martes, 31 de enero de 2017

Marc-André Hamelin - In a state of jazz (Flac)



Marc-André Hamelin's Hyperion disc in a state of jazz is not an example of a classical pianist letting his hair down, nor attempting to fuse jazz with classical music, or to create something a tad more commercial than, say, an album of Tausig transcriptions. This collection features works by four classical pianist/composers -- Friedrich Gulda, Nikolai Kapustin, Alexis Weissenberg, and George Antheil -- that fashioned piano music "in a state of jazz," though in fully notated form. The one exception to the rule is Alexis Weissenberg's Six arrangements of songs sung by Charles Trenet, which first appeared on a 45rpm record in the 1950s credited to "Mr. Nobody." This was Weissenberg, who was attempting to protect his career as a classical piano virtuoso through hiding under this made-up name; he did not write down these arrangements, and Hamelin has transcribed them from the record himself. Weissenberg's impulses were correct; had he released his jazz music under his own name it very well could have wrecked his career; Viennese composer Friedrich Gulda made major strides toward breaking down such barriers, and his work is represented through three exercises from his pedagogical collection Play Piano Play (1971) and a Prelude and Fugue (1965).

'Played with such astounding agility and aplomb that you end up mesmerised by virtually every bar. Indeed, it is no exaggeration to say that no other pianist could approach Hamelin in such music. Notes pour and cascade like diamonds from his fingers and he has an inborn flair for the music's wild, free-wheeling melodies and rhythms, for its glittering whimsy and caprice … superbly presented and recorded, this is a special addition to Hamelin's towering and unique discography' (Gramophone)

'Although this fine recording is entitled 'In a state of jazz' it includes no true jazz—every note is written down—but for all that it bursts with the daring vitality that is the hallmark of the best improvised music' (The Observer)

'The Canadian pianist Marc-André Hamelin possesses one of those musical brains that spark with maddening brilliance in whatever direction takes his fancy … it's hard to believe Hamelin didn't grow up within earshot of some dubious jazz haunt in New Orleans or Harlem … as Hamelin explains in his enjoyably lucid booklet notes, Gulda's astonishing pianistic pedigree deserves to be seen in a far wider context … Hamelin's evocations of these are wonderfully whimsical yet as crisp as celery. The syncopations 'sit' so comfortably under his fingers—exactly the right balance between ambition and restraint, warmth and edge—a pretty rare commodity in the performance of classical repertoire, let alone jazz-inspired music … this is a lovely, lovely disc; I highly recommend it' (International Record Review)

'Hamelin plays with such dexterous panache that he puts back much of the heat that the formalisation of jazz as 'composition' removes … dazzling and enchanting' (Classic FM Magazine)

'Nikolai Kapustin's remarkable Sonata No 2 is a convincing integration of classical form with jazz. Alexis Weissenberg's Sonate en état de Jazz, which evokes tango, Charleston, blues and samba in its four movements, is more idiosyncratic but no less dazzling' (The Scotsman)

'What an imaginative program Marc-André Hamelin has assembled: jazz-inspired works that are virtuosic like nobody's business and totally fun to listen to … technically, of course, Hamelin is beyond reproach … he's a serious contender for the first word in piano playing' (Classics Today)







1. Exercise No. 1 from Play Piano Play (Freiderich Gulda)
2. Allegro molto (Sonata No. 2, Op. 54 - Nikolai Kapustin)
3. Scherzo: Allegro assai
4. Largo - Allegro
5. Allegro vivace
6. Exercise No. 4 from Play Piano Play -Allegro ma non troppo (Gulda)
7. Evocation d'un tango (Sonata in a state of jazz- Alexis Weissenberg)
8. Remininscence d'un charleston
9. Reflets d'un blues
10. Provocation de samba
11. Exercise No 5 from Play Piano Play- Moderato poco mosso (Gulda)
12. Prelude and Fugue (Gulda)
13. Coin de rue (6 arrangements of songs sung by Charles Trenet - Alexxis Weissenberg)
14. Vous oubliez votre cheval (Trenet and Brachlianoff)
15. En Avril a Paris (Trenet and Eiger)
16. Boum ! (Trenet)
17. Vous qui passez sans me voir (Hess & Misraki)
18. Menilmontant (Trenet)
19. Jazz Sonata - (George Antheil)

lunes, 30 de enero de 2017

Awa Poulo - Poulo Warali



Awa Poulo es una cantante procedente de Mali, más concretamente de los Peulh, el pueblo nómada más grande del mundo.
Awesome Tapes From Africa presenta ahora la nueva grabación de Poulo, con grandes dosis de folk-pop y con una visión contemporánea de la música de los Peulh. No es muy común encontrar a una cantante femenina que actúe en directo entre los Peulh, pero casualmente la otra mujer del marido de la madre de Poulo es Inna Baba Coulibaly, también una reconocida cantante en Mali.
http://www.mondosonoro.com/noticias-actualidad-musical/awa-poulo-sacara-un-nuevo-disco-en-enero/
Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo’s newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali.

It’s not very common to find a female singer performing publicly among the Peulh. But Poulo’s mother’s co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo’s entree into the music world was auspicious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo’s first internationally-distributed record.

On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n’goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shape-shifting layers of rhythm and woody overtones match Poulo’s commanding voice in a jocular yet deliberate dance.

This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other.
Poulo’s conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali’s melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.

credits


Awa Poulo — Voice
Kande Sissoko — N’goni
Cheickne Diabate — Guitar, Bass Guitar
Souley Guindo —Flute
Sana Diarra — Calabash

Produced by Paul Chandler & Studio Mali Recordings
Recorded by Konan Kouassi at Studio Mali Records in Bamako, Mali
Edited by Philip Sanmiguel
Photography by Oumou Diarra

Awa Thanks:
Inna Baba Coulibaly — My mother, my mentor and inspiration
Mamadou Djadje Bah — My helpful friend
Abdoulah Aziz Diallo — President of the Association of Peulh in Mali
Abba Coulibaly — My brother, who helped in the recording studio
 https://awapoulo.bandcamp.com/album/poulo-warali





1. Dimo Yaou Tata 04:34
2. Djulau 04:13
3. Djara Wilam 04:31
4. Mido Yirima 03:32
5. Noumou Foli 04:24
6. Poulo Hoto Ngari 03:39
7. Poulo Warali 04:47
8. Sidy Modibo 04:31


domingo, 22 de enero de 2017

Rico - Man From Wareika



Emmanuel "Rico" Rodriguez MBE (17 October 1934–4 September 2015), also known as simply Rico , Reco or El Reco , was a Cuban-born Jamaican ska and reggae trombonist . He recorded with many producers, including Karl Pitterson , Prince Buster , and Lloyd "Matador" Daley . He was known as one of the first and most distinguished ska artists, and from the early 1960s performed and recorded in Britain, with the Specials , Jools Holland , Paul Young , and others.

Man from Wareika was the first album recording for Rico Rodriguez led by his own artistic imagination, and his first recording created for album release. It is notable for being the only roots reggae album to be released on Blue Note Records .

After recording one track ("Africa") in London with engineer Dick Cuthell as a kind of a demo for label owner Chris Blackwell - its arrangement is completely different in comparison to the rest of the album and contains flute and chorus - Rodriguez was offered a contract to record this album; and he could arrange to record in Jamaica .

After 15 years Rodriguez returned for the first time to Jamaica. He had left the country in 1961 when he was already heavily involved in creating the then new ska sound. In 1976 he added something new to reggae music. A critic wrote in 1977 that the album "does not just reflect the current popular trends, but ... expresses in a definitive way the Jamaican music tradition."

The nine self-composed tracks on the album offer Jamaican rhythms with horn lines between a melodic use (eg on "This Day", "Lumumba") and jazz; the latter helped to define something like a new genre, Jamaican jazz, transforming the experience from early ska days into 1970s roots reggae. Most of the songs remain in Rodriguez's live repertoire until today. Some have been re-recorded by other artists as well as by himself. https://en.wikipedia.org/wiki/Man_from_Wareika





1 This Day 
2 Ramble 
3 Lumumba 
4 Africa 
5 Man From Wareika 
6 Rasta 
7 Over The Mountain 
8 Gunga Din 
9 Dial Africa

domingo, 15 de enero de 2017

Krystian Shek - Blue Marine (2007)


En algún momento del año 1992, Krystian descubrió su pasión por la música electrónica, después de haber tomado clases de piano durante más de 10 años. Inspirado por el viejo Vangelis y Jean Michel Jarre se encontró escuchando lo que se conocia en aquel momento como la música techno. Rápidamente decidió que él también quería hacer algo así. Sin saber cómo producir este tipo de música, y sin tener idea de qué tipo de aparato genera estos ritmos sintéticos, pasaron varios años antes de que Krystian casualmente hizo un descubrimiento que le llevó en la dirección correcta. Un amigo le dejo un ordenador Amiga 500 con una grabadora multi-pista, que era capaz de grabar las muestras. Desafortunadamente, los límites de los programas no tardaron en llegar, y él no sabía cómo continuar. Más tarde, aproximadamente a finales de 1994, finalmente averiguó cómo producir música de una manera mas profesional. Después de experimentar y probar durante un tiempo, Krystian hizo sus primeras grabaciones, sin ofrecerlas a nadie, sin embargo, no estaba contento con el resultado por el momento. A finales de 1997, el tiempo finalmente habia llegado Grabó tres pistas de las que era cierto, que eran excelentemente adecuadas para bailar.
Hoy Krystian es bien conocido por el lanzamiento de su Trip-Hop/Electronica en el sello FAX Label propiedad de Pete Namlook.


01. Slightly Breeze
02. Watching The Waves
03. De Minerale
04. Acapulco Nude
05. The Easy Way Of Life
06. Cocktail Hour
07. Unknown Situation
08. Fly Over The Ocean
09. Meeting Friends On A Walk
10. Blue Marine
11. Love Guitar
12. Coming Back Soon
13. Reality

Ibrahima Cissokho & Le Mandingue Foly - Yanfu (2016)


Ibrahima Cissokho ofrece con su kora un auténtico groove de rock afro. Con un pie en la tradición de su condición de Griot, el otro en la música contemporánea con melodías amplificadas de rock y funk como referencias, creado por su forma de tocar la kora, música mandinga del siglo XXI.


Vive en Francia desde 2008, Ibrahima, en la voz y kora, es un artista completo. cantautor carismático, que no dudó en aprovechar las oportunidades que lo hacen un músico único. Se rodeó con su fiel banda de acompañamiento, Le Mandingue Foly, con quien realizó una gira europea y escenas de todo el mundo, creando asi un sabroso cóctel de influencias, su voz potente y cálida, cantó la solidaridad, el amor, el despertar de los espíritus. Él desea transmitir los valores que son queridos para él y engendrar la unidad a través de sus creaciones.



Ibrahima Cissokho: Voz, Kora
Françoise Veilhan: bajo, percusión, voces
Laurent Baradel: flauta peul
Gregory Boudras: Batería

Invitados:
Khadim Sene: Sabars
Petit Adama Diarra: Djembe, Guitarra acústica
Guillaume Lavergne: teclados
Hadja Kouyaté: Coros
Sory Diabaté: baláfon
Orlando Julius: Saxofón



01. Bayo
02. Solidarité
03. Tiedo (feat. Petit Adama Diarra & Sory Diabate)
04. Serigne Saliou
05. Yanfu (feat. Petit Adama Diarra & Hadja Kouyate)
06. Diula
07. Kanou (feat. Sory Diabate)
08. Manduleen
09. Dinala Setsi
10. Sénégal (feat. Orlando Julius)
11. Mouridoulaye
12. Mandingue Foly (feat. Petit Adama Diarra)

sábado, 14 de enero de 2017

Mulatu Astatke + Black Jesus Experience - Cradle Of Humanity



Cradle Of Humanity features Mulatu Astatke, the Father Of Ethiojazz, in collaboration with Australian musical collective Black Jesus Experience. Cradle Of Humanity is the funkified product of seven years of performances together around the world, brought to fruition in studios in Melbourne, Australia; Addis Ababa, Ethiopia; Koln, Germany and London, UK.

A meditation on the origins of humanity, rhythm and culture, this album combines the mystic tonalities of Ethiopia’s ancient and unique scales with deep grooves and the freedom principle. Cradle Of Humanity’s suite of songs includes re-interpretations of the Mulatu gems Sabye, Netsanet, and Yekatit, and the Ethio classic Wubit. The inspirations for Mulatu’s original works, love, freedom, revolution and culture, are recast and reinterpreted by Amharic songstress Enushu Taye, lyrical giant Liam ‘Mr Monk’ Monkhouse and genius stream of consciousness freestyler Tibor Bacskai, honed through mentorship and discussion with Mulatu while touring (Australia, Africa, UK, Europe, Oceania, including Glastonbury, Big Chill, WOMAD, Bushfire, United Nations etc….). The album’s new compositions, by one of Australia’s finest jazz composers Peter Harper muse upon the liberation of selflessness on Until, letting go on We Pray and socialist anthem It’s Time.

Cradle Of Humanity features Mulatu’s vibes playing at its most expansive, and his signature approach to African percussion. Australian music legend Bob Sedergreen adds his hard funking magic on keyboards, whipped by the driving horns of Peter Harper on sax and Ian Dixon on flugelhorn. All stirred into a grooving ‘wot’ by Matt Head on kit, Chris Frangou bass and Zac Lister guitar with Nui Moon and Malamine Sonko percussion and special guests toaster Jornick Joelick and masinko virtuoso Asrat. Cradle Of Humanity is the joyous fruit of a seven year journey of love, joy and artistic dedication.

https://blackjesusexperience.bandcamp.com/album/cradle-of-humanity




1. Wubit 06:27 
2. Sabye 04:05 
3. Until 08:49 
4. Yekatit 05:36 
5. We Pray 05:44 
6. Netsanet 08:03 
7. It's Time 07:52

viernes, 13 de enero de 2017

Aurelio - Darandi



Aurelio, cantautor , guitarrista y percusionista es uno de los artistas más talentosos de Centroamérica. Nacido en Honduras en 1969 , el músico se destaca por su inigualable voz poderosa y melodiosa. Se trata también del principal portavoz de la cultura y de la música Garífuna tanto a nivel nacional como a nivel internacional . Los Garinagu o mejor conocido s como los Garífunas , son el fruto de un mestizaje entre pueblos amerindio s y africano s , cuyo origen proviene de una pequeña isla de las Antillas Menores conocida con el nombre de San Vicente. Según los relatos históricos, tras numerosos conflictos con los colonos europeos por la hegemonía d e l territorio insular, en 1797, el Gobierno Británico optó por deportarlos hacia una de sus ex - colonias: la isla de Roatán , ubicada en las Islas de la Bahía de Honduras. Es así como desde entonces , el pueb lo Garífuna se extiende a lo largo de las costas de Belice, Guatemala, Honduras y Nicaragua, convirtiéndose de este modo en una comunidad transnacional en el istmo centroamericano .

Como Garífuna , Aurelio proviene de Plaplaya, un pequeño pueblo caribeño situado en el noreste de Honduras, en donde creció rodeado por una familia de músicos . S u padre, un trov ador local , tocaba la guitarra e improvisaba canciones de un género musical llamado P aranda, cuya originalidad radica en la mezcla de ritmos tradicionales g arífuna s y sonidos latinos. Desde temprana edad y gracias a la influencia de su abuelo y de sus tíos , el artista se convirtió en un talentoso y brillante percusionista .

De su madre, una cantautora tradicional , heredó el don del canto , permitiéndole a su vez , grabar muchas de las canciones que ella misma compuso . Sin embargo, Además de la influencia musical de su familia, merece la pena mencionar que aun siendo solo un niño, Aurelio comenzó a realizarse como músico asistiendo a las ceremonias rituales celebradas en honor a los ancestros Garífunas . Asistía inclusive a los eventos más sagrados del culto en donde normalmente no se admitía la presencia de menores de edad.

http://www.aureliomusic.net/bio/





  1. Dondo Yalifu
  2. Yange
  3. Laru Beya
  4. Sielpa
  5. Dugu
  6. Sananaru
  7. Landini
  8. Funa Tugudirugu
  9. Narigolu
  10. Lumalali Limaniga
  11. Naguya Nei





martes, 10 de enero de 2017

Ghazalaw – Ghazalaw

Subido por Marhali.

Ghazalaw (2015) celebra la afinidad entre el género lírico ghazal de India y la tradición popular de Gales. El cantante y compositor de Bombay Tauseef Akhtar y la cantautora galesa Gwyneth Glyn entretejen la poesía de amor de sus dos tradiciones culturales junto con el acompañamiento de arpa, tabla, guitarra y armonio. Aparentemente dispares pero con resultados deliciosos.

En Ghazalaw los tonos sonoros de Akhtar se adaptan perfectamente para transmitir "birha", el dolor del amor inalcanzable tan popular en la poesía Ghazal del norte de India. Por su parte, la voz de Glyn aporta, desde las letras del folk galés, el concepto de "hiraeth" (un intenso deseo por una persona o lugar) de la belleza de la vida.

Mientras que los poemas de cada pista trabajan bien temáticamente, es la profundidad de la emoción con la que Akhtar y Glyn recitan que hace que la transición del urdú al galés apenas sea perceptible. El arpa de Georgia Ruth, la adición de un violín (que difumina los estilos galeses e hindúes) y el ritmo crujiente de la tabla proporcionan una experiencia de sonido hipnótico y envolvente. En definitiva, Ghazalaw es un proyecto fascinante y un recordatorio oportuno de que la humanidad es global y que tenemos en común grandes confluencias dignas de celebración.

01. Tum nazar se - Cyfri’r sêr
02. Teri aankhon mein - Seren syw
03. Apni Ruswaayee - Sefyll yn stond
04. Hosh apne - Y botwm du
05. Hud se - Cainc yr aradwr
06. Moliannwn - Ishq karo
07. Khoobsorat koi sazaa - Cosb mor dlos
08. Lusa lân
09. Guzur jaayenge jab din – Hiraeth
10. Jugnu ke sitara tha - Hen ferchetan

Khiyo – Khiyo (Bengali Music with a London Sound)

Subido por Marhali.

Khiyo es una banda, establecida en Londres, que interpreta el patrimonio musical bengalí, formada en 2007 como una colaboración entre la cantante británica-bangladeshí Sohini Alam y el multiinstrumentista y compositor Oliver Weeks (a quienes se unió el bajo y las guitarras de Ben Heartland) para explorar nuevas formas de presentar la música tradicional bengalí, pero preservando su esencia.

Las canciones de este disco debut (2015) representan una mezcla ecléctica de clásicos bengalíes de Bangladesh e India, basándose en lo popular, películas, canciones protesta conmemorativas de la independencia bangladeshí y otros géneros tradicionales como las Rabindra Sangeet (canciones de Rabindranath Tagore) y las Nazrul Sangeet (canciones de poeta nacional bengalí Kazi Nazrul Islam). La potente y expresiva voz de Sohini Salam se acompaña a la perfección con arreglos dinámicos y originales que se alimentan de los sonidos del sur de Asia y de la tradición clásica, del rock y del jazz. El resultado es un sutil equilibrio entre las culturas y tradiciones de Oriente y Occidente.

01. Akashta Kanpchhilo Kyan?
02. Doyal Tomaro Lagiya
03. Rum Jhum Rumu Jhumu
04. Nishi Raat
05. Amar Protibaader Bhasha
06. Murshidi (Kachhe Nao Na, Dekha Dao Na)
07. Koi Jao Rey
08. O Ke Udashi Benu Bajayey
09. Purbo Digontey
10. Hai Rey Amar Mon Matano Desh
11. Amaro Deshero Matiro Gondhe
12. Ek Shagori Rokter Binimoyey
13. Kotobaaro Bhebechhinu
14. Bareer Kachhe Arshinogor

jueves, 5 de enero de 2017

Gutter Creek - Stripped Bare



Gutter Creek was founded by multiinstrumentalist Robo Spitters beginning 2014. After a long journey experimenting with different musical styles Robo came back to his roots and started writing new songs and Gutter Creek was born … Along came longtime musical partners Mario Sprong on Banjo,,guitars and dobro ,Marck Heusshen on Guitars…


Robo Spitters
Vocals, Guitar, Fiddle, Mandoline,Dobro, and more
Mario Sprong
Banjo ,classic guitar and dobro
Marck Heusschen
guitars
JJ Malved
Double-bass








01. On the Run
02. Kill You, Kill Me
03. Old Joe
04. I Need It Bad
05. Invisible
06. Gallows Pole
07. Running Blind
08. Nobody's Watching
09. Trouble
10. Running Blind



miércoles, 4 de enero de 2017

Misha Mishajashvili - 2017



hello,

my name is Misha Mishajashvili and i am musician from lasnamae, estonia. i do not write very well english, so excuse bad language. this is album named 2017 i have made portraying time and life of soviet timce. i portray music about time of soviet and life in poverty area of city of lasnamae. cd is full found on link here for no payment and for stream and download here:
 http://misha-mishajashvili.bandcamp.com/

http://www.mediafire.com/file/8kbnkwffyrgw2ql


  Misha Mishajashvili provides a batch of intriguing, oddly designed compositions which are immersed with very surprising aspects and crossways. More concretely, it chimes like a chronicle of the industralization of the USSR and the creation of a new human race. Moreover, it can be viewed as a sonic evidence of the socialist realism where the dominating industrial-tinged axis is embellished with ethnic music motives (a loads of tabla rhythms below the sound layers), church choirs, jazzy samples and spoken word snippets which in turn used to depict relentless propaganda of the Red Plague. MM used to masterfully treat and distort these hiss-soaked elements, however, therefore amplifying and widening certain bits and spots from within the tremendous whole giving it an anxious milieu and distinct touch. Powerful!





1. Далеко от Бабеля 02:52 
2. Небо никогда не катит 03:20 
3. колоти́ть 05:16 
4. у ворот Сиона 04:25 
5. сладкий предвестником смерти 04:35 
6. Заполнение пробелов 02:28 
7. прощение 01:35 
8. Он разбил мое сердце 03:30 
9. Усталый и измученный 04:12 
10. Я любил тебя, как никто другой, Ханна 07:24

martes, 3 de enero de 2017

Yoshida brothers - Hishou


Yoshida Brothers o también conocidos en Japón como Yoshida Kyōdai 吉田兄弟 (よしだ きょうだい), son un dúo compuesto por los hermanos Ryōichirō Yoshida y Ken’ichi Yoshida que tocan tsugaru shamisen, un antiguo instrumento japonés de tres cuerdas. Esta descripción puede llevar a pensar que se trata de otro grupo de música folclórica de su país, pero lo cierto es que los Yoshida Brothers han sabido mezclar las melodías y sonidos tradicionales de Japón con ritmos e instrumentos contemporáneos,lo que genera una mezcla musical única, muy dinámica, sensible y profundamente refinada.
El remix de su canción "Kodo" se hizo mundialmente conocida por haber sido utilizada en los comerciales de la Nintendo Wii.

https://es.wikipedia.org/wiki/Yoshida_Brothers






01-Prelude: Hishou [ 2:38 ]
02-Ibuki (Hishou Version) [ 6:29 ]
03-Kodo (Hishou Version) [ 3:20 ]
04-Ringo Bushi [ 2:37 ]
05-Ajigasawa Jinku [ 3:07 ]
06-Yasaburou Bushi [ 3:54 ]
07-Panorama [ 3:07 ]
08-Tsugaru Yosare Bushi (Hishou Version) [ 6:24 ]
09-Time of Sand [ 4:36 ]
10-Tsugaru Aiya Bushi (Hishou Version) [ 5:43 ]
11-Modern (Hishou Version) [ 2:26 ]
12-Dual [ 4:28 ]
13-Tsugaru Jongara Bushi (Hishou Version) [14:41 ]
14-Postlude: Hishou [ 0:46 ]