Apalam Chapalam

Hit song from the movie "Azaad" (1955), sung by Lata and Usha Mangeshkar.

ABBA - Super Trouper

"...Like I always do
Cause somewhere in the crowd there's you"

Once in a Lifetime

Great Talking Heads and this song of 1980 is great anytime!

Okinawa Churaumi Aquarium

Ahmad Jamal and Spartacus

Great Ahmad Jamal plays a theme from the ballet of great Aram Khachaturian.

Soweto Gospel Choir

Mixing African gospel with traditional hymns, Jamaican reggae, American pop, and spiritually themed secular songs, the Soweto Gospel Choir are an impressive performing unit.
God Bless Africa!

Sare Nabiyan da Nabi

The greatest qawal Nusrat Fateh Ali Khan live



Maybe,the quality of a qawwali is not the words he utters or the music he plays, but the state he induces...

Nitin Sawhney

Nitin Sawhney is an Indian-British musician, producer and composer. His critically-acclaimed work combines Asian and other worldwide influences with elements of jazz and electronica and often explores themes such as multiculturalism, politics and spirituality.

Glenn Gould plays Mozart

Glenn Gould was a genius.

Remeber Durgotsav

Beautiful animation be Rajesh Chakraborty

Janani janani

Devotional song by great Ilaiyaraaja:



Janani janani jagam nee agam nee
jaga kaarani nee paripoorani nee
jaga kaarani nee paripoorani nee...

Boy George and Krishna

Inspired by his involvement in the Hare Krishna movement (ISKCON),Boy George had written the song during a trip to India in 1989.



From bombay to bangalore
All the hindus know the score
If you wanna live some more
Hare, hare, hare

If you do not take the vow
You can eat the sacred cow
Youll get karma anyhow
Hare, hare, hare

Bow down mister
Hare rama, hare krishna
Bow down mister
We say radha syam

Do the right thing with your hands
Lay down on the pleasing sands
Whatever else your faith demands
Hare, hare, hare

From bombay to rajastan
Nitai guara, radha syam
Hare krishna hare ram
Hare, hare, hare

Bow down mister
Hare rama, hare krishna
Bow down mister
We say radha syam

Bow down mister
Hare rama, hare krishna
Bow down mister
We say radha syam

In the desert jahshamire
They put kun in their hair
At the westemers they stare
Hare, hare, hare

Paint a tilak on your brow
Open like a lotus flower
Its time to check your karma now
Hare, hare, hare

Bow down mister
Hare rama, hare krishna
Bow down mister
We say radha syam

Bow down mister
Hare rama, hare krishna
Bow down mister
We say radha syam

Bow down mister
Hare rama, hare krishna
Bow down mister
We say radha syam

Bow down mister
We say radha syam
Bow down mister
We say radha syam
Bow down mister

Raise your head and lift your hands to the lord

Hare krishna hare krishna krishna krishna hare hare
Hare ram hare ram rama rama hare hare
Hare krishna hare krishna krishna krishna hare hare
Hare ram hare ram rama rama hare hare...

Chhau dance

Chhau is a masked dance, the motif of which has been drawn from the mythological picturesque. In the opinion of some people "Chhau" is a dialect which meams six faces, Viz. fore head, eyes, nose, cheeks, lips and chin and a mask bears the six parts of the face. The word 'Chhau' is derived from the Sanskrit word 'Chhaya' meaning 'shade image mask' which is an essential features of this art.
The beginning of Chhau dances is lost in hoary past and the rulers have been intimately associated with religious festivals known as "Chaitra Parva" celebrated every year for several centuries.

The Chhau dance is of the people

By the people and for the people

Dance of mother of arts

Music and poetry exists in time...

Barong

Barong is probably the most well known balinese dance. Its is also another story telling dance, narrating the fight between good and evil. This dance is the classic example of Balinese way of acting out mythology, resulting in myth and history being blended into one reality.

Nadaka

"Classical Indian / Jazz Fusion is alive and well thanks to folks like Nadaka, who retain all the best elements of its 1970's roots while adding touches which keep a contemporary sound. These albums are among the gems of recent recordings in this genre". (The Internet Guide to Indian Classical /Jazz Fusion)
Nadaka's Live show with the Basavaraj brothers is outstanding! Here we find different traditions, Hindustan, Carnatic, Jazz, meshing seamlessly without losing their distinctness. We¹re in a unique zone where Nadaka's Indianised guitar leads us from traditional modes to more jazzy rhythms, from breathtaking fast passages back to soft soothing chords, where the Flute can be quick Carnatic one moment and Sitar smooth Hindustani the next; where the Violin can be intensely percussive or achingly fragile, the Tabla & Mridangam weave subtle accompaniments or explode into a solid wall of sound.
Nadaka - Guitar & Vocal
Balasai - Flute
Raghavendra - Violin
Sivaramakrishna - Sitar
Ganesh - Tabla & Ghatam
Kesavan - Mridangam & Kanjira

Traviata

Villazon, Domingo, Netrebko. Berlin 2006

Gnawa

Gnawa music is a mixture of sub-Saharan African, Berber, and Arabic religious songs and rhythms. It combines music and acrobatic dancing. The music is both a prayer and a celebration of life. Though many of the influences that formed this music can be traced to sub-Saharan Africa, and specifically, the Western Sahel, its practice is concentrated in north Africa, mainly Morocco and Algeria.
Live video recording from the Essaouira 2008 Gnaoua and World Music Festival featuring Maalem Omar Hayat with Franck Vaillant (Drums), Jon Balcke Norway (Piano / keyboards), Mohamed Derouich (Guitar) France / Morocco, Ibrahim Maalouf (Trumpet / Lebanon).

Titi Robin in Jaipur

photo Louis Vincent

Born and bred in the west of France, Thierry “Titi” Robin is a musical internationalist, brilliantly combining flamenco guitar with Arabic oud and the dance music of Rajasthan’s snake charmers. Titi Robin and his formation "Trio" are playing in Jaipur's hotel (Rajasthan, India)

Tune: La ville rose & Suite pour Oud
Musicians:
Titi Robin: 'Ud, Guitar, Buzuq
Ze Luis Nascimento: Percussions
Francis Varis: Accordeon
Gulabi Sapera: Dance

Carnatic saxophone

The man who almost single-handedly made the Indian saxophone respectable was Kadri Gopalnath. Gopalnath’s premier student is Prasant Radhakrishnan, who learned carnatic music on saxophone in the traditional guru-shishya relationship with Gopalnath in India. But Radhakrishnan also has a bachelor’s degree in jazz performance (and international relations) from the University of Southern California. Because indian music and jazz have different ranges of expressive possibilities, this evolutionary process creates a remarkable fresh approach to improvisation.

Prasant Radhakrishnan - Saxophone
Ajay Narasimha - Violin
Poovalur Srinivasan - Mridungam
Raag: Malamalava Gaula

Abida Parveen

Parveen is the only woman allowed to sing at the shrines of the Sufi saints.
How was this woman able to change the mind of a man who for many years had refused to give musical instruction to his own daughter, who would grow up to become the popular Pakistani vocalist Riffat Sultana?
Her style of singing is clearly different from any other prominent singer in this tradition, and not just because all of the others are male. Abida sings solo with a small ensemble of musicians, who follow the ebb and flow of her dynamic cues with remarkable skill and awareness. In quieter passages, she will often sing alap-like tempo variations in the middle of a piece as the harmonium and percussion pulsate quietly, then surge upward again with a driving beat.