Fourth World Music

Overwhelmingly interesting and extremely variant, Jon Hassell's Dream Theory in Malaya is rescued from the stereotypical new age recipe, thanks to its ever-changing instrumental structure and the use of numerous eccentric instruments that emerge as the album progresses. The album's concept is taken from an anthropologist's 1935 study of a tribe of Malaysian aborigines who made it part of their daily routine to discuss the dreams they had the night before. To this story line, Hassell has created a novel and extraordinary set of instrumental meanderings that even includes a refurbished and re-fragmented set of rhythms that was believed to be created by the Semelai tribe. The mixture of bowl gongs, bells, and assorted drums captures the primeval spirit of the album, while Hassell's use of the trumpet on all of the tracks implements some of today's modern sound amongst the percussiveness…

Places of Worship signals trumpeter and composer Arve Henriksen's return to Rune Grammophon and furthers his collaboration with both Jan Bang and Erik Honoré. Here his experimentations with sound, space, and texture offer listening environments that reflect various sacred spaces the world over, hence its title. While these tracks are impossible to separate from the influences of Jon Hassell's Fourth World Music explorations or the more murky moodscapes of Nils Petter Molvær, they are also more than a few steps removed from them. Henriksen never separates himself from the environmental information provided by his natural Nordic landscape. The lush, wild, and open physical vistas of its geography provide an inner map for the trumpeter and vocalist that amounts to a deeply focused series of tone poems.

Nusrat Fateh Ali Khan & Party - Devotional And Love Songs (1992) {Real World CAROL 2300-2 rec 1988}
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© 1988, 1992 Oriental Star Agencies / Real World Records / Virgin | CAROL 2300-2
Indian Music / Pakistan / World Music / Qawwali

Nusrat Fateh Ali Khan opens this album as he often opened his live shows, by calling upon God in the form of Allah to come and bless the gathering with His presence. For that is the sole purpose of the qawwal: to reach God through music, through his voice. And this collection of Devotional and Love Songs is set forth with that in mind. Unlike some of Khan's more Western-influenced releases, such as Mustt Mustt and Night Song, the songs are presented here with minimal instrumentation (mostly harmonium and tabla) in the traditional call and response form, with Khan singing a line that is echoed by the party of musicians that shares the stage with him.

Various Artists - Pa Saber de Flamenco, Volume 4 (2007) {Universal Music Spain 0 602498 494721}
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© 2007 Universal Music Spain | 0 602498 494721
Flamenco / World Music / Vocal / Guitar / Latin / Western European Traditions

In this fourth volume of the series Pa saber de flamenco offer an overview of the capacity to take sophisticated flamenco, flirting with other musical forms. Invite you to take a journey that is a return to the root, a trip to the seed. All the voices and guitars of the great classics of our time, Camarón Paco de Lucia, through Sanlúcar and Carmen Linares. Of course we also offer classic flamenco tradition in the voices of the great historical masters like Antonio Mairena, Porrina of Badajoz, Manolo Caracol or El Chato de la Isla, among others. Pa Saber de Flamenco 4 is not a disc but a gem. A naked heart, the heart of flamenco. An ancient art that is more alive than ever. And in this mechanical world in which we live, this virtue of stripping the heart is something unusual.

Ravi Shankar - Inside The Kremlin (1989) {Private Music 2204-2-P}
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© 1989 Private Music / BMG | 2204-2-P
World / Indian Classical / Raga / Russian Folk / Meditative

Ravi Shankar, the figurehead of world music, was invited in 1988 to work with Russian musicians on a concert to mark the end of an Indian Festival in the Soviet Union. This recording was made on July seventh of that year, with over 140 musicians present: Shankar's Indian Ensemble, the Russian Folk Ensemble, the Government Chorus of Ministry of Culture of USSR, and the chamber orchestra of the Moscow Philharmonic. Shankar composed all seven of the pieces here as a melding of the musics of India and Russia.