Hariprasad Chourasia
All Time Favourites (1998) 
MP3 | 320 kbps | Arсhive: RAR
Track Listing: Цитата: 1. Raag: Madhmad Sarang - Alaap & Gat In Roopak Taal (30:27)
2. Raag: Miyan Ki Malhar - Alaap & Gat In Teen Taal (30:24)
3. Rachna Pahadi - A Light Composition In Keharva Taal (09:27)Цитата: A CD featuring three Ragas by Pt. Hariprasad Chaurasia on Flute, and accompanied by Sabir Khan on Tabla. Цитата: Hari Prasad Chaurasia is one of the most popular contemporary flautists. The simple bamboo flute transformed by the late Pannalal Ghosh into an important instrument for interpreting the finer nuances of Indian classical music has indeed found a guardian angel in Pandit Hariprasad Chaurasia.Hari Prasad Chaurasia, has not only nurtured Panna Babu's legacy but with his natural talent for music and diligent practice combined with his highly innovative approach has made the flute almost indispensable for a concert of Indian classical music, anywhere in the world.
He belongs to the Senia Gharana but has imbibed the best features and facets of other forms and styles in his presentation. For instance, for his alap, he follows the dhrupad style; for jod, the gatkari; for compositions the khayal technique and for his dhun, the thumri and folk styles. The result of this heady mixture is a rich and unique composition that is both absorbing and fascinating.
His popularity on concert platforms in India brought acclaim from all over the world. He toured many countries such as Iran, the United States, and others in Europe to spread the music of India. He is the only Indian soloist to have performed at the Bolshoi Theatre in Moscow. His performance in the Theatre Odeon in Paris was highly appreciated. Hari Prasad Chaurasia is equally at home with the popular music of films. He, along with Shivkumar Sharma, composed the scores for Hindi films like Silsila (An Episode) and Chandni (Moonlight), the music of which is popular even today.
Unlike many other great musicians of India, Hari Prasad Chaurasia was not born in a family of musicians. His father was a noted wrestler who was keen that his son follow his footsteps. Hari Prasad Chaurasia chose the path of music at the age of 15 instead. He learned the techniques of vocal classical music from Pandit Raja Ram of Benaras. Born in 1938, Hari Prasad Chaurasia is a Bachelor of Music and trained as a singer with Annapurna Shankar. She did not accept him as her student easily. In fact, he had to knock at her door for two years before she was even willing to listen to him play. He was under her tutelage for five years.Her influence not only gave his music new depth and dimension but also inspired him to pursue a performing career.He gave his maiden radio broadcast in 1955. In 1957, he joined Cuttack All India Radio as a performing artist and worked there for 5 years. Thereafter he was transferred to the station in Mumbai. His talents were at once recognised and appreciated and he was in great demand to play on stage and for the screen. This finally made him resign from All India Radio in 1964. Later, he got a chance to listen to a flute recital by Pandit Bholanath on All India Radio in 1965 and was so moved that he became the pupil of Panditji.
At present, because of the efforts of Hari Prasad Chaurasia,the flute has attained a status of a high level concert instrument.He is ever eager to experiment, and has even tried out techniques employed in Carnatic music.
He was given the National Award of the Sangeet Natak Academy in recognition of his outstanding contribution to music in 1983,. In 1990 he won the Maharashtra Gaurav Puraskar.
http://www.megaupload.com/?d=9AKZDLID
Tuesday, October 21, 2008
Hariprasad Chourasia - All Time Favourites (1998)
Ravi Shankar - Tana Mana (1990)
Ravi Shankar - Tana Mana 
mp3, 192 kbps
56 mb, rar архив
01 - Chase
02 - Tana Mana
03 - Village Dance
04 - Seven And 10 12
05 - Friar Park
06 - Romantic Voyage
07 - Memory of Uday
08 - West Eats Meat
09 - Reunion
10 - Supplication
http://rapidshare.com/files/21648664/Ravi_Shankar_-_Tana_Mana.rar.html
Pandit Ravi Shankar - Ragas (1986)
Pandit Ravi Shankar
Original Release Date: 1986
Label: Ocora
01 Raga Puriya-Kalyan
02 Raga Purvi-Kalyan
03 Dhun Man Pasand
[Indian Classic] Pandit Jasraj [3 albums]
Pandit Jasraj - Biharat Rang Lal Girdhar Ke - Krishna Bhajans (2004) 
1 - Kishori Tere Charanan Ki Rag Paaun (Traditional) Raag: Bihag
2 - Radhaju Mope Aaj Dharo (Hanumanprasad Podar) Raag: Maahj Khmaj
3 - Dhani Rani Jasumati (Parmanandas) Raag: Jaijaiwanti
4 - Kaha Karun Baikunth Hi Jaay (Parmanandas) Raag: Kafi
5 - Rasikni Rasmen Rahat Gadhi (Kumbhandas) Raag: Bhairavi
Это концертная запись, качество хорошее, хоть и не топовое.
У европейцев никогда не получится играть и петь также как индийцам. На примере Пандита Джи эта недоступность хорошо видна.
MP3 192VBR 96 MB
http://mihd.net/da8n97
или
http://files.ariom.ru/4416680
Видео MPEG-1:
Raag Bihag (2x79MB)
http://mihd.net/rkfvdt
http://mihd.net/2n9p3h
Raag Maahj Khmaj (2x72MB)
http://mihd.net/clgp8m
http://mihd.net/moxlfs
Raag Jaijaiwanti (2x72MB)
http://mihd.net/5mg9j3
http://mihd.net/dgv0ck
Raag Kafi (2x76MB)
http://ifile.it/rb1xqjh
http://ifile.it/ez29a45
Raag Bhairavi (78MB)
http://mihd.net/xyov3m
Ravi Shankar - Chants Of India
Ravi Shankar - Chants Of India
Performer: Ravi Shankar
Label: Angel Records
Audio CD: May 6, 1997
Bitrate: 192 kbps 
Tracks:
1. Vandanaa Trayee
2. Omkaaraaya Namaha
3. Vedic Chanting (One)
4. Asato Maa
5. Sahanaa Vavatu
6. Poornamadah
7. Gaayatri
8. Mahaa Mrityunjaya (Om Triambakam)
9. Veenaa-Murali (Music Interlude)
10. Geetaa (Karmanye Vadhikaraste)
11. Mangalam (Tala Mantra)
12. Hari Om (Music Interlude)
13. Svara Mantra
14. Vedic Chanting (Two)
15. Prabhujee
16. Sarve Shaam
Mantram is Ravi Shankar's effort to set Sanskrit chants from ancient Hindu scriptures to music, and the result is a captivating mix of chant and music. Produced by George Harrison, this collection of mantras and prayers from the Vedas, Upanishads, and other scriptures powerfully transports the listener to a place of peace where it's possible to be one with the universe. It's as if a heavy, enveloping cloak of serenity falls from the dark, floating sounds of cello opening the CD. Shankar employs flute, tamboura, harp, and other instruments to accent the mighty "Om" thread that weaves itself through the cloth of this album, bringing together deep, ominous voices with delicate, earthly instruments. One looking for extensive Shankar sitar might be disappointed, but the beauty of this artist's creativity and spiritual vision sweeps one away into a larger, more meaningful listening experience.
http://rapidshare.com/files/79756459/ravishankarchantofindia320_-_-_.part1.rar
http://rapidshare.com/files/79773959/ravishankarchantofindia320_-_-_.part2.rar
[Word, Fusion] Ravi Shankar [Collection]
Philip Glass, Ravi Shankar
Passages
Original Release Date: 1990
Label: RCA Victor
320 mp3 cbr
1. Offering
2. Sadhanipa
3. Channels And Winds
4. Ragas In Minor Scale
5. Meetings Along The Edge
6. Prashanti
http://rapidshare.com/files/26408271/RSPGPassages.part1.rar
http://rapidshare.com/files/26410370/RSPGPassages.part2.rar 
Ravi Shankar & Jehudi Menuhin
West Meets East
1967 Label: Angel Records
~225 mp3 vbr v0
1. West Meets East: Prabhali
2. West Meets East: Swara Kakali
3. West Meets East: Raga Piloo
4. West Meets East: Dhun
5. West Meets East: Raga Ananda Bhairava
6. West Meets East: Tenderness
7. West Meets East: Twilight Mood
http://rapidshare.com/files/26401294/RSJMwestmeetseast.part1.rar
http://rapidshare.com/files/26402183/RSJMwestmeetseast.part2.rar 
MP3 | CBR 320 kbps l 140 Mb
Release Date: May 24, 1996
Label: Deutsche Grammophon
Genre: World
Styles: Raga, Indian Classical, World Fusion
The main link one finds between the music of different countries of the East, which includes the Middle East and Southeast Asia, as well as some Southern and Eastern European music, is that they are all based on modal structures. Indian music had a similar origin in various modes, but since about 2000 years ago there has emerged and developed a highly sophisticated system of melody-forms known as ragas, which are the foundation upon which a musician improvises. These ragas, which number into the thousands, should not be mistaken for a scale, key. melody or composition. Though each raga is based on one of the 72 full-octave parent scales, it must have its own ascending (aarohan) and descending (avarohan) structure, its own usage of a pattern of notes, its recognizable feauture: the most important note, and finally, the use of microtones-there are 22 intervals (shrutis) within an octave, including the usual 12 semitones. In addition, andola (swing or sway) and gamaka (types of special glissandi) and other embellishments bring prana and make the raga alive. These final accoplishments are secrets which disciple acquires from his guru through oral tradition after many years of training and hard work. Improvisation plays a leading role in Indian classical music. Taking a raga as the melodic base one can improvise in any manner and for any length of time one wishes - either in slow, medium or fast tempo,with or without drum accompaniment. Next to raga. tala is the most important element in Indian music. Talas are rhythmic cycles. The drum accompanies the singer when he stars a "song composition" or the instrumentalist staring a gal composition on which they can improvise. These compositions can be in any cycle or tala and in any tempo.
"PADHASAPA" (koto solo) is based on the evening Raga Durag. It is a pentatonic raga and does not use the 3rd and 7th notes (making the notes D the tonic - the scale of this raga is D-E-G-A-B-D). The piece has been especially composed for Susumu Miyashita, to be played on the koto. It starts with a slow opening section , unfolding the raga which is known as Aochar Alap, not bound by anyrhmic or metric pattern. This is followed by a gat in tin-tal (cycle of 16 beats). The first line of the gat, which is repeated again and again, uses the notes which we call Pa Dha Sa Pa, corresponding to A-B-D-A, After building up to a crescendo, the composition ends with a soft arpeggio.
"KAHARWA" (tabla solo) - This is a solo for the two-piece drum known as tabla, played by the great Ustad Alla Rakha. Kaharwa is the name of a rhythmic cycle of 8 beats. divided 4+4. It is a tala )rhythmic cycle) used mostly for semi-classical and light music. The piece opens in a novel manner, with Alla Rakha vocalizing some of the improvisatory pieces that can be played on the tabla with the hands. The whole piece is then improvised in different metric pallerns.
"Improvisation on the Theme of ROKUDAN" - This is indeed where India meets Japan. The beautiful composition for koto is from the 17th century. The concluding piece was composed by me to be played as the crescendo. The ensemble includes sitar, shakuhachi, koto and tabla, with tanpura in the back ground.
"NAMAH SHIVAYA" - Ode to lord Shiva (shakuhachi with tabla). Especially composed for Hozan Yamamoto to be played on the shakhachi, this piece is based on the evening Raga Shivaranjani. This raga uses the flattened 3rd and omits the 4th and 7th notes. With the note C as tonic the scale of this raga is C-D-F. flat-G-A-C. But the piece is actually played "in F". It opens with a slow non-rhythmic portion which is like a supplication to the Lord, sad and devotional at the same time.
The gat portion with tabla is in dadra of 6 beats (3+3) and portrays the mood of love and gratitude. The end is again slow and sad as if calling and searching for the Lord.
"TRIBUTE TO NIPPON" - This is my musical homage to Japan, an improvisation based on Raga Kaushik Dhwani, a pentatonic raga which doesn't use the 2nd and 5th notes. using the D as tonic, the scale of the raga is D-F =-G-B-C=-D. It is in three parts, (a) short alap; (b) jor;(c) gat in rupak tala of 7 beats (3+2+2). Though in a condensed form the alap and jor are played in the traditional style as by the oldest of Indian instruments, the vina. This piece uses sitar, tabla and tanpura.. - Ravi Shankar
Tracklist:
1. Padhasapa
2. Kaharwa
3. Rokudan
4. Namah Shivaya
5. Tribute To Nippon
6. Homage To Baba Allauddin Ciao
http://rapidshare.com/files/126576410/RSFandF_rising_sun_part1.rar
http://rapidshare.com/files/126608718/RSFandF_rising_sun_part2.rar
VA - Flute and Sitar Music of India
VA - Flute and Sitar Music of India 
MP3 | CBR 320 kbps l 129 Mb Цитата: Though under Ravi Shankar's name, Flute and Sitar Music of India is actually a collaborative effort between Ravi Shankar, Vijay Raghav Rao , and Alla Rakha. There is a long and very beautiful raga here titled "Raga Malkauns-Alap and Gat in Jhaptal," which allows for long and delightful interplay between all instruments. The sitar may lead the way, but Rao's flute plays the part of the human voice singing to God in this piece. There is also a two-part suite entitled "Suite for Two Sitars and Indian Folk Ensemble," which again showcases the unique role the Indian flute plays in the composition, as well as some amazing counterpoint between the two sitars. Finally, there is the brief "Meditational Raga of Northern India," which uses space, drone, and silence as meditation checkpoints. In sum, this is a beautiful collection, and though not recorded terribly well, it does display some important aspects of Indian classical music by true masters of the form.
~ Thom Jurek, All Music Guide
Tracklist
1. Alap And Gat In Ihaptal - Raga Malkauns
2. Suite For Two Sitars And Indian Folk Ensemble (Part One)
3. Suite For Two Sitars and Indian Folk Enesemble (Part Two)
4. Mediational Raga Of Northern India
http://rapidshare.com/files/131791813/Flute_and_Sitar_music_of_India.part1.rar
http://rapidshare.com/files/131829183/Flute_and_Sitar_music_of_India.part2.rar
