Cambodian Liberation Songs is a painful call from forgotten resistance fighters, it is a captivating and moving record. It works as a witness of Cambodian history, bringing to the world the breathless voice of the members of the resistance from the Banteay Ampil Band.
Released in 1983, Cambodian Liberation Songs is a mysterious and overwhelming record. As a genuine piece of history, this “call from sorrow and fierce passion” makes use of a whole range of Cambodian music, from folk to rock, to express sufferings and complaints.
On 17 april 1975, the Cambodian people, already crushed under national and international conflicts, was commanded by force to forget their own past, it was annuum 0 of the Khmer Rouge calendar. Four years of genocide would follow before the start of a war opposing the Vietnamese army to the Khmers Rouges. Resistance units engaged in the conflict against what they considered as a Vietnamese invasion. This record, produced by a resistance group, was given the reference number KHMER 001. It was undoubtedly the first record composed and performed by non-Khmer Cambodians after the tragic events of 1975-79.
The Banteay Ampil Band was created in the refugee camp of Ampil, at the border with Thailand. Musicians and female singers, who had hidden their talents during the genocide, then gathered around the composer and violinist Oum Dara to engage in a new struggle: the resistance. Oum Dara, who had been a composer for Sin Sisamouth and Ros Srey Sothea among others, adapted several of his creations. It is therefore with a poignant charm that the Banteay Ampil Band binds together the golden age of Khmer music from the 1960s with the traditional repertoire and the context of their daily struggles. Violin, guitar and voices match together to produce melancholic and intense songs - the stirring tone of grief expressed by these resistants.
The band went to Singapore to record Cambodian Liberation Songs, the only record of the “Khmer People’s National Liberation Front”.

竖琴的传说——缅甸传统音乐
缅甸音乐巨匠最受好评的演出
歌与乐的痴痴相融
许多人对“缅甸的竖琴”这部电影记忆深刻，却未曾听过真正的缅甸竖琴旋律。
优美的琴韵、醉人的情境，使人们对驰名国际的缅甸弓形竖琴“桑高（Saung gauk）” 充满了浪漫的遐想。专辑中收录的数首桑高演奏，及锣群音乐代表性乐团 “盛怀（Hsaing waing）”与各种民族乐器的多情演出，意图满足所有浪漫的心， 一探缅甸民族音乐的深情殿堂。

一位前卫萨克斯手的一张中国竹笛专辑。

他8岁起学习萨克斯，13岁开始学习中国竹笛，曾在沈阳音乐学院附中学习，一年之后不定期奔赴北京，去中央音乐学院找老师学习。2007年以中国笛子专业第一的成绩考入沈阳音乐学院。同年进入沈阳音乐学院青年民族乐团直至毕业，分别担任演奏过新笛声部、曲笛声部和管乐声部首席，2011年以专业优秀生称号毕业。

大学毕业后老丹开始广泛涉猎摇滚乐、爵士乐、世界音乐等不同领域，尤倾力于前卫实验、自由即兴。2013年他与鼓手邓博宇、吉他手李星组建了“红领巾”（Red Scarf） 三重奏，这支前卫乐团2016年在摩登天空 Bad Head厂牌推出了同名专辑CD，2018年5月，在这张《逐云追梦》专辑出版的同时，“红领巾”在Bad Head厂牌推出了第二张专辑《他们知道我们知道他们在撒谎》CD。2018年3月，老丹还在法国WV sorcerer厂牌出版了首张个人萨克斯独奏专辑《思维扭曲的行动体》磁带。

《逐云追梦》是老丹首张竹笛专辑，2017年4月分两次录制于辽宁边境城市丹东。曲目多创作于2016年底至2017年初，而《丁卯日一曲》和《庚午日一曲》分别是两次录音时的即兴曲目。

老丹的萨克斯演奏极尽癫狂天马行空，在众多西方大师的脉络中左冲右突，发出年轻的声音；而他的竹笛演奏则大异其趣，充满了传统中国的诗境，然而并不属于任何传统门派，更毫无学院传统的拘束，虽然使用的是三种传统的竹笛：曲笛C调、曲笛降B调、低音笛G调，但去掉了笛膜，回归竹子本身的共鸣，从而扬弃了过于明亮乃至甜丽的音色，有助于营造幽微的冥想的氛围。另外，这是有一张几乎无需后期混音加工制作的唱片，它录制于一个抗美援朝时期的防空洞——天然的声场混响，独一无二的声音，以及源源不断的幻象。