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Asher James: Feet In The Soil

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asher james, rummut, didgeridoo,

Feet in the Soil is an. uplifting celebration of danceable energies centred in the earth. Rhythms of an infectious, hypnotic and tribal quality provide the frameworks for the music, which draws much inspiration from Aboriginal and African lifestyles.

James Asher has written and composed many beautiful pieces for Aura-Soma, inspired by his association with Vicky Wall in the early days of Aura-Soma. Although James is well known in the Ambiant 'New Age' music field, he is a drummer! His first instrument is the drums and this collection shows his rich feel and love for the diverse indigenous rhythms of this planet.

So, get to it! Kick off your shoes, and get your feet in the soil.

A leading light among musicians, James Asher displays a talent and joy for playing that make his music accessible and infectious to anyone that hears him play.

Born into a musical family, James was brought up on the south coast in Sussex, England. He initially learnt violin before taking up keyboards and percussion which still remain his favourite instruments. After serving an 'apprenticeship' playing clubs, restaurants and cruise ships, and driven by the need to explore his own creativity, James built his own studio (with the aid of equipment borrowed from Pete Townshend of The Who - James played drums on Pete Townshend's 'Empty Glass' album).

Creating scores for television allowed James to expand his studio and he released his first commercial album 'The Great Wheel' in 1988. It reached the top twenty of the Billboard New Age Chart and several albums later, he continues to build a very strong following with sales for his 'Feet in the Soil' album currently standing at over 100,000.

His music is in constant use on TV around the world, and his studio has become a incredible collection of instruments and technology, from which he is able to create the most amazing 'live' feel to his recordings. 'Raising the Rhythms' displays all the qualities that makes James Asher's music so unique. It is as alive, as fresh, and as full of joy as the celebrations that inspired it. Listen, enjoy and raise those rhythms!

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Asher James: Colors of Trance

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An acoustic concert harp played with the lilt and poetry of Ireland's Madeleine Doherty, accompanied by a dynamic mix of percussion, including Japanese taiko drum, Indian tablas, congas and didgeridoo.

Produced by James Asher, who also plays an exotic array of keyboard sounds, this album expands the boundaries of trance. Ashers groundbreaking world beat albums Feet in the Soil and Tigers of the Raj have distinguished him as a pioneer in the field of world music fusion.

* Each track is a musical interpretation of one of thirteen colors. The styles range from foot-stomping dance to lyrical and haunting visually evocative tone poems. The innovative combination of instruments and styles give this album a unique and vital originality.

"Playing the Blue is a magical experience. Run your fingers over the strings and you are transported to another dimension. Her depth of sound is like the ocean on a stormy day, cleansing, clearing. Her delicate high notes whisper like the gentle waving of angelic wings, soothing and relaxing. Strong and gentle, she weaves her magic, drawing you to another plane, where sound is colour, and the possibilities for beauty are endless. "
– Madeleine Doherty

Drumming in many forms has been a constant source ofJ'oy,u and upliftment for me. When I'm drumming I feel in touch with something so fundamental and compulsive that all the excess wanderings of the mind seem to come to a blissful halt.

Reconnecting with basic earth energy is so ' hugely powerful and exhilarating that I get y a great sense of being renewed and re-vitalized. It is this ongoing delight that has led me back to the area of Feet in the Soil, to produce a second volume. It's been five years since the release of the first volume. It's been heartening and uplifting to get so much positive feedback from listeners worldwide to this music. It has also' been entertaining to hear how it's been enjoyed as a grounding tool, as music for body classes and motivational workshops, and just for plain fun!

There have been several factors for me that have made this new set of recordings special. One is the drums themselves. It was very inspiring for me to meet Arthur Hullthe celebrated American drum circle leader, whose rhythmic evangelism touched a deep place in me, and whose vision of the power of drums as a tool for unity and community considerably expanded my perception of what drums can be. Most notably drums can be so wonderfully powerful as a tool to share our spirit. The ashiko and standing ngoma drums which he helped develop have phenomenal sounds and are the key to some of the new compositions. This is further enhanced by the taiko drum, ` whose weight and depth has a great reassuring quality.

Another factor in relation to the changing and evolving quality of the music is the ongoing integration of the D.! into modern dance and especially trance music. This has y instigated the creation of new musical instruments – "grooveboxes" that combine musical sequence data with drum machine elements in an amazing, interactive way. This allows much greater live spontaneous elements to expand the musical possibilities in a very stimulating and uplifting way.

For me the successful blending of live organic performance elements and some of the exciting"plugged"elements now available makes for the richest and most dynamic blend. There are elements of both these areas which the other cannot produce, so together they provide a compulsive synergy.

The actual range of sonic possibilities has broadened considerably too. Now working with 64 tracks of 24-bit sound, I'm able to embark on complex sound-layering frameworks easily, and have the benefit of that increased sound quality translating into a larger and broader frequency spectrum, all of which help the feet go deeper into the soil or stratosphere or wherever they want to go!

Technicalities apart, it is the simplicity and joy of a driving rhythm that help dispel the excess complexities of modern life. Nothing helps information overload to disappear faster than losing oneself in the stomp of a glorious beat. So it is my hope that these new compositions will provide just that kind of grounding opportunity again, with the benefit of the expanded developments mentioned above, hopefully accompanying a bunch of fun.
– James Asher London, June 2000

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Asher James: Drums on Fire

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"Rhythm pulses through our lives – from our beating hearts to ocean waves to pianetary orbits. Rhythm is everywhere, it's our lifeblood."
– James Asher

"...the fire, it's in our body. Fire is there. So when we just play and play and play, the fire comes out. The fire is there..."
– Sivamani

Included mpeg-video playable on PC or Mac

"James Asher joins forces with the mighty Sivamani in his most colorful, rhythm-driven work to date. A triumphant and tireless hour of compulsive rhythms that never stops to catch its breath. Drums on Fire will have you dancing 'til you drop!"
– Peter Manzi, New Age Voice

"Rhythmsticks" is an annual event on London's Southbank. For about ten days each year, musicians from all over the world display their percussive skills in an international celebration of drumming. It was here, a few years ago, that James Asher first heard the amazing Sivamani. Surrounded by a virtual encyclopedia of drums, toms, roto-toms, timbales, tablas, gongs, chimes, cymbals and a multitude of novelty sounds such as birdcalls, springdrums, etc., this supreme musician electrified his audience with virtuoso skill, profound joy and playful humour. "We were transfixed. Time stood still. It was a moment of sheer magic," James recalls.

So when, a few years later, James Asher met Sivamani by pure chance through his great percussionist friend Sandeep Rival – the guide and mentor for James' first Indian album project, Tigers of the Raj– he was thrilled when the celebrated musician accepted an invitation to his London studio to listen to this joint album. James was even more thrilled when Sivamani s response to the album was to say: "God intended us to meet!"

In November 2001, Sivamani was in England for another show at the Royal Festival Hall and James seized the chance to propose a joint project. For their first collaboration, they co-wrote "Amma," which appeared on the CD Shaman Drums (enhanced by the rich earthy voice of Christine Collister, who also sings on the first track of this album), available from New Earth Records. The people at New Earth Records were dazzled by the collaboration between James and Sivamani, and supportive of the idea of a follow-up album in the same spirit.

In April of 2002, Sivamani was invited to London to take part in an event called 23 days of Bollywood. Hosted by Selfridges, one of the largest shops in London's busy Oxford Street, Sivamani gave 2 to 3 shows a day in the bizarrely incongruous setting of this bustling West End store, where bemused shoppers descended escalators to be confronted with Sivamani's prodigious drum setup and huge audiences that were captivated by the spectacle.

This event led to some excellent DVCAM footage, capturing both visual and audio of some amazing performances. Audio selections from this footage were included on this album. Afterwards, Sivamani went to stay with James and they set about Drums on Fire in earnest. They had a lot of fun on these adventures and, to top it all, Sivamani cooked some wonderful fish curry.

During their time together Sivamani would sometimes give impromptu performances in unusual venues. A particularly surprising performance was the one he gave in a restaurant when he asked for cooking utensils to be brought from the kitchen. What followed was an amazing and thoroughly energetic improvisation delivered with Sivamani's usual beguiling charm and playfulness. The diners gave him a standing ovation.

Sivamani's gift for transforming everyday objects into instruments of the groove was the inspiration for the track, "Drop in the Bucket." James took the advice of some of his drum circle friends by buying a plastic bucket to use as an alternative to a djun-djun (a kind of African drum with a bassy tone). Sivamani's solo on the track is based largely on the sound possibilities of this, and a metal bucket he'd bought in Shepherd's Bush Market.

Indian-born Sivamani inherited his father's passion for drumming and has been playing since age 7. His charismatic showmanship has wowed audiences worldwide, from Singapore to Toronto, Dubai to New York, Moscow to Los Angeles. He is a much sought-after studio musician, and his rhythms have pulsed through countless Bollywood film soundtracks. Sivamani has worked closely with A.R. Rahman, one of India's most celebrated film composers, whose musical "Bombay Dreams" has recently been staged by Andrew Lloyd Webber at the Apollo Theater.

Sivamani has added his unique brand of percussion to the work of dozens of artists, including Zakir Hussain, Billy Cobham, Grover Washington, Jr., Shankar, Ginger, and Hollywood star Steven Segal.

Sivamani is one of India's best-known and most colorful percussionists with a sparkle, presence and charisma that is unmatched in the entertainment world.

James hopes that listeners will derive as much pleasure from listening to this album as he and Sivamani had making it. This was a collaboration whose fun and warmth transformed it into a great adventure.

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Asher James: Feet In The Soil 2

LOPPUUNMYYTY

asher james, ,

"As a musical percussionist, James Asher achieves a rhythmical alchemy which is profound beyond words."
– Arthur Hull America's premiere community Drum Circle facilitator and Remo signature series drum designer

Feet in the soil 2 offers more celebrations of danceable energies centered in the earth. Following the success of the bestselling Feet in the Soil, larger and deeper drums join the didgeridoo this time around with a fresh palette of sounds setting the party swaying.

Drawing further on inspirations from Aboriginal and African lifestyles, the music provides another invitation to join the groove, kick off your shoes and get your feet in the soil!

Drumming in many forms has been a constant source of Joy and upliftment for me. When I'm drumming I feel in touch with something so fundamental and compulsive that all the excess wanderings of the mind seem to come to a blissful halt.

Reconnecting with basic earth energy is so hugely powerful and exhilarating that I get y a great sense of being renewed and re-vitalized. It is this ongoing delight that has led me back to the area of Feet in the Soil, to produce a second volume. It's been five years since the release of the first volume. It's been heartening and uplifting to get so much positive feedback from listeners worldwide to this music. It has also' been entertaining to hear how it's been enjoyed as a grounding tool, as music for body classes and motivational workshops, and just for plain fun!

There have been several factors for me that have made this new set of recordings special. One is the drums themselves. It was very inspiring for me to meet Arthur Hullthe celebrated American drum circle leader, whose rhythmic evangelism touched a deep place in me, and whose vision of the power of drums as a tool for unity and community considerably expanded my perception of what drums can be. Most notably drums can be so wonderfully powerful as a tool to share our spirit. The ashiko and standing ngoma drums which he helped develop have phenomenal sounds and are the key to some of the new compositions. This is further enhanced by the taiko drum, ` whose weight and depth has a great reassuring quality.

Another factor in relation to the changing and evolving quality of the music is the ongoing integration of the DJ into modern dance and especially trance music. This has y instigated the creation of new musical instruments – "grooveboxes" that combine musical sequence data with drum machine elements in an amazing, interactive way. This allows much greater live spontaneous elements to expand the musical possibilities in a very stimulating and uplifting way.

For me the successful blending of live organic performance elements and some of the exciting"plugged"elements now available makes for the richest and most dynamic blend. There are elements of both these areas which the other cannot produce, so together they provide a compulsive synergy.

The actual range of sonic possibilities has broadened considerably too. Now working with 64 tracks of 24-bit sound, I'm able to embark on complex sound-layering frameworks easily, and have the benefit of that increased sound quality translating into a larger and broader frequency spectrum, all of which help the feet go deeper into the soil or stratosphere or wherever they want to go!

Technicalities apart, it is the simplicity and joy of a driving rhythm that help dispel the excess complexities of modern life. Nothing helps information overload to disappear faster than losing oneself in the stomp of a glorious beat. So it is my hope that these new compositions will provide just that kind of grounding opportunity again, with the benefit of the expanded developments mentioned above, hopefully accompanying a bunch of fun.
– James Asher London, June 2000

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Asher James: Kali Thunder

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"... a steady, throbbing dance beat and an appealing marriage of euphoric, resplendent Rajasthani vocals and techno technique... accessible to anyone who enjoys good dance music. "
– David Roper. Th New Times

BI-POLAR / Track 1

BI-POLAR, created and nurtured by DJ's and brothers Ben Balafonic and Dom Kai, have built a reputation as remix specialists from their East London based Balafonic Studios. Their remix work includes projects for The Rolling Stones, Realworld, The Liberator DJ's, Sitarfunk and most recently Dammane E) Harrachi's classic YA RAYAH for Gut Records.

KAMEL NITRATE / Tracks 2 & 4

KAMEL NITRATE first began in 1998 when DJ Remixer Nelson Dilation and multi-talented musician Tony Marrison (also of Wishpoosh) joined forces as a remixing team. Nelson is one of the UK's best known world music DJ's. He co-developed the ground breaking Salon Oriental club-nights. Tony and Nelson formed a band, blending a unique mixture of traditional Eastern rhythms fused with psychedelic funk and breakbeats.

SWORDFISH / Track 3

SWORDFISH is the driving force behind ASTRALASIA, an act well known throughout the world for their innovative records and electrifying live performances. As well as producing, writing and performing with Astralasia, Swordfish is in demand as a remixer, particularly in the USA, and has remixed artists including Bob Marley, Gary Numan, Salt Tank, Porcupine Tree, Hawkwind and many others. For more information, check out Magick Eye Records at www.magickeye.com.

THE X-ZECUTIVE / Track 5

SANJ-SANJ has been involved in the Brit-Asian music scene since 1982. As the driving force behind the THE X-ZECUTIVE," he has pioneered a striking individual style in DJ-ing, music exploration and promotion. He has toured as a DJ in Amsterdam, Brussels, Paris, Malaga, Tenerife, Gibraltar, Los Angeles, Vancouver, New Delhi and Calcutta. He created the first daytime gig in West London, now a part of Asian Club History in the UK. He has also remixed top selling albums for Multitone/BMG.

YELLOW MAGNETIC STAR / Track 6

In the early 80s, TITIN MORAGA started working in dance, theatre and music, exploring the more avant-garde areas in his native Chile. In 1992 he came to London to investigate and enjoy the electronic dance music phenomenon exploding in the UK. Years of research and experiment culminated in his first critically acclaimed solo album ANDEAN TRANCE, in which he combines original sounds from South America, hypnotic trance and live acoustic performance. He started DJ-ing in underground venues like Kundalini, Return to the Source and Pendragon as YELLOW MAGNETIC STAR. There followed a second release DOORS TO AVALON -an ambient project concluding nine months working with the magic energy of the island of Avalon.

HAYKO DAVULCU / Track 7

HAYKO DAVULCU was born in Paris in 1973. In 1992 he moved to Turkey to explore the club scene in Istanbul. He soon established himself as one of the leading DJs, and worked in the clubs Ceneviz and Coco. In 1995 he became resident DJ in the Roxy, Istanbul's liveliest underground venue. He joined the band Cold House, a band fusing elements of drum 'n' bass, Acid Jazz and Ethnic Fusion, who won the 3rd Roxy Music competition (Istanbul's leading music competition). Hayko heard Tigers of the Raj when the band Transglobal Underground was performing at the Roxy. Charismatic dholmaster Johnny Kalsi reported the exciting cut-ups Hayko was doing with the record, and this soon got James Asher on the phone asking to hear some of the remix work, with which he was delighted.

PEARL V. SUMMIT / Track 8

PEARL V. SUMMIT is the remix team of Phil Winter (bass player and programmer for the Law and Auder Records band SUMMIT) and Phil Earle (visionary, A & R chief, and general dogsbody for the Law and Auder label). SUMMIT are North Londoners Robert Wilcocks, Phil Winter, and Ansuman Baswas. In a two-year collaboration, they explored the fusion of electronic music with Eastern scales and textures. The result is their own special blend of low frequency ambient dub that makes for compulsive listening. Their superb recordings are supported by their equally absorbing live performances. Phil Earle was former studio engineer for the now defunct Rising High Records. He began compiling his own unique brand of albums, born out of a need to create an uncompromising platform for experimentation with music and the people who make it. These include the excellent and pioneering EASTWESTERCISM and AVANTGARDISM series.

SOLAR QUEST / Track 9

SOLAR QUEST combines global culture with organic technology, promoting the use of renewable energy to power cultural events. The provision of quality, environmentally friendly entertainment aims to expose the potential of new technologies as a viable alternative lifestyle. The philosophy of Solar Quest has its origins with the Seneca Indians whose basic principles are cosmic energy, vibration patterns and homeopathy. For over 5 years Solar Quest has been producing leading edge music throughout Europe successfully reaching a wide audience in both live performance w and studio release. Solar Quest has received critical acclaim for releases ranging from 12" vinyl for clubs to mainstream CD and `, compilation work. More details on: http://www.solarquest.org
http://www.hut.fi/~mstuomel/solarquest/

JON CROSSE / Track 10

A vibrant and charismatic performer, JON CROSSE has worked as a popular DJ on the London scene for many years. He has appeared regularly at the Cafe de Paris, Ministry of Sound and the Hippodrome. He co-wrote and produced the track ARE YOU OUT THERE? with the act CRESCENDO -the bestselling dance record of 1996 in the UK. Most recently he has been developing the band THE MORRIGHAN. Featuring the extraordinary and magnetic Cecily Fay on vocals. whose hard-hitting lyrics are a pivot for the band's character, the band fuses a highly original blend of orchestral and filmic soundscapes with a futuristic flavor. These imaginative excursions are firmly underlined with Jon's extensive dance floor experience. Their award-winning website can be seen at:
www.morrighan.com

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Asher James: Pemulwuy

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Pemulwuy was an Aborigine, whose bold and fearless action to defend his people's rights became a stirring symbol of their struggle to avoid violent dispossession.

In the 1780's, the Aboriginal 'Eora' society was elaborate and based on a highly complex kinship system, integral to which was the notion of reciprocity between people. Their society was non-materialistic, egalitarian and power was diffused. They regarded land as a religious phenomenon, and people and land were inseparably linked.

Nothing in the history or experience of the Eora prepared them for the British Invasion of 1788. Throughout a series of incidents of wounding and capture, Pemulwuy displayed a noble spirit, and great bravery. The name Pemulwuy means earth, and it was as a protector of his earth that he became renowned. His story was an inspiration '' for the two tracks that form the bookends of this album.

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Asher James: Raising the Rhythms

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RAISING THE RHYTHMS IS AN EXUBERANT WORLD MUSIC EXPEDITION.

The Caribbean, America, India, Africa and the Middle East all contribute influences to these richly varied and energetic compositions, whose vibrance is superbly captured in this unique recording.

Smouldering layers of percussion form the foundation with a wide array of tablas, dholak, djembe, congas, bongos and bata drums. These are then joined by an exotic selection of voices and melodic instruments including Native American flute, harmonium, sax, trumpet, guitar. and a plethora of keyboard sounds.

James Ashes s love of rhythm and the wide diversity of ethnic music is superbly enhanced by his spirited but super clear production style.

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Asher James: Sounding the Stones

LOPPUUNMYYTY

asher james, rummut,

Mukana myös BONUS CD - Colour Your Life

Including BONUS CD - Colour Your Life

Oreade's COLOUR YOUR LIFE COLLECTION is an introduction to the present day music of healing, mantras and relaxation. Music that will please and refresh you. Through deep relaxation the music will give you new energy, enhance your performance as well as your well-being. Oreade's music can be an effective antidote against the stress of modern everyday life.

Music by: Karunesh • Aeolias • Sherazade • Llusha • Enam • Catriona • Chris Micsell • Sarva-Antas • Sangit Om • Berglund • Bhakti Music • Gomer Edwin Evans • Sirajit Das • Authentic Mantra • Abida • Nomad • Cheiya • Chamal • Michel Pepe • James Asser & Arthur Hull • Medwyn Goodall • Our World's Sounds

World´beat artist James Aher joins forces with Arthur Hull, the celebrated american drum circle facilitator and drummer. Following a visit to the ancien site of Stonehenge, the sence of power and mystery of the stones sparked off their creative music. Sounding the Stones goes beyond your normal drum based music. Harp, keyboards, hammered dulcimer add depth and evoke rewardingly maditative vistas.

ARTHUR HULL

Considered by many to be the father of the American drum circle movement, Arthur&%39;s ebullient fun personality was immediately very striking. Extremely knowledgeable not only about drums (he formerly had a business manufacturing them) and also about how they can be used in different communities to enhance spirit and wellbeing, Arthur is also a fine drummer. I have been lucky enough to see him in action as a drum facilitator in several different contexts, and have repeatedly marvelled at the playful mischievous elf quality he brings to a wealth of diverse gatherings. Through working with a broad palette of international drumming friends and thus coming to learn the structure of many ethnic rhythms, he has acquired a very interesting musical understanding.

He has also designed his own signature series drum for Remo - the &%39;ashiko&%39;. This happens now to be my personal favourite drum, as it combines a glorious &%39;slap&%39; quality with a very engaging bass tone. He designed and intended this drum to be culturally non-specific. That is to say it is open to anyone to enjoy, regardless of what they may or may not understand in the way of any particular cultural style or form of rhythm - a sentiment and idea I heartily applaud.

A dulcimer provides a great bridging between the worlds of percussion and melody. We both enjoyed playing this, and on occasion we would alternate in writing musical lines on it, one answering the other, which knit together to form a pleasing musical tapestry.

Arthur has always been fascinated by Stonehenge, so much so that he has a replica of it in the waterfall area of his garden. Together we made a visit to the site, and this inspired much of the music to be heard on this album. The quality of apparent timelessness and mystery pervading these mighty stones cannot fail to engage the visitor with their unique magic.

He is recognized as a pioneer in bringing the drum circle experience to schools, corporations, and conferences. From Moscow to Australia, he has used his Village Music Circle metaphor to build and teach team spirit and a sense of community. Arthur Hull is also a Remo signature series artist and has taught ethnic dance and percussion at the University of California at Santa Cruz since 1979.

His newly released book and CD, &%39;Drum Circle Spirit, Facilitating Human Potential Through Rhythm&%39;, is the culmination of his years of rhythmical evangelism and group facilitation around the world. He is also the author of the video/book &%39;Guide to Endrummingment&%39; and has received the &%39;All One Tribe Foundation&%39;s Drumming Education Award&%39; and the 1998 &%39;Drum&%39; Magazine title &%39;Drummie of the Year&%39;. He has facilitated drum circles and rhythmic alchemy playshops at the &%39;Association of Humanistic Psychology&%39;, &%39;Association for Music Therapists&%39; and many other alternative healing conferences, and has appeared on the covers of the &%39;Wall Street Journal&%39; and &%39;Yoga Journal&%39;. Within the corporate environment, he has facilitated interactive rhythmical team-building events for groups ranging from 20 to 6000.

JAMES ASHER

I Love experimenting with the new technology, and exploring its amazing possibilities – both for my own workand in pproductuction capacity for othet artist.

I&%39;m also fascinated by dance and theatre, and am trying to find ways to integrate th e areas with my music.&%39;

Music has been a part of my life for as long as I can remember.

I learnt violin from age seven, and my father taught the choir and orchestra at my school when I was a teenager. Following my education on violin - which was traditional - I taught myself keyboards and drums, and have always been quite fascinated by the whole recording process. After working in studios to gain some technical skill, I set up my own studio, which has evolved through different configurations over the years. Starting with soundtrack music I recorded over twenty albums, which gave me the chance to explore, creating music for a wide range of differing moods and visual situations. Then I moved on to concentrating more on commercial albums, which have been mostly in two styles - worldbeat and space music.

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Asher James: Tigers of the Raj

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The colour, splendour and epic sense of adventure of the palaces of Rajasthan inspired these rhythmic compositions, which form a lavish and romantic musical feast – an entertainment fit for a maharajah. A worthy successor to James Asher's hit album "Feet in the Soil".

TIGERS OF THE RAJ blends the rich interlocking rhythmic textures of tabla, dhol, douffli, ankle-bells, manjira and dholak, with the haunting sounds of Indian voices, swaramandala, santoor, sarangi, flute, sitar and modern keyboards.

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Asher James: Tigers of the Remix

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During a holiday in India. James Asher was captivated by the power and majesty of Rajasthan. Inspired by the experience, he spent the next year writing the album TIGERS OF THE RAJ (issued on New Earth NE 9805-21. which features the performance of twenty excellent musicians. mostly Indian and some Western artists sharing a deep love of Indian music. With the project complete. James was keen to take the journey further through other interpretations. He approached DJ's and other key figures in the field of Asian-World fusion to create remixes of tracks from Tigers of the Raj. The result is TIGERS OF THE REMIX – a compilation of diverse dance styles from trance to chillout. highlighting the width and breadth of this newly evolving area of the UK music scene.

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Asher James: Worlds Within the Wheel

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James Asher 's style combines traditional, world and modern influences. 'Worlds With The Wheel' displays his earlier work. These tracks have passed the test of time with ease. The full length of 'The Great Wheel' ('a symbol of timelessness') invites you to enter the spirit of change, the cyclical nature of life.

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