I turned on the television and switched from channel to channel. A lady in an American movie wanted to know: "What´s that supposed to mean?" I switched channels. "I´ve no idea" answered the man in the talk show. I switched back: "Yes" the lady in the movie said. "No" answered the man in the talk show after I´d switched channels again. What is happening to me? I went to the kitchen, put the kettle on and started thinking about money - some people owned portfolios. "... shares took a drastic nose-dive to-day " someone on the telly said. So I turned it off. That´s when it started, during an early winter invasion in November that felt like a reversed spring. Through layers of wet snow in the field over by the beeches shone bright green leaves, that same juicy green that creepers show in April when they announce blissful May. But this was November and there was nothing to look forward to on that day other than getting a log-fire going in the evening, till the stove-pipe turned burning red. And the peace. All of a sudden there was this ´other condition´: relief and contentment. A feeling rather than a scientifically measurable term, gratitude that youthful ambitions didn´t work out and one didn´t end up in cobwebs of obligations. Success seemed to imply hindrance to the advance of the soul. The ´feeling´ consisted mainly of the absence of certain elements: pop music, mechanical noise, people... A term I read in a novel once, came to my mind: ´Misanthropologist´. I had to laugh, things were put into reverse, what had been interesting before was now boring, what was important was now unimportant and what used to be right was now wrong. A reciprocal element appeared in many things: as one thing improved, another deteriorated. `The Reciprokal System´ I called it. (One has to give names to things at a certain age). I was, however, oblivious of the fact that this apparently unspectacular state would later on lead me into certain dilemmas. I was convinced that somehow it had to do with Vilayat´s sitar music. The playing finger of his right hand danced up and down like the sting of the scorpion. It was around the time when Indian music went out of fashion. Even the Catholic Church had intervened: We have instructions from above not to allow your music to be performed here anymore. I didn´t ask: from how far above...? Next, muscle men replaced thin hippie boys in fashion shows. Cars with wide tyres and boom-boom appeared. Refined sentiments were regarded a weakness. Little smiles between strangers went, too. The term ´soul´ was subtly discredited and it wasn´t long till I wanted nothing more than my peace and quiet. Vilayat Khan had been like opium or heroin: in the end I always relapsed - the soul had no knowledge of a better, a richer watering place. After forty thousand hours of practice and thirty-five years later there is still hope that the sentiments that stem from this music may help me break through to a life of ordered neglect.
1 Tardeo
A reminiscence. Fragments of a melody that I used to practise in a small room in Bombay, India, sometime in the
early seventies of the twentieth century. As these fragments resound a time warp occurs, and sounds, odours,
weather, people reappear – it seems that thirty years have not really passed since then. The impression is blissful,
precious, but lasts only a split second. It is perhaps for this reason that I kept this piece so short
2 ´Stamboul Train´.
This title is a quotation for two reasons: firstly, there is Graham Greene´s novel. It inspired me to call a chapter of
my novel ´The Paisley Handicap´ after it. The trip by train to Istanbul was undertaken by my wife Ute and myself
in 1987. The chapter in the novel is pure fiction - only Abdullah is real. The piece is based on a Turkish folk or
dervish song, that we heard on the radio in Turkey. There have been a number of earlier versions of this piece that
I discarded, versions that, in my opinion, lacked the metaphysical balance. This version from 2003 satisfied me.
3 The Quiet World of Shree Nityananda.
Again several versions were made until I settled for this one. It represents an India without noise, stress and
competitive money-oriented thinking, that once existed. I still experienced this India in my younger days. Before
my mind´s intuitive eye the life and times of great Yogi and sorcerer Nityananda appear. Shree Nityananda
never said very much to anyone but who apparently gave inner peace to many.
4 Kubra
The intention here was to slow down the listeners frequency of thinking instead of creating excitement. This style
of composition was favoured by Florian Fricke (of Popol Vuh – fame), a much underestimated German composer
of the 1970ies. I had the good fortune of working with him on a number of projects, including film music for
Werner Herzog. Kubra contains two sitars - one male, one female - in a dialogue, they are accompanied by an
incongruent simple drum beat.
5 Die Heiligsprechung des Helmut S.
The German word ´Heiligsprechung´ points toward a declaration of sainthood. In this case, however, the meaning
and the context of the word and the person concerned are left ambigously open. Certainly holiness concernes
persons who have not the slightest interest in being ´certified´ by theologicians or made public. To me theology
has always seemed to be the slightly ridiculous attempt to assess exalted states of consciousness with the means of
ordinary ones.
6 The Paisley Handicap
This stems from the early nineteen-nineties, a time when I thought that I had a clear vision of the music of the
future. It is one of my ´structural´ pieces, one that is supposed to incorporate many genres of music. The mezzo-
soprano part is performed by Martina Koppelstetter.
7 Turya
The title track aims at the ideal of transforming and purifying any situation or object exposed to its sound.
Dispite its very simple form, this piece is the result of a long and tedious work process, one that includes the
exploration of different subtle emotional states with their specific landscapes, plus the sifting
and comparing of the effect of the music at different times, places, moods, plus the reaction different people
showed. Turya is an Indian word, meaning the transcendental state.
The third album to be released by Al Gromer Khan in 2000, The God Perfume II is traditional ambient music mixed with elements of the far east. Khan uses traditional ambient elements, such as droned synthesizer chords and drowned beats, mixing them with things such as the sitar and heavenly female vocals. Khan's music is comparable to a lot of the ambient music that follows in the same vein, however in some unexplainable way, Khan's music seems more authentic.
1. Opal Moon
2. Black Princess
3. The Paisley Handicap
4. Ghazal
5. Crystal Night Prayer
6. White Marble Reverence
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