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The tar is widely spread in Central Asia. It is found in Azerbeidjan, Armenia, Uzbekistan, Afghanistan, Tzadikistan, Kyrgysistan, Kazachstan, Iran and western China. The Uyghur of the Chinese province Xinjiang are a muslim people. The uygur play the tar or dutar on special occasions to accompany singing and dancing. The târ e Khavkaz is the Causcasian variant of this six stringed instrument. The Azerbaijani Tar has more strings in comparison than the Iranian or Persian târ A tanbur is a musical instrument made of wood with five strings. the tanbur is normally played alone, but sometimes it can also be played accompanied by playing the rawap or rabab or/and percussion. On ancient engravings the tanbur looks like a saz or baglama.

=Oru Seco : the first part of a bembe and a series of bata salutes called toques played for each of the Orisha. The term seco actually means "dry" in Spanish and, in this case, refers to the absence of singing. =Oru Cantando : the second part of a bembe consisting of a series of songs sung for each of the Orisha. The songs are accompanied by bata drums, and may employ many of the same toques used during the Oru Seco portion. (Or entirely new toques may be played.) =Wemelere : the last part of a bembe, the wemelere expands on the music played in the prior sections and includes dancing and singing, in hopes that the Orisha will come down and "visit" the participants.

Egyptian native Hossam Ramzy is the leader and chief percussionist of Pharaoh's Egyptian Ensemble, best known to Western listeners as the backing group featured on Robert Plant and Jimmy Page's No Quarter tour and album. Ramzy began playing the darabouka (Egyptian tabla) at a young age, much to his father's dismay. He moved to Saudi Arabia as a teenager, learning his craft while supporting himself by playing trap drums for radio and television programs.

Habib Koité & Bamada Habib comes from a noble line of Khassonké griots, traditional troubadors who provide wit, wisdom and musical entertainment at social gatherings and special events. Habib grew up surrounded by seventeen brothers and sisters, and developed his unique guitar style accompanying his griot mother. He inherited his passion for music from his paternal grandfather who played the kamele n'goni, a traditional four-stringed instrument associated with hunters from the Wassolou region of Mali. "Nobody really taught me to sing or to play the guitar," explains Habib, "I watched my parents, and it washed off on me."

Erkan Oğur (b. 1954, Ankara). He invented the first classical fretless guitar, plays his own compositions as well as Turkish traditional music, and also plays kopuz and baglama.

Quick Start Guide-Playing Ney_1.pdf (application/pdf Object)

Can Blacks Play Klezmer? Authenticity in American Ethnic Musical Expression   David Borgo   Sonneck Society for American Music Bulletin vol. XXIV no.2 (Summer 1998)

Albert King promises us, "I'll Play the Blues for You." And he keeps his promise, let me tell you.

Barclay/Licence Arion - with the voice of Arlette Thomas French poetry from the 14th to the middle 20th century played with the Lary/Baschet sonore structures. Absolutely beautiful. The Lasry/Baschet "structures sonores" are cristal sculptures with a sound absolutely unique and great.

Mathieu Charrois is from Montréal, QC. He's been playing since 2004, and has picked up a lot of solo phrases from Mamady Keita and other djembefola... His lessons are fantastically explicit, with audio mp3s, notation, and detailed explanation. Wonderful resource!

Playing with microtiming is a remarkable feature of musical rhythm in the Western Sudan. Both African and Western musicians and musicologists have time and again wondered at the capability of Malian, Senegambian or Guinean drummers to excitingly place not

Though he was born in the string quarry of Russia and refined in the purifying precincts of Juilliard, Zhurbin turned out to be a lover of gritty hybrids. The music he writes and plays is full of Brahmsian tone, Bartok lines, hiccupping Hungarian rhythms, Klezmer soul and the sexy plaintiveness of tango and the blues. ---Justin Davidson, Newsday. // Rustic dances and evocative soundscapes, all crafted from ... the gorgeously grainy purr of his fiddle. ---Steve Smith, Time Out New York. // Eclectic with an ear for texture...Throaty melodies supported by pizzicato rhythms, lush chordal figures and counterpoint. ---Allan Kozinn, New York Times. Eclectic with an ear for texture...Throaty melodies supported by pizzicato rhythms, lush chordal figures and counterpoint. ---Allan Kozinn, New York Times

Yair Dalal, born in 1955; composer, violinist, oud player and singer; is probably the most prolific Israeli ethnic musician and plays an important role in shaping the global world music scene. Over the last decade he has put 11 albums, covering wide and varied cultural territory, and authentically representing Israel's cultures and fusing them through music as whole. Much of Dalal's work reflects his extensive musical skills in both classical and Arabic music and also reflects a strong affinity he has for the desert and its habitants. Dalal's family came to Israel from Baghdad and his Iraqi roots are embedded in his musical work.

I played djembe on this recording with Yaya Diallo. It was produced in Brattleboro, Vermont.