Nusrat Fateh Ali Khan opens this album as he often opened his live shows, by calling upon God in the form of Allah to come and bless the gathering with His presence. For that is the sole purpose of the qawwal: to reach God through music, through his voice. And this collection of Devotional and Love Songs is set forth with that in mind. Unlike some of Khan's more Western-influenced releases, such as Mustt Mustt and Night Song, the songs are presented here with minimal instrumentation (mostly harmonium and tabla) in the traditional call and response form, with Khan singing a line that is echoed by the party of musicians that shares the stage with him.
Called "the Paganini of the harmonica" by The Los Angeles Times, Robert Bonfiglio has dazzled audiences throughout the world with his ability to play harmonica concertos and turn right around and sizzle on the blues. Bonfiglio has been a concerto soloist with leading orchestras around the world including the Minnesota Orchestra, the Leipzig MDR-Radio Symphony, the Hong Kong Philharmonic, Orchestre National du Capitole de Toulouse, the Madrid Radio Television Espanola Orchestra, the Mexico City Philharmonic as well as the Milwaukee Symphony, the Indianapolis Symphony, Oregon Symphony, Utah Symphony and the Los Angeles Philharmonic.
CD album featuring a collection love songs including a selection of his own compositions plus cover versions of Everytime You Go Away, Don't Dream It's Over, Love Will Tear Us Apart, Wherever I Lay My Hat [That's My Home], his duet with Zucchero Senza Una Donna [Without A Woman] and more…
Familiar folk music to generations of Iranians, Deyhim transcends the merely archival in her interpretations of these classic melodies with her rich, musty vocals and eclectic arrangements. More than ably assisting her are a cross-genre collection of musicians, including Raz Mesinai (aka Badawi), Reggie Workman, Karsh Kale, Horowitz, cellist Dawn Bukholtz Andrews, and Reza Derakhshani on a variety of stringed traditional instruments. Deyhim certainly exercises her gift with flourish; the largely wordless vocal of "Daylaman (Inextricable)" or her show-stopping imitation of tablas on "Negara (Mesmerized Mirror)" are but two striking examples. Together with performances like the elegiac "Hamcho Farhad (Our Tears, Our Wine, Our Sight)" and "Navai (Savage Bird)," with its distinctly Celtic undertones, this album is actually more accessible than her more avant-garde (though equally entrancing) efforts with Horowitz.