INDE DU SUD LES GRANDS CLASSIQUES

Originally recorded by Alain Daniélou for the International Music Council (UNESCO) in 1955, this represents a choice document of S. Indian music mid-century, with equal share instrumental and vocal offerings. The tracks found here were published on vinyl in 1976 by Thomson Ducretet for UNESCO. They were later re-issued in a series of compact discs dedicated to Daniélou from UNESCO, but were unfortunately  discontinued (track listing below is in French).

“Alain Daniélou (Neuilly-sur-Seine, Paris, October 4, 1907–Lonay Switzerland, January 27, 1994) was a French historian, intellectual, musicologist, Indologist, and a noted western convert to and expert of Shaivite Hinduism.

The young Daniélou studied singing under the famous Charles Panzéra, as well as classical dancing with Nicholas Legat (teacher of Vaslav Nijinsky), and composition with Max d’Olonne.

He and his partner, Swiss photographer Raymond Burnier, first went to India as part of an adventure trip, and they were fascinated with the art and culture of the nation. Daniélou was one of the first Westerners to visit India’s famed erotic temples in the village of Khajuraho. His stunning photographs of the ancient temple complex launched the site internationally. The first-ever photo exhibition at New York’s Metropolitan Museum were those of Khajuraho taken by Daniélou.

But his more important contribution to Indology is his writings on the ancient wisdom of the Veda, Hindu philosophy, and Shaivism.

In 1949, Daniélou was appointed professor at the Hindu University of Benares and director of the College of Indian Music. He was the director of the UNESCO Collection series, a series of recordings of traditional world music. In 1981, he received the UNESCO/CIM prize for music, and, in 1987 the Kathmandu Medal from UNESCO.”

1. Mode Varali, par Madame D. K. Pattamal (chant) (9′25), 1955
2. Ninyako, par Madame D. K. Pattamal (chant) (4′10), 1955
3. Javali, mode Paraj, par Madame D. K. Pattamal (chant) (2′42), 1955
4. Sadhincene pour deux vinas, par Devakotai Narayana et Kalyana Krishna Bhagavatar (4′50), 1955
5. Alapana, mode Kambodhi, pour nagasvaram, par K. Pichiappa (4′50), 1955
6. Javali, mode Khamas pour flute, par T. Visvanathan (3′55), 1955
7. Sandehamunu, mode Ramapriya pour flute, par T. Visvanathan (4′38), 1955
8. Jatisvaram, par Bala Sarasvati et son orchestre (3′52), 1955
9. Ganesha Kimaram pour gottuvadyam, par Budalur Krishnamurti Shastri (4′26), 1955
10. Pallavi, mode Bhairavi du sud, par Mudi Kondan, C. Venkatarama Iyer (chant) (5′57), 1955

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RAMNAD KRISHNAN: VIDWAN’: SONGS OF THE

CARNATIC TRADITION

“This is the classic release of Carnatic music on Western markets. Part of the Nonesuch Explorer series, it was originally released in 1968, five years before Ramnad Krishnan died of a heart condition. This album makes use of a number of compositions by Saint Thyagaraja, improvised by the great Vidwan’ of the form. The music needs almost no introduction beyond that of the liner notes and the sounds themselves. The improvised passages are clearly articulated by a master, exploring the limits of the Ragam to their fullest.”

1. Kriti: “Ninnadanela” (4′01)
2. Kriti: “Palincu Kamaksi” (15′35)
3. Kriti: “Abhimanamennadu” (13′06)
4. Tarangam: “Govardhana” (3′50)
5. Ragam-Tanam-Pallavi: “Tamarasadala Netri, Tyagarajuni Mitri” (20′17)
6. Pallavi niraval-Svara kalpana-Tani avartam (18′15)

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ENNIO MORRICONE SOUNDTRACK TO THE GILLO

PONTECORVO FILM “QUEMADA! (BURN!)”

This is a powerful score inspiring Pontecorvo’s imagery and themes, all steeped in a uniquely 70’s palette, underpinned by choral arrangements that reference the Kyrié in Western tradition. Unfortunately, as a standalone soundtrack it’s difficult to find, and I am pretty sure remains out of print. These tracks come from a vinyl copy I picked up some years back. Hope you enjoy it as much as I do.

“An unusual soundtrack for an unusual film, which starred Marlon Brando as a colonialist who alternately incites and suppresses rebellion. It’s also unusual within the Morricone canon, evoking considerably tenser and fiercer moods than much of his work. A lot of these pieces rely on an ominous, vibrant organ that sounds much more like it’s housed in purgatory than a church. Often the organ is complemented with hordes of ghostly choral vocal chants, sometimes underpinned with heavy slapped percussion and what sounds like a buzzing Danelectro bass.”

1. The Theme Song - Burn (Quemada) (5′10)
2. Jose’ Dolores - Revolutionary (1′30)
3. The Battle of Quemada (4′04)
4. Prepare for Battle! (1′45)
5. William and Jose (1′47)
6. Sugar Cane (1′10)
7. Into the Future (4′40)
8. Generalissimo Jose Dolores (1′28)
9. Patrol (2′33)
10. Revolutionary Troops (4′21)
11. The Battle of Quemada (Part 2) (1′30)
12. Conclusion and Finale (3′31)

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THE ENTOURAGE MUSIC AND THEATRE ENSEMBLE

This is a fine eponymous release from 1973 for a group that would go on to record one more for Folkways in 1975 called “The Neptune Collection,” which I have not heard. That was it for the studio. At first glance they appear as art music meets something your not sure you want to know about, but after a couple listens the group earns worthy praise. One gets straight off that the music draws from the finest of the 60’s and 70’s ala Terry Riley and Lamonte Young, but it definitely has it’s own particular style, fusing world influence, electronics, seasoned musicianship, and some delicate compositional prowess. In the end it can only be a good thing to have more tastefully inspired music ala Riley/Young, c. 1970.

“The Entourage Music And Theater Ensemble was a visionary collective of performing composers who created a music based on flow energy and dream state experience. The primary members were founder and director Joe Clark: saxophones (soprano and sopranino) and keyboards, Rusti Clark (no relation): viola and guitar, Michael Smith: drums and percussion, and Wall Matthews: guitar, keyboards, and percussion. Matthews is the only surviving member. Entourage started in Millbrook , NY (1970), moved to New London , CT. (1974-77), and, finally, Baltimore, MD (1977-1983). Over the years Entourage performed primarily in theaters, usually in combination with performing choreographers, presenting its rich imagistic material in a seamless unfolding of music and dance.

Entourage was an early proponent of ” World Music “, drawing inspiration from global folk and ethnic traditions. Its members, while coming from diverse backgrounds that included jazz, blues, and classical music, shared a common vision of creating an original music that included the essence of those forms while eliminating their idiomatic characteristcs.”

Folkways Records album No. FTS 33866, 1973.

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