The classical works of Tan Dun typically fuse compositional elements from the East and the West, but for his soundtrack to Ang Lee's Crouching Tiger, Hidden Dragon, musical cultures aren't so much blurred as coexistent side-by-side. While the magical martial arts film doesn't boast music as stunning as its visuals, this soundtrack is still beautiful and elegant, a perfect complement to the movie's mysticism. Just don't expect epic, John Williams-inspired bombast here. On "A Wedding Interrupted," the riveting brass and string section introduction segues into soft-hued meditations; "Night Fight" boasts spiky percussion but sounds more reminiscent of Stomp than a kung-fu scene. That said, Dun's understated score–filled with Asian instrumentation, Romantic cello solos from Yo-Yo Ma, and a token theme song with vocals by Asian pop star CoCo Lee–is still a fascinating listen. Fans of Ma and Dun shouldn't pass this up.

Sandee Chan is a singer-songwriter, music producer and director in Taiwan who generally sings and writes songs in Mandarin Chinese.

Gan Ya Dan, chinese female singer, good at folk singing and popular singing. Gan Yadan has a rare good voice, and the audience praised her feeling for music, choice of music, grasp of rhythm and rhythm - impeccable.Gan Yadan's magnetic female voice sings old songs one after another, with her trendy interpretation, the whole album, Each song appears traditional and ancient, yet modern.
Feel the endless music space that Gan Yadan brings to you! Her voice is sweet and refined, the sound of heaven!

Yao Si Ting, a sweet and touch voice singer from China. Maybe most of Malaysian never hears about her name. She sings in both Chinese and English.

Inside the Cable Temple incorporates progressive rock, Chinese traditional folk, and jazz to create a very warm and inviting musical journey. Most of what you hear on this record is incredibly mellow and ethereal folk rock with the occasional increase in musical intensity in the form of groovy prog rock or smooth jazz. Much of it is the musical equivalent of peacefully floating by on a cloud although there are little surprises here and there that change the pace and scenery.

‘As intriguing as it is beguiling’ was how the ‘east-meets-west soundworld’ of Xiaogang Ye was described in the BBC Music Magazine on the release of a previous disc of his orchestral works in 2016. On that occasion Ye’s music was championed by José Serebrier, who returns here, sharing the task with Gilbert Varga. Between them they conduct the Royal Scottish National Orchestra and four international soloists in five works which highlight the beginning of Ye’s career as well as his more recent works. The Brilliance of Western Liang was written in 1983, during Ye’s time as a student at the Central Conservatory of Music in Beijing, and is named after a fifth-century kingdom in northwest China.

Wu Fei and Abigail Washburn's debut collaborative release is a testament to the connective power of music across seemingly disparate cultures. Merging American old-time music and Chinese folksong, Wu Fei & Abigail Washburn features gorgeous, impressionistic renditions of traditional material from the hills of Appalachia to the prairies of Xinjian province, each tune flowing seamlessly into the next. The effervescent resonances of Wu's guzheng zither dance around Washburn's expressive banjo playing, their voices intertwining English and various Chinese dialects. This album recasts "world music" as music of our shared world, highlighting our shared humanity and the transformative power of song.

Gary Lucas – charmingly oddball pop songwriter, musical world traveler, utterly hellacious guitarist – is perhaps at his most hellaciously, charmingly cosmopolitan on this frankly amazing album, which finds him adapting popular Chinese songs that were originally recorded in the 1960s and which he heard and fell in love with during a sojourn in Taiwan in the mid-'70s. His girlfriend at the time had a cassette tape of such local superstars as Chow Hsuan and Bai Kwong, and it was, he says in his liner notes, "like almost no other music I had ever heard before." Twenty-five years later he put together this quirkily gorgeous tribute, which includes jaw-droppingly virtuosic fingerstyle guitar arrangements ("Mad World," "Wall") and song settings using guest vocalists. Among the best of the latter are the limpidly beautiful "Night in Shanghai" (again, note the guitar playing) and the country-flavored "I Wait for Your Return," which is simply a hoot. He's not playing this stuff for laughs, though; his genuine affection for the music comes through loud and clear, and even when he has fun with it he is obviously trying to do so in a way that brings its haunting loveliness to the fore. Very highly recommended.