TIBETAN RITUAL MUSIC: CHANTED AND PLAYED BY LAMAS AND MONKS OF THE FOUR GREAT ORDERS

Perhaps the Chinese first became intimidated, and then terrified by this small peace-loving Bhuddist culture with roots in animistic cult worship because of it’s music… one listen to these spellbinding tracks and it seems fairly likely. Enlightening souls one musical vibration at a time, these powerfully charged devotional pieces offer the listener full immersion, helping meld the spirit with celestial vibrations that transcend the material for otherworldly affirmations. All recorded on location during May and June of 1961 by Peter Crossley-Holland. From the liner notes:

“In the monasteries, which became the great centers of learning and artistic culture, the ancient beliefs and disciplines flourished and a body of liturgy was created. Its music, designed also to help man on his way to Enlightenment, is the highly distinctive music of Tibet, with a ritual style unlike that of any other high civilization. It employs both chanting and instrumental playing and occupies over half the waking hours of its red-robed devotees. The chanting, executed with exceedingly deep and constricted voice, embraces the repetition of canonical texts and the invocation of the gods. The instrumental music provides interludes between the chanted portions of a service. Though wind and percussion only, the instruments create an ensemble richer and more varied than that found in Buddhist ritual elsewhere.” - Peter Crossley-Holland.

Lyrichord Stereo LLST 7181, 1962

Side One:

1. Offering to the Saviour Gompo (9′51)
2. Invocation of Gompo (2′37)
3. A Buddha Prayer (8′32)

Side Two:

1. Offering to the Guru Drakmar (6′05)
2. Glorification of the Past Buddha (18′23)

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TIBETAN FOLK AND MINSTREL MUSIC

Out of the temple and into the rural countryside, the music captured in these recordings is the heart and soul of the Tibetan people. Recorded by Peter Crossley-Holland in the 1960’s, these are songs to accompany all facets of every day life - musical analogues for day-to-day activities as seemingly mundane as ‘the sowing of seed’ or ‘the threshing of wheat’, to something as profound as ‘dreams’ or ‘glaciers’. Structurally simple melodies, these poetic renditions of day-in-day-out experiences are a unique window into the musically functional life of the nomads of the Tibetan highlands. From the liner notes:

“Side A is devoted to occupational songs and airs from several different parts of Tibet. More sophisticated forms are found among itinerant musicians and town and village bands, which have a professional or semi-professional status. Side B illustrates songs and instrumental tunes from the repertoire of such bands in Ladak.” - Peter Crossley-Holland

Lyrichord Stereo LLST 7196

Side One (Folk Music From Tibet):

Pastoral And Nomadic Airs

1. Gold Saddle (1′34)
2. Riding Song (2′04)
3. Shepherd’s Flute (1′19)
4. Trekking Song (1′08)

Agricultural Songs

5. For repairing water-channels in the barley fields (2′02)
6. For repairing water-channels (3′13)
7. For sowing seed (1′46)
8. For cutting barley (1′33)
9. Harvest Festival (2′13)
10. For threshing wheat (’59)
11. For turning the barley crops (1′27)

Other Occupational Songs

12. For cutting grass (’37)
13. For carrying logs or other loads up the hill (1′30)
14. For lifting stones and cutting them, during building (’35)

Side Two (Musician’s Tunes From Ladak):

Band Of Shawm And Kettle-Drums

1. Polo music 1′28)
2. Women’s dance music (1′13)
3. Marriage dance music (1′35)

Song Accompanied By Single-Headed Drum

4. About a man drawn to religion and who, after marrying and going through life’s vicissitudes, becomes a monk at the Sgang-Ngon Monastary (2′04)

Airs For Double Flute

5. Frozen glacier on a mountain (1′13)
6. The Monastery Pot (1′23)
7. The Big Roof (1′01)

Songs Accompanied By Instruments

8. In praise of a pigeon (3′13)
9. Man’s dream song (3′38)

Dance Music For Shawm And single-Headed Drum

10. Quick dance music (1′03)
11. Quick dance music (’35)
12. Poetical dance music (’49)

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TIBETAN SONGS OF GODS AND DEMONS: RITUAL AND THEATRICAL MUSIC OF TIBET

The tracks on this LP, recorded by Stephen Beyer sometime in the 1960’s, are fairly ancient and primitive sounding, utilizing bells, horns, simple drums, and voice - at times spoken word. If ritual has a musical sound, then this record may well exemplify it. While the first side is primarily devotional, the second side is made up of two theatrically-related tracks, the performances themselves probably of a sacred nature. No accompanying booklet or liner notes on this one, and it is probably the least straightforward or familiar sounding of the bunch. If you are looking for the more musical and less devotional sounding performances from the region then these might not be the tracks for you. If however you are into relatively obscure and rarely recorded voice-based ritual tunes with a flair for the dramatic, then this is your eternal source for Tibetan music related to the twin themes of heaven and hell.

Lyrichord Stereo LLST 7291

Side One:

1. The Praises Of The Goddess (3′16)
2. The Ritual Of Cutting Off (6′46)
3. Mi-La Raspa Wins A Disciple (6′32)
4. Stag-Seng (1′24)
5. Rje-tsun Brgya-Rdung (1′18)

Side Two:

1. Du-Rtse-Ma (1′29)
2. Gur-Gsar-Ma (2′10)
3. The Tale Of Lotus Blazing-Light (14′50)
4. Ge-Sar And His Magic Slingshot (5′50)

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TIBETAN BUDDHIST RITES FROM THE MONASTERIES OF BHUTANUME THREE: TEMPLE RITUALS AND PUBLIC CEREMONIES

Featuring temple music on side A, the first half of side B is recordings of the Bhutanese throngs during street-level festivities and ritual celebrations. I published Volume 4 in this four volume series some months back, but am unfortunately missing Volumes 1 and 2. This last installment in the series is dedicated to His Majesty King Jigme Senge Wangchuk (who abdicated his throne in 2006 so his son could rule over the country), and is another vestige of the ancient and remarkable cultural, spiritual, and musical diversity from a region splintered and befouled by Chinese meddling and cultural eradication programs. Recorded in Bhutan in 1971 by John Levy. From the liner notes:

“The music of Tibetan Buddhism (and I believe in every other form of Buddhism) is not in general heard by the public, except on special occasions, whereas folk-music is heard and performed by almost everyone. The Bhutanese are a musical people. What stands out here, especially in the monastic music of Bhutan, is its great virility. Bhutanese music, like Bhutanese architecture and the allied arts, is also a local variation of the Tibetan, so far as one can judge from the limited number of recordings available on disc.” - John Levy

Lyrichord Discs Inc. LLST 7257, 1971

Side One:

1. Nyule Drelwa, Calling Down of deities to subjugate evil spirit; and Kulwa, its death, stabbed by Black Hat (10′19)
2. Part of Jinbeb, The Coming Down of Grace (3′09)
3. Monks in procession playing portable instruments followed by chanting of the Heart-Drop Teaching (5′21)
4. Dramnyen Choshe, Song of Offering, with lute. Lute solo followed by chorus, in praise of sons of Bhutan (3′54)
5. Dramnyen Choshe, chorus only, Song in Praise of Chinese Silk (3′39)

Side Two:

Annual Festival of Sacred Dance, at Jampai Lhakhang (Temple of the Future Buddha in Bumthang Dt., E. Bhutan)

1. Monks, a clown, crowds and instruments (2′43)
2. Monks, a clown, crowds and instruments (4′44)
3. Monks, a clown, crowds and instruments (’52)
4. End of festival, with temple bell, and drums and trumpets (1′44)
5. Wandering ascetic (manip) chanting a Milarepa poem and a mantra (2′05)
6. Wandering ascetic (manip) chanting a Milarepa poem and a mantra (’52)
7. Cymbals (silnyen) played solo (2′13)
8. Cross-flute (zurlim), folk-song from E. Bhutan (2′14)
9. Another manip chanting Milarepa poem (2′40)
10. First manip as story-teller (1′48)

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LADAKH, SONGS & DANCES FROM THE HIGHLANDS OF WESTERN TIBET: RECORDED IN LEH BY DAVID LEWISTON

This LP would have fit perfectly into the September post, but settles in nicely here too. A polished set of tunes recorded by David Lewiston sometime in the mid 1970’s, these tracks are the most melodic and instrumental of the listings for this month. Recorded in Leh, the former capital of the Himalayan kingdom of Ladakh (Now referred to as the Leh District in the state of Jammu and Kashmir, India - nestled at a mere 11,400′ in the sky), this city was a major trade route to and from India and Central Asia, a unique place where cultural and religious diversity coexisted for centuries (threads of which are still heard in this music). These are heart-lifting ditties that roll with lively tempos and whirling melodies, much like the snowy winds that whip up and around the 20,000′ peaks adorning the semi-arid landscapes of Western Tibet. From the liner notes:

“For centuries, Leh was one of the great trading places of central Asia. Each summer, caravans from Kashmir and Chinese Turkestan would cross the high passes to meet in Leh and exchange their wares. This age-old tradition came to a rude halt in the early 1960’s when the Chinese first overran northeast Ladakh and began turning back the caravans. Today, the traders of Leh have resorted to supplying the government and the military. In most of west-central Asia, music is traditionally provided by artisan castes, such as blacksmith-musicians of Lahul and Hunza; their Ladakhi counterparts are the Mon, carpenter-musicians who came to Ladakh over 1,500 years ago from Kashmir.” - David Lewiston.

Nonesuch Records H-72075 (Stereo), 1977

Side One:

1. Ston Gyi Lu (Autumn) (4′35)
2. Pata Nyima Zangmo (2′43)
3. Tash Spa (Wedding Dance) (3′06)
4. Isley Tundup (Wisdom Sish Fulfiled) (2′59)
5. Sung Ya Nyi Iza Niska (You Are The Night Sky) (2′55)
6. Kushti (Wrestling Music) (4′45)

Side Two:

1. Natar Ylgay Namkar (Our Country Ladakh) (3′02)
2. Da Tses Yangs (Archery Music) (3′09)
3. Chikdil Dsangpo Gyurchik (United Like A Mighty River) (3′59)
4. Harvest Work Song (2′46)
5. Chungsgot Thonpo (The Night Sky) (4′32)
6. Mi La Michay Thopna (If Man Can Live Longer) (3′59)

[.zip] ]]> http://honeycombhive.com/beehive/november-10/feed/ http://honeycombhive.com/beehive/october-10/ http://honeycombhive.com/beehive/october-10/#comments Thu, 25 Nov 2010 20:48:09 +0000 beehive http://honeycombhive.com/beehive/?page_id=3949 CHANT THE NAMES OF GOD: VILLAGE MUSIC OF THE BHOJPURI-SPEAKING AREA OF INDIA

Gorgeous Indian folk music LP incorporating coughing, spitting, and bird chirping, enhancing the charmed field recording authenticity, all captured by Edward Henry from 1968 through 1978 (also includes a booklet of stunning photographs). Although singular as an index of regional folk expressions, the tunes range broadly both in performance and style. The first side is primarily a capella with a few instrumental accompaniments, while the second side features ‘entertainment music’, ‘brass band’ (sounding remarkably like traditional New Orleans-style funeral dirges) and ‘Sahnai band’. Sahnai band, heard only on the final track, is a totally mesmerizing piece of folk music encapsulating so much of the sublime beauty that is the music of India!!! From the liner notes:

“The music of India is largely monodic, that is, a single melodic line prevails in any music performance. Harmony as we think of it in the West, and polyphony are absent. In entertainment, processional and classical music this monody sometimes becomes heterophony - different instruments or a combination of voice and one or two accompanying instruments perform slightly different versions of the melody simultaneously. With the absence of harmony and polyphony it is not surprising that melody is a focus of great creativity. A village musician, upon hearing some American pop music on my tape recorder, commented that the melodies were very “straight.” Even in some participatory songs, but especially in entertainment songs like the purvi and qavvali, the melody line is extremely fluid. The melodic agility of some of the professional singers and instrumentalists is dazzling…” - Edward Henry

Rounder Records 5008, 1981

Side One:

1. Mother Goddess Song (3′46)
2. Birth Song (1′59)
3. Women’s Devotional Song (1′36)
4. Pavarias’ Birth Song (1′21)
5. Holi Season Song (2′07)
6. Monsoon Song (2′14)
7. Herder’s Holler (1′02)
8. Martial Epic (2′43)
9. Blind Mendicant’s Devotional Song (1′48 )
10. Song Of The Formless Divine (2′52)
11. Nats’ Song Of The Formless Divine (2′08)

Side Two:

1. Entertainment Music (daphala, daphali) (1′10)
2. Entertainment Music (biraha) (3′34)
3. Entertainment Music (purvi) (3′38)
4. Entertainment Music (qavvali) (3′45)
5. Brass Band (Raga Bhairavi) (3′51)
6. Brass Band (Raga Pilu) (4′19)
7. Sahnai Band (kajali) (4′08)

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RAJDULARI ALIAKBAR KHAN SINGER: RAGA KIRWANI, RAGA IMNI BILAWAL

It’s so nice to find recordings of complete (if not condensed) versions of a given raga, as heard on this LP. Rajdulari Aliakbar Khan was Ali Akbar Khan’s second wife, and although I couldn’t find much info on her, the liner notes describe her as an award winning and leading classical vocalist of the time (1960’s). This Connoisseur Society LP, as with most of their releases, is meticulously recorded, with attention paid to both the acoustic presence and sonic detail. I don’t have many recordings of Indian female classical singers, so this is a real bonus, further enhanced by husband Ali’s lute playing, and Pandit Mahapurush Misra performing tabla. The lush morning Raga Kirwani sets the stage for the sensual and beautiful Raga Imni Bilawal, all providing musical accompaniment for both breakfast tea at sunrise, and a coconut oil-slathered evening sex act during the October waning crescent moon. From the liner notes:

“It is indeed as if she were playing an instrument, for her voice becomes an extraordinarily flexible thread in the overall texture provided by the tamboura, with which she accompanies herself, the Indian lute played by Ali Akbar Khan, and the tabla played by Mahapurush Misra. As an instrumentalist would, she spins from what seems to be - as one is caught and held in the music - a limitless reservoir of melody while also secure in the intricate challenges of the corollary rhythm cycles of each raga.”

Connoisseur Society, CS 2004 Stereo, 1967

Side One:

1. Raga Kirwani (20′15)

Side Two:

1. Raga Imni Bilawal (18′55)

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PALGHAT T.S. MANI IYER, MRIDANGAM/LALGUDI G. JAYARAMAN, VIOLIN

A twin Carnatic workout, the first two tracks here are by the great Palghat T.S. Mani Iyer, and are spellbinding mridangam batteries that reinforce the ever complex system that is Indian Classical Music. Once the performer has studied the voice, the next phase of any well-rounded musical education is the rhythmic expression of tala, which is an extension of the voice and evolved out of “the cadence and metres of poetry”. The third track encompasses the entire side B of this LP, and is a wonderful slow build of violin mastery featuring Lalgudi G. Jayaraman with violin accompaniment by G. Srimathi and Mridangam by Iyer. Digging the source, these tracks deliver in a deep and polished style - “Invisibly and inaudibly within the pulse beats of Indian Tala, unspoken words hide unsaid, and this is what makes Tala different from mere rhythm. Tala is more than rhythm.”

The Gramophone Company Of India Limited (EMI), ECSD. 2413, Stereo, 1969

Side One:

1. Talam - Adi (Half Tempo) (1′09)
2. Khanda - Eka (8′26)

Side Two:

1. Rama Katha Sudha Rasa - Ragam: Madhyamavathi (21′33)

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LALGUDI G. JAYARAMAN: VIOLIN SOLO

I love this cover, and can’t help but think of the proud mother who saw her sweet son’s face adorning it for the first time! Prior to the above, I had never encountered Lalgudi G. Jayaraman, but as a big fan of Indian Classical violin, especially in the Carnatic tradition, this LP exceeds it’s anticipated function. Formal yet poetic, Jayaraman bends the ragas to his liking, providing all the necessary skill and tension to fulfill our craving for virtuoso Indian Classical music. Two Sri Thyagarajaswami compositions comprise the bulk of the LP, with the final piece composed by our man Lalgudi. This joyful set of ditties is sure to color your day pink, yellow and light blue all over. Umayal Puram K. Sivaraman accompanies on mridangam. From the liner notes:

“An unsurpassed degree of excellence will be discernible in every aspect of his presentation of Carnatic Music. The ethos of the “Raga” gradually unfolds itself in all its grace and grandeur as he delineates it with his dexterous bowing. Clarity and fidelity mark his rendering of a Kriti as he brings out its mood with apt variations of musical phrases and statements. The cascade of “Swaraprasthara” that follows the “Kriti” is a delightful combination of rhythm and “ragabhava” that bears testimony t the stature of his imaginative musical mind.”

The Gramaphone Company Of India (EMI), ECSD 3273, Stereo, 1976

Side One:

1. Ada Modi Galada (19′25)

Side Two:

1. Sri Narada (14′14)
2. Tillana (5′59)

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GREAT MASTER GREAT MUSIC: USTAD AMIR KHAN

Last but by no means least, this recording of a genuine master (cut short at age 62 by accidental death in 1974) is steeped in the power and grace of a North Indian vocal icon. Beloved by both musicians and music lovers for his personality and his unique musical style, these  performances give as good an indication of his mastery as any. Controlled and patient, Khan moves through the two ragas with utter command, as if in abeyance to his expression instead of the other way around. The morning “Raga Bilaskhani Todi” takes up the whole of side A, while side B features “Raga Abhogi”, ‘rendered in the second quarter of the night’ as the first r.e.m. cycles start to churn the dense batter of your dream cake. From the liner notes:

“Amir Khan’s concerts were always an experience to cherish. The tall, handsome Ustad, in flowing sherwani, invariably made a lasting impact on the audience by his very presence on the concert platform. His dignity of bearing and his yogic posture, while performing on the stage, struck a perfect accord with the serene grandeur of his music. It was though his musical thought was in tune with some high ideal of beauty and he was striving to communicate it to his charmed audience. It was a style that carried that typically individualistic “punch” which delighted the ear but battled the mind!”

The Gramaphone Company Of India (EMI), ECSD 2765, Stereo, 1976

Side One:

1. Khayal Bilaskhani Todi (22′23)

Side Two:

1. Khayal Bilaskhani Todi (21′40)

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This sampler of sounds was recorded during an overland journey that looped from England to India and then back again, ending in Paris. Although kicking off without any music from the UK, and ending without any from France, it is nevertheless a stunning collection of field recordings from a 1955-56 excursion by Deben Bhattacharya (who also recorded and produced the last entry below). Included was a large booklet of beautifully printed photos by Deben, as well as exhaustive notes about regional cultures, the music and its musicians. Published by Angel Records (mainly a classical label), this 1956 release must have been a mesmerising snack plate for the armchair traveler/world music enthusiast. There are some stunning performances here that range from unaccompanied vocals to instrumentals with vocals, in particular the last track from India where a father and daughter sing a heart wrenching duet that taps cleanly into the source. In spite of the seemingly diverse range of music, you hear all the common threads you might expect from regions that, although politically and geographically separated, share common roots serving as a testimony to the beautifully interconnected patterns of the almighty folk continuum. From the liner notes:

“The music on this record represents selected pieces from a collection of over forty hours of recording made during an overland journey to India. The journey started from London in the middle of August, 1955, and ended in Paris by the following March. The rate of progress was fairly slow and my plans flexible in order to cope with the caprices and spirit of the musicians whose greatness lies in their skill in improrvising within traditional themes. In every country though which I passed, I found a living tradition of folk music, each folk musician leaving his individual mark upon the music of the country. These continuous but small additions and alterations are the natural spirit and life of folk song and music. Rigid laws and revivalism seem to push it towards artificiality and destruction.”

Angel Records, 35515, 1956

Side One:

1. Background noise of car on a mountain road fades into Central Anatolian dance music and song. The instrument Cumbus (Jumbus) has six sets of double strings and is a fairly popular and modern instrument. The words of the song, mostly unintelligible, seem to have little meaning other than letting the melody move and are improvised on the sopt. In one part of the song the words mean: “Let us go to Adana and make merry.” (3′30)
2. Mevludu Nebevi, recorded in Kilis, a Turkish frontier township on the Syrian border. It is a religious chant on the birth of the Prophet Mohammad and is chanted during funerals for the peace of the soul. This particular recording of Mevludu nebevi is in the local style of Kilis and is in a Syrian frontier dialect mixed partly with Turkish and Persian words as well as prayers in Arabic. According to the opinion of the experts, it is not an orthodox Islamic chant as it refers to Dervish symbolism. (4′26)
3. Rasd, song in praise of the prophet, recorded during the evening service of the Dervishes. It uses the same notes as the Western scale of melodic minor. The accompanying instruments are Nye pipe, Daff and Naqqara drums and large Ranajiate cymbals. Their were seven singers, four instrumentalists and three dancers who took part in the performance which was held secretly. The dancers, with their arms stretched horizontally, turn round and round representing the movement of the stars. The Dervish movement is not encouraged by the Islamic authorities of the Arab countries, hence the movement is banned by most of the Middle Eastern States. (1′59)
4. Bedouin dance music from Katana, twenty kilometers west of Damascus. A Bedouin girl singing and dancing in accompaniment with Fiashat cymbals, horsehair instrument Rababa and handclapping. The words of the song describe the beauty of a Bedouin girl and the cosmetics she uses to enhance it. Language: Syrian dialect of Arabic origin. An incessant rhythm on eight quaver beats to the bar is kept throughout the piece by Fiashat cymbals as the dance opens with the simple but lively melodic line. (2′25)
5. Bedouin coffe grinding, recorded in a Bedouin camp eight kilometers away from the Jordan frontier. The coffee grinding mortar and pestle of the Bedouins produces a rhythmic percussion sound - widely varied in its pattern - to invite stray Bedouins in the desert to join in with the coffee drinking. While one grinder gets tired, another takes over the pestle without interrupting the rhythm. The sound of a hand clearing the coffee from the mortar ends the recording. (1′51)
6.Kasam-e-Meru, a section from a Kurdish ballad accompanied by rattling spoons. The hero of the ballad, Kasam, was kiled in a local battle and his sister sings over his body. (2′17)
7. Baba Karam, folkloric love song from south of Tehran, accompanied by Zarb drum. Baba Karam was a mystic lover connected with Persian folklore. There are many folk songs still sung all over Iran which speak of Baba Karam’s love, and not all of them are, by any means, of serious nature. The present song is of a rather light-hearted type in which Baba Karam beseeches his beloved Zulekha: Whatever you do you are mine, but be careful not to beak you father’s heart which is made of glass! Language: Persian. After nearly five minutes of masterly rhythmic prelude in which the drummer employs even his own cheeks for producing rhythm, he starts singing. (4′33)

Side Two:

1. On a pair of Zarb drums, a drummer imitates the rhythm of a train. The whistle is produced by the mouth. (1′29)
2. Humayun. Modern orchestration of the traditional mode Humayun, using mixed instruments - both European and Persian - such as accordion, two violins, rattle, two Tars, Santur and Zarb drum. The present recording is only the instrumental prelude in the key of F minor, to a series of love songs in Humayun mode which continues for twenty minutes. (2′06)
3. Atan dance music on Surna and Dhol drum. It is a national dance of the Afghans, which is sometimes accompanied by instrumental music and at other times by instruments and chorus sung by the dancers themselves. The dance opens with slow movement of steps and gets faster witht he music. Usually it is performed during marriages and other national festivals. There is no rigidity about the number of dancers; as few or as many men available from a gathering can join in the dance (It is interesting to note that the reed instrument Surna - which is of the oboe family - can bee seen in practically all countries right from Jugoslavia to India. Though in other countries this instrument is used mostly in its primitive form, in India it has reached an extremely well developed state and is used in accompaniment with a reed drone called Svara). (1′38)
4. Neemakai, a popular form of Pasto folk song. This particular Neemakai is sung when the bride is being dressed up. Young girls gather round the bride, and while arranging her hair, sing this in the form of a chorus. Instruments: Sarinda (a string and bow instrument), Harmonium, Tabla and Banya drms and handclapping. (2′37)
5. Zila, recorded in Banaras, is a classical mode to be played late in the evening. It is played on a string instrument called Sitar, accompanied by Tala and Banya drums. (6′43)
6. Temple bells and drums from a Bengali Kali temple. The gong plays in 5/4 with intricate cross rhythm by drums and bells. Bhajan, a Hindi debotional song with the melodic line by a street singer and his child in Bombay. The song is accompanied by the singers with Ektara (a string drone) and cymbals. The words of the song describe the futility of the material world and declare that true security is found in God. (5′32)

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BRITISH TRADITIONAL BALLADS (CHILD BALLADS) IN THE SOUTHERN MOUNTAINS SUNG BY JEAN RITCHIE

Since England was the starting point for the above but was left out of the mix, I include this wonderful collection of traditional songs sung by Jean Ritchie. Ritchie came from a long line of Appalachian mountain people with musical roots. On this record Child ballads refers to a numbering system used by Professor Francis James Child of Harvard, who in the late 19th century did a five volume study of “The English And Scottish Popular Ballads.” His numbering system is still used, and thus any songs which are part of that system are referred to as Child ballads. Jean Ritchie is one of my favorite vocalists, especially when she sings and plays the dulcimer. This record has some beautiful and lively tracks, and is invaluable for anyone who loves her sound. The track “Hangman” is a particular favorite, with track four serving as a tie in to the above LP, referring to an Englishman imprisoned in Turkey, then freed by the kings daughter who winds up being his one true love. From the liner notes:

“All of us, Mom, Dad, and all thirteen children could write, but these old songs and their music were in our heads, or hearts, or somewhere part of us, and we never needed to write them down. They were there, like games and rhymes and riddles, like churning-chants and baby-bouncers and gingerbread stackcake recipes, to be employed and enjoyed when the time came for them. Nobody got scholarly about them and I have a feeling that’s why they have been genuinely popular all these years.”

Folkways Records Album No. FA 2301, 1961

Side One:

1. Gypsy Laddie (Child #200) (2′49)
2. False Sir John (Child #4) (4′21)
3. Hangman (Child “#95) (1′59)
4. Lord Bateman (Child #53) (6′02)
5. The House Carpenter (Child #243) (4′19)
6. Lord Thomas And Fair Ellender (Child #73) (5′32)

Side Two:

1. The Merry Golden Tree (Child #286) (2′13)
2. Lord Lovel (Child #75) (4′43)
3. Old Bangum (Child #18) (1′55)
4. Barbary Allen (Child #84) (5′03)
5. Fair Annie Of Lochroyan (Child #76) (9′03)

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THE PERSIAN SANTUR: MUSIC OF IRAN

Moving eastward while decidedly following the musical route (Silk Road) as featured at the top (as do the rest below, but with detours north), this LP contains some achingly beautiful compositions that although complex, reverberate with the appealing rhythms of the santur. Three of the four pieces were written by Nasser Rastegar-Nejad (featured) who also performs santur and vocals along with Fariba on violin, Manuchehr Hashemi, vocals, and Ali-Asghar Mirzadeh, domback. Released in 1971, this LP was less an introduction to traditional Iranian music, and more a (then) contemporary interpretation of the form (which given the conservative nature of the culture isn’t very far removed from its origins). All the same, the compound relationship between deft vocal performances and the delightful sounds of the santur make this one a vibrational standout.

Nonesuch Records, H-72039 (Stereo), 1971

Side One:

1. Nooruz dar ghorbat (segah) (13′14)
2. Chaharmezrab (homayun) (5′10)

Side Two:

1. Janne janan (shur) (11′39)
2. Zibaye khofteh (abu-ata) (8′48)

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KASHMIR: TRADITIONAL SONGS & DANCES VOL. II: RECORDED IN SRINAGAR & SARI DANGARPURA BY DAVID LEWISTON

Further east and then up the road a bit, music takes on a less severe tone, opening up like the lush mountain valleys and majestic landscapes that surround the people of the Kashmiri region. With musical tendrils in and out of the middle-east, India, and beyond, all the musical overlaps you would expect are here, and this music (as well as that on following two LP’s) contains some of the most beautiful sounds I have heard on any field recording album, in particular, the santoor (santur) jams combined with dukra (drums) and sarang performances. This and the two LP’s below were all recorded by the great David Lewiston, whose Nonesuch Explorer recordings have been featured here many times before. Not only did he gain unique access, but the quality of his recordings are unmatched - not to mention his selections. Brilliant! From the liner notes:

“The music heard here includes the Kashmiri classical form Soofiana Kalam (literally, “music of mystic content”); Band Jeshna (folk opera); and the other principal folk genres - the rove (dance music) and the chalant (a favorite song form). Soofiana Kalam emplys the santoor, a kind of dulcimer; the saz-i-Kashmir, a plucked stringed instrument; a dukra, a pair of drums. Band Jeshna performances are accompanied by surnai (folk oboes) and two kinds of drums, nagara and dhol. The most important instruments for folk music are the sarang and rabab - bowed and plucked stringed instruments, respectively - with the tumbaknari and nuht serving as percussion.”

Nonesuch Records, H-72069 (Stereo), 1976

Side One:

1. Masa Lai Tiri Meejganai Ta Loo Loo (4′30)
2. Sarang Solo (3′24)
3. Yaar Daadi Mukhasi Pheraan Dardi (5′16)
4. Rabab Solo (3′49)
5.  Instrumental Piece (3′05)

Side Two:

1. Soofiana Kalam (4′01)
2, Yuthna Chhman Serh Kaarakh (2′25)
3. Madan Varoo Ganiyam Rayi Chhanni (5.21)
4. Khandra Duhn (Wedding Tune) (3′59)
5. Music At A Kashmiri Wedding (4′34)

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MUSIC IN THE KARAKORAMS OF CENTRAL ASIA: RECORDED IN HUNZA & GILGIT BY DAVID LEWISTON

The air gets thinner and dryer as music creeps up the vertical walls of the arid mountain landscapes of the Karakorams. Like both the above and below, this music is laced with recognizable influences, creating a spellbinding opportunity to revel in parcel-chunk examples of folk music ala North-Central Asia. Alive and brimming, these amazing performances swirl through the dust and wildflowers, transporting listeners to states of grace and wonder. Primarily recorded in the city of Gilgit and the valley of Hunza, this music sounds like it belongs to the universe, as primitive instruments yield sonic blooms through your skull. From the liner notes:

“In ancient times the people of this region were Bon, that is, shamanistic, like the people of Tibet to the east. In the early centuries of the Christian era they turned to Buddhism; in recent centuries they have become Muslim. Most Hunzakuts belong to the Ismaili sect, owing allegiance to the Agha Khan, while both Shia and Shiite sects are found in Gilgit. They tend rich orchards of apricots, peaches, apples, and pears; grapes from the vines found throughout the orchards yield a light wine, and the fruit fo the mulberry is fermented and then distilled to produce a potent arak. Horses and cattle are pastured in remote, lush meadows; hunting the antlered ibex, far above snow line, is a favorite pastime and a topic for songs.”

Nonesuch Records, H-72061 (Stereo), 1974

Side One:

1. Buzm (2′50)
2. Birego (Springtime Song) (1′15)
3. Jeeay Surr (Thread of my Soul) (6′33)
4. “English” Tune (1′56)
5. Gul Punaky (2′50)
6. Dance of the Vultures (3′41)

Side Two:

1. Gilgit Polo Music (2′13)
2. Budl-e Hareep (2′35)
3. Buzm (1′58)
4. Hamalay Dasin (Neighborhood Girl) (4′02)
5. Music for Bitaan Ibraheem (excerpt) (4′16)
6. Unuy Asatay (In Your Memory) (4′23)

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FESTIVAL OF THE HIMALAYAS: RECORDED IN CHAMBA & KULU, HIMACHAL PRADESH BY DAVID LEWISTON

Completing the mountain journey with a trip to the top of the world, this music is primarily comprised of percussion and wind instruments, with horn flourishes here and there, all common to this part of the world. Primarily dance-based tunes usually with off-kilter rhythms and tempos that are subject to abrupt changes, the music maintains lively movement and pulsations for the dancing set - all whose revelry is captured in the recordings. The sounds of crowds reinforces the festival atmosphere, as voices and music rise to meet the mountain passes like incense offerings to the gods. From the liner notes:

“The town green is jammed with row after row of booths, restaurants and sweet shops, pan and cigarette wallahs, turbaned, bearded Sikhs selling cloth, Tibetans trading in used woollens, merchants selling the famous Kulu handwoven shawls. Meanwhile, a nearby amphitheater is packed with thousands of people watching dancing of the very best village groups from all over Himachal (most villages have their own distinctive dances and music. No dance group is complete without a pair of horns to add festive flourishes to the proceedings. There are two types: the straight horn (kahal; Kinnaur karnal) and the S-shaped horn (haransinga).

Nonesuch Records, H-72065 (Stereo), 1975

Side One:

1. Kulu Nati (Kulu Valley Dance) (2′40)
2. Kore, kore, coat Mereya Purana (Puran’s brown coat) (3′54)
3. Phota lo jatu ra khana, Lariye Khekhati (Red rice for my lover, Mrs. Khekhati) (4′28)
4. Tikmu Lariye (Mrs. Tikmu) (2′03)
5. Sahoo Nati (Dance of Sahoo) (6′11)

Side Two:

1. Kinnaur Song (3′50)
2. Shuki dali re panchhi roye (Weeping bird) (4′24)
3.  Chamba Nati (Dance of Chamba) (1′59)
4. Ek ta tu Khube Guru (Oh, Khube Guru) (2′03)
5. Kului Nati (Dance of Kulu Valley) (7′00)

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MUSIC FROM BANGLA DESH: THE LIVING TRADITION

Coming down from the mountains while moving eastward to journey’s end (as it follows the first post), this is yet another important link in the musical chain that follows the Silk Road, also recorded by Deben Bhattacharya twenty years after recording “The Desert Road” above. Unique to the region, music from this part of India is directly linked to it’s neighbors to the north, east and west, and finds sympathetic resonance with all the LP’s above. Bangla music has its own rich and complicated lineage which can still be recognized today. A genuine celebration of the human condition in all its forms. Dig it. From the liner notes:

“Geographically, Bangla Desh, situated in the north east of the Indian subcontinent and facing the Bay of Bengal, is the land of the Bengali speaking people, in all numbering over one hundred and twenty million. A river country, Bengal is well-known for its lush green landscape of endless paddy and jute fields thrown into sharp relief by the towering heads of the coconut trees and date-palms, massive fan-like foliage of the plantain and the mango trees. Proud of their literary and poetic heritage which flourishes still today, the Bengalis love their language as the well-spring of their culture.”

Argo Records (Decca), ZFB 74, 1972

Side One:

1. Dotara (2′44)
2. Songs Of The Freedom-Fighters (7′31)
3. Folksong From Noakhali (3′44)
4. Baul Song (4′08)
5. Patriotic Song (6′17)

Side Two:

1. Seasonal song (Mousumigiti) (4′55)
2. Love Song (6′16)
3. Wedding Song (5;51)
4. Song From Chittagong (5′04)
5. Bamboo Flute (2′49)

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Echoing the familiar sounds of it’s classical cousin, it’s nearly impossible not to delight in the folk music traditions of India. This music serves as a functional vehicle for  passing-on traditions and beliefs of myriad regional cultural threads, while entertaining and enlivening anyone who might be listening. At a minimum these are soulful tunes, with their accessible and highly spirited tone, here captured in the field by Laxmi Tewari, a scholar and classically trained performer in his own right (featured on the Nov. 08′ page), whose contributions to the proliferation of E. Indian classical music and traditional culture for the West can’t be understated. From Tewari’s notes:

“Uttar Pradesh is the largest state in India in terms of population, and the fourth largest in area. With its tapestry of varying customs, Uttar Pradesh has a rich treasury of folk musical traditions. In its simplest forms, this music penetrates the soul of the listener, for folk songs reveal the joys and sorrows of the common folk. For village people, storytelling, folk theater and folk songs are the means by which they learn about their ancient heritage, thus supplying more information about customs and beliefs in the society than the solemn and ponderous tomes written by scholars.”

Lyrichord Stereo, LLST 7271, 1972

Side One:

1. Purvi (6′58)
2. Kandala music (3′04)
3. Savana (3′12)
4. Phag (4′03)
5. Folk Tune (2′48)
6. Nakata (2′05)

Side Two:

1. Kajari (4′51)
2. Sohara (3′49)
3. Dhapali solo (2′19)
4. Bhajan (5′35)
5. Folk Tune (1′50)
6. Bhajan (4′12)

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LOWER CASTE RELIGIOUS MUSIC FROM INDIA: MONKS, TRANSVESTITES, MIDWIVES, AND FOLKSINGERS

In keeping with the above both musically and culturally, this mesmerizing record features an even more marginalized segment of Indian folk music performers, aka the lower castes, which includes transvestites, monks and midwives. This is terrestrial music, and you can feel it in every throat clearing and bird singing in the trees, all captured by Dr. Rosina Schlenker in the field. Carefree and down to the salt of the earth, this is functionally transcendent music, breathing life into the notion that for every segment of humanity there is song bursting forth. From the outer sleeve:

“The huge number of middle castes is derived from the Ksatriyas and Vaisyas, and their music, if not classical itself, is determined by melodic patterns, ornamentation, and musical form of the classical ideal. But the more we go down the scale of society in the middle castes, the more we find new music and dance traditions which only in some aspects deal with classical music. Here, religious music is not only characterized by simpler melodic and rhythmic patterns but also enriched by long poems as texts for the devotional songs. Especially in the lower castes we find great poverty among the simple workmen, servants and peasants. Their music is determined by the rhythm of their work and by rather simple melodies, partly accompanied by dance. This applies for work-songs and religious songs. Whereas in the middle castes we find more solo performances; in the lower castes the chorus dominates and represents the unity of the communities. Beside choruses with refrain, sometimes dramatized by transvestite dancers, we also hear the monotonous recitations of devotional texts by housewives or beggar-monks in the street.”

Lyrichord Stereo, LLST 7324, 1978

Side One:

1. Folk-Jugglers: 2 dancers, Leader, drum players, Ghazal (5′59)
2. Folksingers (Harijans from Chitupur, Bhajan) (5′56)
3. Folksingers (Harijans from Chittupur) worksong (10′30)

Side Two:

1. Monk (Kabir) (temple of Benares), Bhajan (5′53)
2. Saya, vocal, sister-in-law, dholak, Folk-bhajan (5′08)
3. Haridas, vocal and dotara, Bhajan (7′19)
4. Saya, vocal, dholak, Folk-bhajan (2′16)

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GEORGE STAVIS “LABYRINTHS: OCCULT IMPROVISATIONAL COMPOSITIONS FOR 5-STRINGED BANJO AND PERCUSSION”

This is heavy-duty banjo virtuosity that will have you wondering where this record has been all your life if you haven’t already heard it. Totally steeped in the spirit of folk Americana and the usual suspects of acoustic stringed virtuosity vis a vis Northern California, this record features four original compositions ensconced in the central cover tune, Rodgers & Hammerstein’s classic “My Favorite Things”. This 1969 release features Tim Ackerman on percussion, and is about as blissful a set of banjo burners as any I’ve heard, thickly glazed in the ethnic-hybrid folk psychedelia that was the bounty of the late 60’s and early 70’s. Damned if I can find any info on George, but I bet he read a few Fahey liner notes in his day… Where’d you go George? From the outer sleeve:

“The groundhog woke up one morning, stretched, and looked around for his shadow. Having seemingly misplaced it, he dreamily continued searching for it; this proved his undoing, for a wizened old farmer, filled with American Initiative, saw a free meal in the offing, and quickly capitalized on it…” You get the idea.

Vanguard, VSD • 6524, 1969

Side One:

1. Winter Doldrums (9′31)
2. Finland Station (4′50)
3. My Favorite Things (7′52)

Side Two:

1. Firelight (11′02)
2. Cold Spring (10′27)

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TWELVE-STRING GUITAR: FOLK SONGS AND BLUES SUNG AND PLAYED BY FRED GERLACH

As an inheritor of the great tradition of folk-blues twelve-string guitar pickers, Fred Gerlach was a worthy recipient. Originally a pianist, like his forerunner Leadbelly he happened to hear a twelve-string guitar being played one night and dropped everything to master it. Fred was born in 1925 and died recently in 2009, leaving a legacy as both guardian and innovator, persistently nudging the instrument in new directions. This record was originally issued in the 50’s on Audio Video Records, and then again in 1962 for this Folkways release. It has some great Leadbelly covers, but is primarily known for Gerlach’s rendition of “Gallow’s Pole” which inspired Jimmy Page for the Led Zeppelin version, a tune which Gerlach stated:

“is based on one of Leadbelly’s songs, which itself has a long history dating back hundreds of years in England. The rhythms and finger-picking styles have taken me four years to evolve. It is my favorite number, but it is so strenuous that I must perform regularly for a week before I’ll attempt it.”

With a voice and style that has inspired many, including Jimmy Page, Leo Kottke, and Michael Hurley, this is essential music for anyone interested in the myriad elements of folk Americana.

“Fred goes back to the era of the early 50’s in New York city where he played and partied with the likes of Woody Guthrie, Pete Seeger, Big Bill Broonzy & Gary Davis. He drifted out to California in the late 50’s, played San Diego coffee houses in those early days and eventually settled here. Fred has been a more or less regular at Adams Ave. Festivals where his virtuoso guitar playing never fails to amaze.”

From the liner notes:

“In discussing the songs on this record, Fred expressed his profound indebtedness to the music of the Negro people: “…Now we come upon a larger truth… the music of the Negro people. It is my attempt to perform this music and, of course, to alter it to conform to my own condition of expression.”

Folkways Records, Album # FG 3529, 1962

Side One:

1. Gallows Pole (3′50)
2. Ham And Eggs (2′07)
3. De Kalb Blues (3′23)
4. Old Hannah (2′19)
5. Fannin Street (2′40)
6. Samson (3′34)

Side Two:

1. This Little Light (2′48)
2. Little Girl (3′17)
3. Motherless Children (3′29)
4. Risin’ Sun (3′31)
5. Boll Weevil (4′03)
6. Goin’ Down Slow (3′24)

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THE VIOLET FLAME

I totally dig this cover, and the music inside is all transcendent healing forces, for herein we should “Let The Light And Love And Power Restore The Plan On Earth.” Beyond that it’s an all acoustic recording of former concert harpist turned healing channel Joel Andrews for the Violet Flame movement during 1976 (basically, a gorgeous slab of acoustic improvisational harp music masquerading as a new age healing touchstone). I know very little about Violet Flame, and although the guy who sold me the record had a bunch to say about it, I forgot… Anyway, if you read the section of liner notes below, you’ll most likely glean most of what you need to know beyond just listening, which you should also do, especially if you like flawlessly performed and beautifully continuous movements of contemporary harp improvisation:

“When an individual, through the magnetic power of the heart center makes conscious attunement to these beings and invokes the Violet Flame of Transmutation to pass through his physical, etheric, emotional, and mental bodies, there is an immediate increase in the vibratory rate of the inner atomic structure. The core of the atom itself intensifies its concentration of light to a point of vibrant radiation…”

The Group Inc., 1976

Side One:

1. (23′34)

Side Two:

1. (17′31)

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WALTER CARLOS - SONIC SEASONINGS

A true pioneer in the advent of analogue syntheses and electronic music, Walter (now Wendy) Carlos is best known for her “Switched On Bach” records from the mid-1960’s that utilized Moog interpretations of some old classics. Prior to that, recording in the early 60’s, she composed two innovative pre-Moog pieces entitled “Variations for Flute and Tape” and “Dialogues for Piano and Two Loudspeakers”. In addition, she’s known for her film soundtrack contributions to “Clockwork Orange”, “The Shining”, and “Tron”. This recording is a four-part double LP that utilized field recording/synthesizer compositions to examine the seasons (one per side), and is an amazingly well crafted and accessible set of emotive soundscapes. Although not her most popular work, this 1972 (pre-New Age designation) recording arguably served as inspiration for the ‘Ambient’ genre which followed, realized in its more popular manifestations vis a vis Brian Eno. Bruce Conner even appropriated excerpts from these recordings for the soundtrack to his film “Take The 5:10 To Dreamland”, combining excerpts from Patrick Gleeson’s “Rainbow Delta” (which can be heard on the May 10′ page). As compositions, these are texturally complex and mood-driven, drawing listeners into their various emotional states, while capturing definitive aspects of each of the four seasons. Listening to this record in the wake of the ambient/drone/electronic music that’s followed makes it easy to take it for granted, however, considering Carlos’ early experimentations and recording output, it’s clear this music stands on its own as both an innovative and inspiring contribution to the form.

Columbia Records, KG 31234, 1972

Side A

1. “Spring”  (22′28)

Side B

1. “Summer” (21′44)

Side C

1. “Fall”  (21′09)

Side D

1. “Winter” (20′41)

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ECHOES OF THE STORM

This test record has developed some cache over the years, especially for those interested in esoteric field recordings and highly detailed sonic reproductions. Recorded sometime around Milwaukee in the early 1950’s, it’s easy to see why from a technical standpoint it became noteworthy, as the sound details are totally remarkable, especially considering when it was recorded and the age of the vinyl (which unfortunately has some surface noise). The centerpiece of the record is the thunderstorm, which takes up the whole of side one. Apparently, the entire storm was recorded to tape and then edited down for the LP, and includes both the sounds of a train passing nearby the recordists home, as well as those of frogs and other incidentals that immediately followed the storm. The other highlight of the LP is the cover itself, a beautifully hand silk-screened illustration (which is hard to get an accurate sense of detail and quality from the scan) that’s one of my favorites.

Audiophile, AP-20, 1952

Side One:

1. A Recording Of A Thunder Storm (With Train) (11′24)

Side Two:

Crazy Quilt: A Recording Of Heterogeneous Sounds For Test Purposes

1. Rotary Saw (1′23)
2. Hammering Nails (0′52)
3. Water Running into Bucket (2′11)
4. Drums (4′24)
5. Music Box (3′14)

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Brilliant songwriter, composer, multi-instrumentalist and experimenter par excellence, Rahsaan often fused musical instruments and influences such as European/American folk and African as part of a compositional strategy ala Aaron Copeland or Charles Ives. This LP exemplifies his later period, which saw him delving into broader compositional exercises with full movements and tastefully measured orchestral arrangements. Simultaneously inside and outside the times, this music is as unique as its composer, and still remains fresh and alive. Often decrying electronic music, he could create a riveting palate of sounds with simply his breath (ask yourself as you listen, especially to side two, where and how often he might be pausing to take breaths between notes…). A true giant, he still lacks the full notoriety and recognition he deserves, remaining an underdog in spite of his innovations and contributions to experimental jazz music:

“I am a master of my instrument, and i don’t need electricity to present my music; you see all of that damn electricity is not the answer, they don’t have electricity in the AFRICA, where all of this Black music comes from.”  - Rahsaan Roland Kirk

Atlantic Records, SD1640, 1973

Side One:

1. Salvation And Reminiscing (5′22)
2. Seasons (9′37)
a) One Mind Winter/Summer
b) Ninth Ghost
3. Celestial Bliss (5′40)

Side Two:

1. Saxophone Concerto (21′00)
a) Saxophone Miracle
b) One Breath Beyond
c) Dance

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AFRICA DANCES

The great Mississippi Records up in Portland re-issued a bunch of tracks from off of this record for a couple of their compilations, helping further an interest in hard-to-find or obscure (yet essential) music from around the globe. This LP compiled tunes from rare and OOP vinyls from eleven African countries, spanning the periods from the 1950’s through the 1970’s. The compiler and producer was John Storm Roberts, also responsible for compiling an LP on Folkways (and its companion book) entitled “Black Music Of Two Worlds” that compared and contrasted music from Africa and its diaspora. I don’t know much about that LP, other than the liner notes for this were taken from the “Black Music…” book. Also not sure when this this LP was released, but my guess is late 70’s or early eighties. Aside from being a mind-blower compilation of high-life and jazz influenced African music from that period, its insertion makes a nice segue out of the above and into the below, helping flesh out the Afro-centric variations for the month. Love is most definitely love! From the liner notes:

“Important things have been happening in African music as a result of contact with other parts of the world, especially Europe and the Americas. The importation of cheap guitars, and of records from Western countries, inspired the growth of a great variety of new dance styles. Though they take from foreign sources, these are in no way merely “imitations of Western styles” as some Africans and foreigners have suggested. Like black American music, the modern music of Africa is the product of an entirely valid blending of local tradition with Western elements. Many of these borrowings have been from black America or the Caribbean - which is hardly surprising given the number of African ingredients in Afro-American music.”

Original Music/Authentic Records, 601 (mono)

Side One:

1. Afrika Mokili Mobimba, by Kale-Roger and Rochereau with the OK Jazz Orchestra (AJ 70). Congo-Kinshasa: “African Jazz.” (2′35)
2. Lisie, by the Bantous de la Capitale (Pathe C006-15.058). People’s Republic of the Congo: rumba. (4′38)
3. Me Nsae Da, by Ahamano’s Guitar Band (Philips PF 383276). Ghana: highlife. (3′01)
4. Broadway Special, by the Broadway Dance Band (Phillips PF 383293). Ghana: highlife. (2′51)
5. Omo Oloja, by Dele Ojo and his Star Brothers Band (Badejo BBAF 260). Nigeria: juju. (3′04)
6. Toomus Meremereh Nor Good, by S. E. Rogers (Rogie R 14). Sierra Leone. (2′58)
7. Miss Smodern (NK 4). South Africa: ’smodern. (2′17)
8. Leribe (NK 2). South Africa: sax jive. (2′32)

Side Two:

1. Kenyatta Aliteswa Sana, by John Mwale (CMS 708). (3′00)
2. Pole Musa, by Peter Tsotsi, Nashil Pichen and the Equator Sound Band (7 Eu 290). Kenya: sukuma. (3′16)
3. Robinson Olago, by Dick Ngoye and Party (Mwangaza GT 4). Kenya. (2′47)
4. Kula Ajae na Shari, by Yaseen Mohamed and Party (Mzuri HL 7-7). Kenya: tarabu. (2′24)
5. Ndio Hali ya Dunia, by Salim Abdulla with the Cuban Marimba Band (Mzuri HL7-30). Tanzania. (2′49)
6. Ugandzibyeli Akuxonga, by M. Makhuvele and chorus. International Library of African Music (AMA-TR-11). Mozambique. (2′39)
7. Gwenasobya, by Frida Sonko (Equator Eu 7-163). Uganda. (3′05)
8. Love is Love, by Alemayno Eshirtay Group. Ehiopia: soul. (2′19)

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DEMBO KONTE & KAUSU KUYATEH “SIMBOMBA”

This is a pure affirmation of the absolute power and necessity of music in our lives, and if for some reason this doesn’t clearly make that case, nothing ever will. As you listen to the third track on side one and wish it would never end, you’ll most likely realize that from its first note to its last, this record is a most wondrous gift. I know Dembo Konte as an internationally recognized Kora virtuoso (who can also be heard on a December 09′ post), but I have only heard Kausu Kuyateh as recorded here. These two brother’s in-law share in the Jalis tradition (hereditary musicians), and are magically intertwined and remarkably protean, as they meet with strings and voice, drifting above in sympathetic release and graceful stride. Amazing Africa! From the liner notes:

“Today at least one in ten of us has a West African ancestor and the chances are good that he or she came from the region of the Gambia. The rich and powerful spirit of these valiant forebears pervades and indelibly marks every strand and thread of our society. If we are to celebrate English ballads and Celtic reels as being among the various roots of American folk music, then we are ignorant if we do not celebrate the taproot as well.”

Red House Records, RHR27, 1989

Side One:

1. Simbomba (4′10)
2. Ngaleng Sonko (8′22)
3. Saliya (6′36)

Side Two:

1. Mamma Manneh (4′57)
2. Mammadu Sanyang (4′12)
3. Dmba Hajada (3′34)
4. Banta Toure (7′13)

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ALI FARKA TOURE

This was the album that yielded international notoriety for this great Malian artist when it was first released in 1984 on Sonodisc/Esperance, enlightening many for the first time to a rich musical treasure, while also serving as an entree to the seemingly inexhaustible wonders of West African music. Ali performs all instruments here, with rollicking flow, steadfast rhythms, and smooth vocals that cut through with direct beauty and authority. All the undeniable connections to contemporary Western blues are here, further making the case that Africa is indeed ground zero for most of the music we know and love.

“Ali Farka Touré was a true original. An exceptional musician, he transposed the traditional music of his native north Mali and single-handedly brought the style known as desert blues to an international audience. He was a giant of African music and will be missed by fans throughout the world.” - Lucy Duran

Mango/World Circuit Records, MLPS9826, 1987

Side One:

1. Timbarma (5′05)
2. Singya (5′23)
3. Nawiye (5′38)
4. Bakoytereye (5′00)

Side Two:

1. Kadi Kadi (5′23)
2. Yulli (5′17)
3. Bakoye (4′06)
4. Amandrai (9′40)

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LE M’ZAB: GHARDAIA, OASIS DU DESERT

Maybe it’s the desert climate, or the fact that those responsible for this music exist within a devoutly Muslim and fiercely traditional 10th century architectural enclave (a World Heritage site), but whatever the case, the trance-like rhythms and vocals on this LP are totally mesmerizing. If you are familiar with North African contemporary music, then the sounds here should be familiar, resonating with that sweet hybrid of Middle Eastern and African styles. The people who live in this region of the Northern Sahara are called Mozabites, primarily Muslims of the intellectually grounded Mu’tazili school. They are an extremely conservative people, and the beautiful valley they inhabit has remained unaffected by modernity and Western influence for hundreds of years. As another point of interest, the architecture is “functional and perfectly adapted to the environment, designed for community living, while respecting the structure of the family, and is a source of inspiration for today’s urban planners.” As with other Arion LP’s I have, the liner notes are all in French, so I have little by way of information about project other than it was recorded in the field by Jean Fernand Daniel and Marie Meriem.

Arion, ARN 33 384, 1977

Side One:

1. Chant De La Fecondation Des Palmiers (0′54)
2. Les Enfants Au Bendir (1′20)
3. Un Soir Chez Daoud (4′09)
4. Mariage Noir A Ghardaia (3′40)
5. La Haddra Des Femmes (2′06)

Side Two:

1. Mariage A Beni-Isguen (7′41)
2. Ceremonie d’Envoutement (20′00)

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NIGERIA - MUSIQUES DU PLATEAU: ANGAS, BIROM, JARAWA, BUROM, YERGAM, PYEM

Undeniably beautiful, these recordings made at the Jos Plateau in Central Nigeria during 1972 make up some of the most sonically wondrous acoustic music I’ve heard. Celebratory and enchanted, these are primarily instrument-based accompaniments to voice and rhythm, representing a complex of traditional/tribal African music from the region. A multitude of recognizable threads can be heard here, as Nigerian influence has been central to world music ever since it’s people found themselves transported to various parts of the globe over the centuries. All crafted on hand made instruments, often manufactured out of available local materials such as zebu horns or gourds, I can only imagine a world where music is so completely integrated into all facets of everyday life and culture (serving as yet another reminder that to fully register the gift of music, I should get back to its source as often as possible). In some ways, the Ocora record label is to France and world music what Folkways was to the U.S. and folk music, thankfully preserving every remote facet of its bounty.

Disques Ocora, OCR 82, 1973

Side One:

1. Deng deng, song with molo harp accompaniment, by Mwanta Tok (3′19)
2. Kundung xylophone solo, by Moses Pam and Pam Bot (3′06)
3. Bvwana, song with molo harp accompaniment, by Anthony Kankani (2′04)
4. Song with molo zither accompaniment (3′39)
5. Song with molo zither accompaniment, by Audu Janar Halluri 6′07)
6. Sharawa flute ensemble and drums of Agomjik village (Gwong District, Jos Division) (4′26)

Side Two:

1. Izur nfiko whistle flute ensemble from Kunkwam village (2′36)
2. Komtin music from Sungqung village (5′01)
3. Molo orchestra of Maisage Zindam Ndam (5′27)
4. Molo orchestra of Zhimak Tyem, Pil village (2′46)
5. Wasam Burun dance (3′10)
6. Kida manoma dance and songs (2′48)
7. Goge monochord fiddles (1′59)

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EGYPTE: LES MUSICIENS DU NIL

Winding up with this 1976 recording of a live Paris concert, the performance featured the rabab, a versatile stringed instrument which is arguably recognized as a precursor to the Indian sarod. The performance showcased Metqal Quenaoui Metqal, rebab; Chamandi Tewfick Metqal, rebab; Mohammed Mourad Metgali, rabab; Fawzy Hafiz, souffara; Abdel Rhani, duf; and Said mohammed Aly, daraboukka. Part instrumental, part vocal with accompaniment, these are trance-like and devotional sounds, with hypnotic and transcendent rhythmic patterns. Deeply emotional and earnest, these tracks are charged with the kinetic vibrancy of a live performance, and sound as if they could go on for days. From the liner notes:

“In the music of the rural populations of the Near East and Moslem Africa, that is the fellahin, the bedouins and the mountain dwellers, forms and methods of performance are found that perhaps were those used by native tribes before the arrival of Islamic culture. Arab music took some of its original elements from there before drinking from the sources of learned speculation for Greece and Persia. Today’s folk music, except for that in the cities, is thus not derived from Arab art music, even if certain forms and practices are found in different Islamic countries. Their rural musicians remain attached to the archetypes of ancient songs and to the personality of the popular poet-improviser (shaer).”

Ocora/Harmonia Mundi, 558 514 HM 52, 1983

Side One:

1. The Pillars of Karnak (12′26)
2. O Strawberry (10′04)

Side Two:

1. Rose of Luxor (8′26)
2. Abou Zeid el Hilali (14′54)

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I Do love the hillbilly sound. In fact, nothing takes me skyward faster than music like this. All direct from the field right to your turntable, this was yet another amazing documentary project by the visionary preservationist saints at Folkways Records. Not only did this LP come awash with some of the most deeply rooted and authentic music from the region as recorded by John Cohen, but the liner notes included his amazing photo essay to accompany the sounds (that’s Roscoe Holcomb and “Daisy” on the cover). Projects like this are invaluable resources for music lovers (not to mention historians, or anyone curious about the extinction of rural American music and cultural threads resulting from industrial creep and greed), and luckily the good people at Smithsonian Folkways continue to make all the original material available at fairly reasonable prices, often with additional tracks, notes, and documents not included in the original releases… nothing like a musty LP to sweeten the experience though. Although the CD release for this contains nearly twice as much recorded material, the tracks on the LP were curated in a way that lends the music a certain cohesion. Mixed with a range of spoken word, a capella, instrumentals, and instruments with vocal accompaniment, this record is largely what you might expect, with the southeastern part of the state’s regional thread (Hazard City, Perry County, KY) offering it its distinct flavor. In addition to the generally unknown performers, we get some narration AND jaw-dropping performances by the now well known Roscoe Holcomb (who, in 1959 when these recordings were made was not nationally recognized, but regionally renown). Some of these songs are so short as to seem like examples of what were probably extended variations during live performances like the one pictured in the above. Roscoe Holcomb: “I’ve played for square dances till the sweat dripped off my elbows. Used a bunch of us get out, maybe go to a party somewhere, ‘n after the party was over, the moon’d be a shinin’ bright, you know, ‘n we’d all start back home ‘n gang up in the road. Somebody’d start his old instrument, guitar or banjer ‘r something ‘r other, ‘n have the awfullest square dance right out in the middle of the highway”.

From the liner notes: “In retrospect, I didn’t go to Kentucky in 1959 with the intention of doing anything significant, and the people I met weren’t thinking of being recorded. I was given to believe that the hills were full of folk song collectors (This turned out to be untrue; actually Alan Lomax was one of the only other people making field recordings that summer). It was an opportunity to look into something which moved me musically. My band, The New Lost City Ramblers was preparing to record an album of songs from the Depression, and this trip was also part of my research. I hoped that the publication of the recording would send the music on and that the people who shared their music with me might be aware of the possible effect they have had on others.   - John Cohen.

Folkways Records, FA2317, 1968

Side One:

1. Amazing Grace (Old Baptist Church) (6′26)
2. Foreign Lander (Martha Hall) (0′49)
3. Charlie’s Neat (Granville Bowlin) (0′45)
4. Little Birdie (Willie Chapman) (1′19)
5. Fox Chase (James Crase) (2′25)
6. East Virginia Blues (Roscoe Holcomb) (3′26)
7. The Spring Of ‘65 (J.D. Cornett) (2′28)
8. Death Of The Blue Eagle (George Davis) (1′53)
9. Old Age Pension Blues (Bill Cornett) (1′59)
10. Lost Indian, Soldier’s Joy (Marion Sumner) (0′51)
11. Cotton Eyed Joe, Little Sunshine (Granville Bowlin) (0′40)
12. John Henry (Bill Cornett) (3′58)
13. Jaw Bone (Willie Chapman) (0′54)
14. St. Louis Blues (Lee Sexton) (1′39)

Side Two:

1. Wayfaring Stranger (Roscoe Holcomb) (3′09)
2. Across The Rocky Mountain (Roscoe Holcomb) (3′39)
3. Stingy Woman Blues (Roscoe Holcomb) (1′57)
4. Black Eyed Susie (Roscoe Holcomb) (1′24)
5. I Wish I Were A Single Girl Again (Roscoe Holcomb) (1′53)
6. Young And Tender Ladies (Martha Hall) (0′49)
7. Kitty Alone (Martha Hall) (1′14)
8. Sweet Willie (Bill Cornett) (1′53)
9. Buck Creek Girls (Bill Cornett) (0′59)
10. Cluck Old Hen (Bill Cornett) (1′23)
11. Rocky Island (Corbett Grigsby & Martin Young) (1′56)
12. No Letter In The Mail (Corbett Grigsby & Martin Young) (2′30)
13. Give The Fiddler A Dram (James Crase) (2′10)
14. Old Joe Clark (James Crase) (2′24)

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MOUNTAIN MUSIC PLAYED ON THE AUTOHARP: RECORDED BY MIKE SEEGER

Dovetailing the above, these phenomenally beautiful sounds (recorded by Mike Seeger and published in 1965) encompass another lovely Folkways artifact representing southern mountain songs as played on that “good-natured musical instrument” the autoharp. Ranging from solo to duo autoharp performances (sometimes two people performing two separate harps simultaneously), the tracks also include songs that feature banjo, guitar, and vocal accompaniment (with some help from Wade Ward, Hazel Dickens and Mike Seeger!). All are deep in the tradition and will no doubt lighten your step, with Kenneth Benfield’s version of “Shortnin’ Bread” sure to jump start any day. Advertised as an instrument that “encourages the musical effort of the person who is least musical, and will respond with the harmonious chord to the touch of anybody,” it became widely popular around the latter part of the 19th century, and then fell out of favor at the turn of the century as the result of “many factors including the limitations of the instrument (especially tuning), the slackening of a fad, unwise management, and the advent of the talking machine…” From the liner notes:

“When the autoharp first appeared in the southern mountains the style of playing it varied from simple non-rhythmic strumming of chords to (after a short while) the type of playing by Neriah Benfield and Ernest Stoneman both of whom remember it first from about 1900 to 1905. A later development was the playing of Kenneth Benfield and Kilby Snow. All mountain picking styles closely resemble the style outlined in autoharp self teacher manuals of the 1890’s, that is, accompaniment with thumb and first finger, and picking of tunes with the first finger with occasional chord strums with thumb and first finger.

Folkways Records, FA 2365, 1965

Side One:

1. Stoney’s Waltz (Ernest Stoneman) (2′09)
2. Sweet Marie (Neriah And Kenneth Benfield) (2′02)
3. May I Sleep In Your Barn Tonight, Mister? (Kilby Snow) (1′38)
4. She’ll Be Coming ‘Round The Mountain (Kilby Snow, Wade Ward) (1′12)
5. Flop-Eared Mule (Kilby Snow) (1′57)
6. Bile ‘Em Cabbage Down (Ernest Stoneman, Mike Seeger)  (2′37)
7. All I Got’s Gone (Ernest Stoneman) (2′36)
8. Ella’s Grave (Neriah And Kenneth Benfield)     (1′45)
9. Shortenin’ Bread (Kenneth Benfield) (1′16)
10. Old Joe Clark (Kenneth Benfield) (1′27)
11. Waltz (Neriah Benfield) (1′22)
12. Precious Jewel (Kilby Snow) (3′34)
13. Ain’t Going To Work Tomorrow (Kilby Snow) (1′54)

Side Two:

1. Mule Skinner Blues (Kilby Snow) (2′25)
2. John Henry (Kilby Snow) (3′30)
3.  Willow Tree (Neriah And Kenneth Benfield) (1′57)
4. Wreck Of Number Nine (Ernest Stoneman) (1′48)
5. Red River Valley (Kilby & Jim Snow) (2′12)
6.  Great Reaping Day (Ernest Stoneman) (2′05)
7. I’m Alone, All Alone (Ernest Stoneman, Mike Seeger) (2′48)
8. Jacob’s Ladder (Kenneth Benfield) (1′09)
9. ‘Way Down In The Country (Kenneth Benfield) (0′59)
10. Benfield Hoedown (Kenneth Benfield) (1′10)
11. Wildwood Flower (Kilby Snow, Mike Seeger) (1′23)
12. Tragic Romance (Kilby Snow, Hazel Dickens, Mike Seeger) (1′26)

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THE COUNTRY GIRLS! 1927-1935: 16 RARE BLUES AND BALLADS WITH GUITAR

Here’s another Origin Jazz Library release (originally priced by the record label at $4.98 as printed on the back), this one from 1964 that featured re-issued 78 recordings of folk blues sung by women. Although lots more female performers probably existed than were ever recorded during this period, there are obviously far fewer extant recordings of women than men during this time (in spite of many of the contemporary re-issues and unearthed recordings). Unfortunately for me my LP version doesn’t contain the booklet that originally accompanied the record, which I imagine contained a bunch of information on the women featured. That being the case, I can only say that these songs are amazing hard-knock renditions of the travails and worldly concerns of African American women in the early part of the 20th century, as revealed through the unique realism and enigmatic charm of the rural folk and country blues. You can read about some of the performers at these links: Lottie Kimbrough, Lucille Bogan, Geeshie Wiley, Elvie Thomas, Nellie Florence & Memphis Minnie, and I’m pretty sure this has been re-issued on the Compact Disc format.

Origin Jazz Library, OJL-6, 1964

Side One:

1. Jacksonville Blues (Nellie Florence)
2. Midnight Weeping Blues (Nellie Florence)
3. Little Rock Blues (Pearl Dickson)
4. Where Is My Good Man (Memphis Minnie)
5. Can’t I Do It For You (Memphis Minnie)
6. Shake It Daddy (Mae Glover)
7. Going Away Blues (Lottie Kimbrough)
8. Lost Lover Blues (Lottie Kimbrough)

Side Two:

1. Wayward Girl Blues (Lottie Kimbrough)
2. Rolling Log Blues (Lottie Kimbrough)
3. Pick Poor Robin Clean (Geeshie Wiley)
4. Stranger Blues (Rosie Mae Moore)
5. Careless Love Blues (Lulu Jackson)
6. Dead Drunk Blues (Lillian Miller)
7. I Hate That Train Called The M & O (Lucille Bogen)
8. Motherless Child Blues (Elvie Thomas)

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THE MUSIC OF INDIA: SHARAN RANI SAROD, TABLA ACCOMPANIMENT BY CHATUR LAL

As with “The Country Girls!” LP above, earlier recordings of Indian classical music don’t find many women in the mix either (especially performing solo instruments), so it’s a treat to hear quality recordings like this 1962 World Pacific release that does. Other than it’s rarity, gender is hardly a factor here, as these majestic and powerful renditions are rife with precise intuition and a delicate sensibility, all forged in a playing style that rivals any of the male sarod contributions I’ve heard. The first side is taken up with the midnight raga “Kausi-Kanada”, which is the jewel of the record, while the second side features the first track raga “Lalit” (a morning raga) that features a battery of methodical and rapid-fire picking, with the second track “Tabla Solo”, which is a mind numbingly complex tala entitled “Pancham Savari”. This particular solo, masterfully constructed by Chatur Lal, consists of fifteen beats that subdivide into the grouping 2-4-4-2-1.5-1.5. “One particularly intricate cross-rhythm, wherein a pattern of ten beats is fitted within the tala of fifteen beats, is counted out for the benefit of those who are perhaps still unaware that the Indian tala system represents the most complex and diversified organization of rhythm of any musical system in the world.” Also appearing is Robert Garfias on the Tambura. From the liner notes:

“Sharon Rani is unusual in being the only ranking female performer of the most powerful of Indian stringed instruments, the sarod. Her teachers have been the revered Allauddin Khan, who has taught nearly  all of the best known instrumentalists in North India, and his son, Ali Akbar Khan, a leading performer known here through his tours and recordings. This recording was made on November 21st, 1961, in San Francisco.”

World-Pacific Records 1418, 1962

Side One:

1. Raga Kausi-Kanada (18′57)

Side Two:

1. Raga Lalit (11′13)
2. Tabla Solo (9′36)

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NECTAR OF THE MOON: VICHITRA VINA MUSIC OF NORTHERN INDIA

This LP is so deep in the groove I can hardly stand it, and if any lives up to it’s title it’s this one. The rare and blissed out sounds of the vichitra vina (sometimes called batta bin) are deftly massaged into a state of cosmic bliss by Dr. Lalmani Misra (featuring Ishwar Lal Misra on tabla, and Carolyn Y. Tewari on Tambura). These tracks were recorded in 1976 at a place called The Church Studio in San Anselmo, California, and are high quality recordings of rock solid performances. Soulful drones and slide-style notation drip celestial honey effortlessly down the dark side of the connoisseur’s moon. From the liner notes:

“”Raga Ananda Bhairava” - Short alap, slow and fast gat in tala teental (16 beats, divided 4-4-4-4). Alap is the gradual unfolding of the raga, through slow melodic improvisation, which creates an atmosphere in which the listener can experience the appropriate mood. A gat is an instrumental composition in a fixed hythmeic cycle. Ananda Bhairava is a morning raga with a peaceful, tender mood, epxressing the feelings of a gentle person, full of devotion at early dawn. This raga is a combination of ragas Bhairava and Bilawala.

“Raga Multani” - Short alap, and gat in tala ektal (12 beats, divided 2-2-2-2-2-2). Multani, and afternoon raga, expresses the mood of new lovers and has the character of a young woman, possessed with love but maintaining her dignity.

“Dhun In Raga Ananda Bhairavi” - A beautiful melody composed by Dr. Misra in tala dadra (6 beats, divided 2-3). Dhun means ‘melody’ and usually is based on folk or classical music or some combination of the two. The artist returns to the main theme over and over and improvises freely, creating a beautiful mood by using different ragas to embellish the main theme. The practice of plying a dhun at the end of a performance is recent and is related to the rising popularity of an instrumental style distinctly different from the traditional vocal style.”

Elektra/Asylum/Nonesuch Records, H-72086, 1981

Side One:

1. Raga Ananda Bhairava (20′04)

Side Two:

1. Raga Multani (12′16)
2. Dhun In Raga Ananda Bhairavi (7′54)

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THE ANTHOLOGY OF INDIAN MUSIC, VOLUME ONE

Some folks can’t get enough of this stuff, so here’s a three LP box-set set published in 1967 that highlighted a sampling of both northern and southern traditions, and was designed to serve as a sampler plate for the serious Western enthusiast. The box set contained an LP-sized 18 page booklet by Dr. Narayana Menon, and featured color photographs and writings that traced the tradition from it’s mythical sources to it’s contemporary forms ala the late 60’s. Featured performers were Ravi Shankar, Ali Akbar Khan and Balachander, with a host of supporting musicians that included Alla Rakha, Shankar Ghosh, Kanai Dutta, Janardan Abhyankar, Ramani, Arjun Shejwal, Ramabhadran, and Sivaraman. Dr. Menon did a nice job condensing all the historical information into a consumable booklet, while the performances created exclusively for the release were all exemplary studio recordings. Credit should go to the folks at World Pacific Records for assembling such an educational and beautifully packaged resource. From a 1969 review in the “Ethnomusicology” journal:

“Although we are fortunate to have longplay recordings, the various items presented are still comparatively short. In no way do they replace live performances, where the soloist can continue his performance as long as he pleases. While we appreciate the valuable anthology, may we add the hope that one day such great artists as Ravi Shankar, Ali Akbar Khan, Balachander,  and others would present us with a large number of recordings of the really great ragas such as Kalyan, Bilaval, Khamaj, Purvi, Marva, Todi, Basant, Sri-raga, some of the Mallar group, or Multani, Kedar, Hamir, and many others. We have to admit that even ’smaller’ rags are turned into masterpieces by the performers mentioned, but a large collection of the great ragas would have that much more value.”  - Walter Kaufman, Indiana University, Bloomington, Indiana

World Pacific Records, WDS-26200, 1967

Side One:

1. Raga Jai-Jawanti (Ravi Shankar sitar, Alla Rakha tabla, Kamala tamboura) (24:10)

Side Two:

1. Raga Basant Mookhari (Ali Akbar Khan sarod, Shankar Ghosh tabla, Miss Sheela Mookerjee tamboura) (23:13)
* This raga is broken into two tracks on the LP, so two tracks appear in the download, even though the raga is only titled as one track on the album.

Side Three:

1. Ninnu Vinagamari (Balachander veena, Sivaraman Mridangam) (17:12)
2. Samajavagamana (Ramani flute, Ramabhadran Mridangam) (8:18)

Side Four:

1. Tabla Tarang (Janardan Abhyankar tabla tarang, Arjun Shejwal pakhawaj) (2:53)
2. Pakhawaj and Tabla (Alla Rakha pakhawaj and tabla, A. Das Gupta sitar, Ray Sussman tamboura (5:09)
3. Tabla (Alla Rakha pakhawaj and tabla, A. Das Gupta sitar, Ray Sussman tamboura) (6:07)
4. Tabla (Kanai Dutta tabla, N. C. Mullick tamboura)

Side Five:

1. A History And Appreciation Of Indian Music With Appropriate Musical Examples - As presented by Ravi Shankar at the Kinnara School of Indian Music, Los Angeles

Side Six:

1. A History And Appreciation Of Indian Music With Appropriate Musical Examples - As presented by Ravi Shankar at the Kinnara School of Indian Music, Los Angeles

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KATHAKALI: THE MUSIC OF KATHAKALI - THE DANCE DRAMA OF KERALA

If you’re familiar with and enjoy Southern Indian vocal music, then this record should appeal, but may also be a little disorienting in that its sound reveals a less documented facet of Southern Indian music and art. Kathakali is primarily an archaic form of theater and dance set to singing and rhythm, with this LP highlighting a small section of the contemporary variation. What were historically up to three-day long events are now condensed versions that draw directly from the traditional format, rarely lasting three hours. There are some slight similarities to Balinese and Javanese Gamelan in the ways dancers move in parity with the singing and percussion, but also in the epic and emotive narrative-style of the performances. What’s most appealing about the music is the singing, which although seemingly less refined than the direct classical tradition, offers an interesting window into a rare and fascinating cultural tradition. Colorful and visually stunning, the actors are replete with elaborate makeup and costumes, something like if the Sisters of Perpetual Indulgence were trapped in Krishna’s lure, grooving to Vedic myths instead of campy covers.

American Society for Eastern Arts, R2677A, 1970

Side One:

1. Arannukeli and Corittukai (12′29)
2. Vandana Sloka/Melappadam (11′15)

Side Two:

1. “Daska Yagam”/Uttara Svayamvaram (16′17)
2. Verses From Ramayana (5′03)
3. Mangala Sloka (2′43)

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GOOD MUSIC BAD PEOPLE

“And then, in affairs like this one, we realize our strength; we realize how beautiful we are… even tired old Washington is beautiful when the American people gather to sing and fall in love with each other again.”

- Alan Lomax, at the festival of American Folklife, July 7, 1968   *MISSIVES*

CONTINUUM

सølγ שаябlɛş
FM SHADES
CRYSTAL VIBRATIONS
FREQUENT DROOL
Awesome Tapes From Africa
MUTANT SOUNDS
Allegory of Allergies
กเพลงไทย
A Closet of Curiosities
ΦΑΝΤΑΣΤΙΚΟΙ ΗΧΟΙ
Alice Rabbit
Deleted Scenes,Forgotten Dreams
Record Envelope
Global Groove
worldservice
للصمت صوت والموسيقى الحقيقية تعلمك الصمت
Root Hog Or Die
exp etc
PsychFolk

Although re-issued for some time now, I post this for the neo-synth nerd who can’t get enough, as the original LP version here contains slightly longer track times than any of the CD releases (and has the way cooler magic marker cover). Analogue synthesizer is big stuff these days, and if you haven’t climbed on board the express train, or your new band isn’t channeling that big Cluster sound, you’ll do yourself a favor by downloading these immense slabs of modular synthesizer bushwhacking. Verging on the nightmarish, with very little by way of harmonic foil, these dissonant streams-of-control-voltage-consciousness are ready-made for all cultivators of the ‘pure tone’, and are sure to unleash the analogue animal within.

Sky 047, 1971

Side One:

1. 14′43
2. 7′42

Side Two:

1. 21′32

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HANS-JOACHIM ROEDELIUS “JARDIN AU FOU”

Unlike with 71′, one can generally suss out the Roedelius imprint on Cluster. That said, this 1979 solo release for EGG (his second, and his only not on Sky) serves up ample chunks of his trademark playfully elegiac melodies. On first take this might sound like a whimsical record, but given further listens, it reveals more complex structures woven into seemingly simple tunes. Additionally, the record contains one of the all time great HJR tracks “Le Jardin”, evoking a deep emotional sense of place like few other songs I know. In fact, the whole second side is brutally gorgeous, incorporating cellos, electric guitar, and flute in some fantastic and earthly ways. Encouraging, if not at times forcing the musical partnership between the acoustic and the electronic, this record achieves some of HJR’s finest musical moments.

EGG BA-215, 1979

Side One:

1. Fou Fou (3′59)
2. Toujours (2′59)
3. Rue Fortune (2′23)
4. Balsam (2′18)
5. Café Central (3′40)

Side Two:

1. Le Jardin (4′30)
2. Gloria Dolores (4′14)
3. Étoiles (3′55)
4. Schöne Welt (4′48)
5. Final (0′49)

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KLAUS SCHULZE “MIRAGE”

“Music is a dream without the isolation of sleep”. Unaccompanied synth can be an acquired taste, often sounding like an end in itself rather than a means to an end. This record (and much of Schulze’s music from the 70’s) is quite the opposite. Originally drummer for Tangerine Dream, and then co-founder of Ash Ra Temple with Manuel Göttsching (leaving after only one release to embark on the solo career), Schulze utilizes the synth as a means to express creative vision, producing evocatively transcendent works that serve as vehicles for transformative listening experiences. The long emotive passages here could serve as a soundtrack to any number of visual counterparts, often yielding disturbing dreamlike qualities of flying over post-apocalyptic wastelands, for example. Although tossed into the New Age ring, Schulze denies any association with that camp, yet to his credit is simultaneously aligned with Eno and the Ambient Music genre. Waking dreams aside, this is a great example of well crafted electronics ala 1977, with side two’s “Crystal Lake” knocking it clean out of the park.

From the liner notes:

“The principles of my music are to make the listener powerful and happy to endure our dying planet life by using their own creativity, and being aware of emotion.”

The record consists of two compositions with titled sub-sections.

EMI/Island Records, 2C 068-98870, 1977

Side One:

Velvet Voyage (28′24)
1) 1984
2) Aeronef
3) Eclipse
4) Exvasion
5) Lucidinterspace
6) Destinationvoid

Side Two: (29′08)

Crystal Lake
1) Xylotones
2) Cromwaves
3) Willowdreams
4) Liquidmirrors
5) Springdance
6) A Bientot

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PATRICK GLEESON “RAINBOW DELTA”

Since I’m in the zone, here’s a 1980 recording by pioneering synth man Patrick Gleeson. Gleeson bought his first Moog in 1968, and opened the Different Fur recording studio (which was given it’s name by the poet Micheal McCLure) in San Francisco’s Mission District that same year. Among other heavy’s, Herbie Hancock, Stevie Wonder, and Devo recorded there, as well as Brian Eno and David Byrne for their seminal “My Life in the Bush of Ghosts” record. This leads to another interesting facet of Gleeson’s history, his collaborations with filmmaker Bruce Conner. Gleeson’s soundtrack is credited on the film “Crossroads” (along with Terry Riley), while the 3rd section of the first track on side one of this record is the soundtrack to Conner’s film by the same name “Take the 5:10 to Dreamland”, one of my favorites! Conner also used the Eno/Byrne tune “Mea Culpa” for a film by the same name, and Conner and McClure were also collaborators and great friends. Safe to say that Gleeson and the Different Fur studio were likely a touchstone to the San Francisco film and music scene ala the 1970’s and 80’s.

As far at the record itself goes, it’s a richly textured/layered and complex work, at times beautifully composed, serving as a fine blend of the various shades, tones and incidentals that make up the magical analogue synthesizer sound as we know it - a solid example of its infinite possibilities.

The record consists of two compositions with titled sub-sections.

Passport Records PVC 7914, 1980

Side One:

Rainbow Delta
1) Frank Stella by Starlight
2) Unacceptable Dance Styles
3) Take the 5:10 to Dreamland
4) La Grange Point Five

Side Two:

Draconian Measures
1) Arrival Music
2) Ravel Goes to Germany
3) Hobbits Are Dancing
4) Clouds/Blue Skies

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DEUTER “CICADA”

Probably as good a place as any to insert some Deuter, this 1982 release on Kuckuck is another fine example of his dedication to craft, as well as his commitment to a spiritual connectedness to nature and the self through music. This record is a well balanced (and tasteful) mix of the acoustic alongside the electronic, and features Chaitanya Hari Deuter performing all the instruments with the exception of the harp on the track “Haiku” played by Deva Renu.

“Deuter began to go into the mountains to record birds, water and wind to accompany his music. He was one of the first artists to do so and his deep relationship with nature persists to this day. He also began his spiritual search, spending much of his time at an ashram in Poona, India. Deuter was also one of the first artists to blend that Eastern influence into his music. He did that blending in such a gentle fashion that it never jarred Western ears, unaccustomed to Eastern rhythms and tonalities”

Kuckuck 056, 1982

Side One:

1. From Here to Here (3′14)
2. Light (9′04)
3. Cicada (6′35)
4. Sun On My Face (4′05)

Side Two:

1. From Here to Here (Reprise) (3′31)
2. Sky Beyond Clouds (5′29)
3. Haiku (3′39)
4. Alchemy (7′31)
5. Between Two Breaths (3′18)

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GEORGIA KELLY “TARASHANTI: MUSIC FOR HARP”

Since the reflecting pool behind the trees here is catching fragments of New Age light from the above post, I might as well add something that fits undeniably into that camp. All the same, this 1979 release yields two continuous sides of well crafted music that’s both entirely listenable and enduring. The first slab is all Georgia and her harp, as she channels the universal rhythms with delicate improvisations and compositional acuity. Working with the usual East Indian influences, she gracefully passes in and out of her “freer more meditative style”. The second side includes Georgia on harp, this time accompanied by Richard Hardy on flute. This track is another exercise in meditative bliss, as the two weave their sound around hints of Middle Eastern and Indian Classical music styles. Topanga Canyon anyone? From the liner notes:

“The music speaks its own heart, sharing resonates with a song of spirituality that to integrate the revelations of life into has been Georgia’s accomplishment in its joyful peace”

Heru Records, Heru-102, 1979

Side One:

1. Tarashanti (19′45)

Side Two:

1. Marupavana (21′50)

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CAN “SAW DELIGHT”

Brimming with an international poly-rhythmic/world music flair, this record comes a decade or so before that type of pastiche became widely popular. Mixing up-tempo Reggae-style jams with psychedelic Polynesian flourishes, the record contains some really amazing sonic textures embedded with infectious Can-style grooves. The recording is interesting on a number of fronts, one of which is the fact that it was produced using the binaural method (aka 3D Stereo). That means it was meant to be fully experienced through headphones, and while listening on a conventional stereo system works, it tends to sound flat compared to the way it sounds through the headphones (give it a try!). The cover is one of my favorites, and yet other than the mandala in the middle, it doesn’t really convey the essence of the record (perhaps it’s ’seeing’ delight, as through concentrating on the mandala itself, with the saw blade as visual pun…). This was the ninth album for Can, and featured two new members, Rosko Gee and Rebop Kwaku Baah (ex Traffic), with Czukay giving up the bass to play solely with experimental effects.

*Tracks two and three on side one have no logical break so they are reproduced as one track, making a total of four tracks for the download.

Harvest, IC 064-32 156, 1977

Side One:

1. Don’t Say No (6′36)
2. Sunshine Day and Night (5′52)
3. Call Me (5′51)

Side Two:

1. Animal Waves (15′29)
2. Fly by Night (4′08)

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After his ten year hiatus from the music scene (following the seventeen year-old meets meteoric rise to fame experience), two records, “Like Flies on Sherbert” and “Bach’s Bottom” marked the return of Alex Chilton to the public eye (”Bach’s Bottom” was recorded four years before “Like Flies…” but not released until 81′). Even though “Like Flies…” is (in my opinion) the apotheosis of his solo efforts (encapsulating the heart of his iconoclasm and ultimate personal punk aesthetic splattered all over the recording studio wall), I chose to post this one for its elegiac, messy, and unpolished hue, exemplifying the mischievous anti-hero poet-drunkard that persists behind all his music. Undeniably inspiring a generation of No Wave and post-punk garage rockers (and countless others), a lot has been said (and hopefully more will get said) regarding his MASSIVE contribution to, and inspiration on contemporary music. For my part, I was listening to his solo stuff before getting hooked on Big Star, and so, there will always be a soft spot for those recordings. Profoundly devoted to the tune but fractured to the core, our man could both enliven and corrupt a melody like no one else.

RIP High Priest!

Line Records, LILP 4.00091 J, 1981

Side One:
1. Take Me Home And Make Me Like It
2. Everytime I Close My Eyes
3. All Of The Time
4. Oh Baby I’m Free
5. I’m So Tired - Part One And Two

Side Two:

1. Free Again
2. Jesus Christ
3. Singer Not The Song
4. Summertime Blues
5. Take Me Home Again - Part One And Two

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SONNY BONO “INNER VIEWS”

Aside from the two artists dying prematurely, there is another parallel between this record and the above, I’m just not sure what it is - perhaps it’s just anathema to it. I post this inasmuch for its bizarre and novel qualities, as for its late 60’s pseudo-psych expressions gone awry. Recorded in 1967 with no credits to performers other than Sonny, whatever redeeming musical qualities the LP has resides somewhere in its first track, which is so bad it’s great (however unintentional). My hope is track one will pique your curiosity enough to give the rest a listen, if for no other reason than to sample how distorted popular music became c. 1967 - a lounge-pop psych mash-up that’s a 60’s equivalent of Christian Metal… In the end you’ll agree it’s a shitty album, something like if your Republican dad had only heard the Beatles and Bob Dylan and tried to record something ‘hip’. In fact, it’s so grotesque it begs questions like what cultural space did Sonny occupy during this time? How did his square sensibilities ever find their way into popular culture? Strangest of all, how did he land Cher?!? I could unpack the lyrics and ask more questions, but I don’t want to bummer your own trip… Like the shattered jar of grape jam on a sterile supermarket floor whose incongruous splay somehow sums things up.

ATCO Records, SD 33-229, 1967

Side One:

1. I Just Sit There (13′13)
2. I Told My Girl To Go Away (3′36)

Side Two:

1. I Would Marry You Today (4′27)
2. My Best Friend’s Girl Is Out Of Sight (4′15)
3. Pammie’s On A Bummer (7′39)

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RAGA

This 1971 Apple release produced by George Harrison was the original soundtrack to the film by the same name by Howard Worth (his only) about composer, teacher, and performer Ravi Shankar. Since posting the “Shankar and Friends” LP last month, I figured I should complete the cycle with this one. Less hybridized and somewhat more traditional, the tracks are basically performances and recording sessions pulled from the film, including some really nice field sounds of scripture readings, classes being taught by Ravi, as well as a reunion with Ravi’s guru Ustad Allauddin Khan. Nearing forty years on from the time of this release, Westerners following E. Indian classical music look well beyond Ravi as ‘the’ authoritative figure, but there was a time his influence helped shape a generation of musicians making spiritual and musical connections with India. He was undeniably gifted both as performer and composer, and this record is a sweet way to reflect on his contributions, if not simply as a disjointed collage of sound and music. The LP includes a nice full color booklet with historical pictures and stills from the film (which is currently only available on VHS if you can find it).

Apple Records SWAO-3384, 1971

Side One:

1. Dawn To Dusk (3′39)
2. Vedic Hymns (1′37)
3. Baba Teaching (1′17)
4. Birth To Death (3′13)
5. Vinus House (2′42)
6. Gurur Bramha (1′16)
7. United Nations (4′42)

Side Two:

1. A. Raga Parameshwari, B. Rangeswhari (2′53)
2. Banaras Ghat (1′49)
3. Bombay Studio (2′47)
4. Kinnara Studio (1′33)
5. Frenzy And Distortion (1′54)
6. Raga Desh (10′12)

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DR. B. R. DEODHAR PRESENTS THE RAGAS OF INDIA

What better way to receive a little education about our favorite musical form than through the gentle tutelage of Dr. B. R. Deodhar! This record is, although informative, shorter on instruction than it is music… The Dr. is well qualified, taking us willfully through the structures of the raga, providing brief introductions to each musical demonstration. He is both fit teacher and gifted performer, and this record yields some extraordinary vocal exercises on his part. Although I couldn’t find too much info on the Dr., I do know he started his own school in Bombay, and shows up as a master teacher on the resume’s of some notable performers, including Laxmi Tewari (among others). This record both pleases as it enlightens, and as the good Dr. emphasizes: “Please listen to the music in a completely relaxed state of mind. Each rag will create a different mood, atmosphere and emotion. Please try to feel it and enjoy it.”

Folkways Records, FL 8368, 1962

Side One:

1. Introduction Read By Dr. Deodhar (5′52)
2. Demonstration Of Instruments/Raag Yaman (Time Measure: Ektal) (14′05)

Side Two:

1. Raag: Miya Malhar (Time Measure: Jhaptal) (9′00)
2. Raag: Desch (Time Measure: Dadra) (6′45)
3. Raag: Jaiyaivanti (Time Measure: Tin Tal) (4′21)

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LE VIOLON DE L’INDE DU SUD L. SUBRAMANIAM

Though featured here a few times before, this Paris concert double LP from 1980 is the zenith of all L. Subramaniam recordings I’ve heard. Emotionally complex, these performances are riddled with improvisational genius and a total command of each note and phrase as they fit purposefully into the continuum of a given raga. The Dr. delivers a full range of fiery to contemplative moods, sometimes an industrious spider frenetically weaving from strand to strand, other times a raven hovering on a gale force wind as if it were a gentle summer breeze. Totally mesmerizing. From the liner notes (roughly translated from French):

“While his brain seems to spin patterns of rhythm and harmonics with golden fleece in order to catch therein diamond-like notes, we hear him fiddle simultaneously with two or three different timings on two to three different strings. he pours out long wailing whimpers with as much serenity as when he breaks into 5, 7 or 9 reports in a volley, or when he gives the impression of reveling in the midst of dragon-flies in some ethereal space. His left hand at times rolls out monads which appear as an illusion: everything has always been, everything is, everything will ever be born by the sound particles” - Dr. Prithwindra Mukherjee

Ocora Records, 558585/86, 1988

Face A: Raga Mohanam

1. alapana (4′50)
2. kriti
3. svarna-kalpana (17′00)

Face B: Raga Kirvani

1. alpana (19′05)

Face C: Raga Kirvani (suite)

1. ragam (8′37)
2. tanam (7′17)

Face D: Raga Kirvani (suite)

1. pallavi (11′33)
2. ragamalika: a) vasanta-priya b) khadyota-kanti (13′48)

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INDIAN MUSIC FOR SITAR AND SURBAHAR: FOR MEDITATION AND LOVE

Another solid Lyrichord offering, this one recorded at the studios of WKCR-FM in New York City (no date appears on the LP, I am guessing mid-80’s). This prescriptively titled record is a good example of Viliat Khan’s (see last month) younger brother Imrat Khan’s sitar and surbahar abilities, and features the youngest of Imrat’s four sons, Shafaat Miadaad Khan playing tabla on the second side. No instruction is needed here, just find a mate, drop the needle, and proceed with the writings of Mallanāga Vātsyāyana. From the liner notes:

“The surbahar was invented by Imrat Khan’s great-grandfather, Ustad Sahebdad Khan. The instrument was in danger of disappearing after the death of Enayet Khan (father), but thanks to the efforts of Imrat himself, the instrument has regained its place as one of the most important insturments of North Indian art music.”

“The deep, powerful sound sound of the surbahar makes the instrument particularly appropriate for meditative, devotional music. Imrat Khan will often perform the slower opening exposition of a rag on the surbahar, changing to the sitar for the section with rhythmic accompaniment in the same or a related rag. Together the two instruments cover an ambitus of five or six octaves, giving the performer, quite literally, a wide range for self expression” - Brian Silver Schuyler

Lyrichord LLST 7376

Side One:

1. Rag Jog (24′10)

Side Two:

2. Rag Saraswati (22′15)

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CHANTS DE DEVOTION ET D’AMOUR DU RAJASTHAN INDE

This Harmonia Mundi release of field recordings from Rajasthan was recorded by ethnomusicologist and historian Genevieve Dournon-Taurelle in collaboration with Komal Kothari between 1971-72. A mix of a cappella and vocal accompaniment, my impression is many of these fit into the lower-caste and/or street music category that lacks formal classification save for the various recording projects that have documented it. Usually richly textured folk expressions of regional traditions, this type of sound freshens the palette from the canonized variations heard above. Since Rajasthan borders Pakistan, what we get is a nice cross pollination of musical form, texture, and vocal expression. Unfortunately, the LP’s liner notes are in French, so I can’t provide more detailed information about the recordings or their sources. Diverse in terms of performance and style, my guess is these are a general survey of ditties concerned with love and devotion from the massive swath that makes up the Indian state of Rajasthan. Brimming with energy and passion, these are spirited deeply felt hymns, dusted in the patina of a rustic earthbound source.

Harmonia Mundi, HMU 959, 1972

Side One:

1. Chant D’ Amour (Dholi) (3′53)
2. Chant De Devotion (Kamarh, Bambi) ( 2′43)
3. Chant De Mariage (Majhirana) (1′33)
4. Chant D’Amour Mystique (Manghaniyar) (2′28)
5. Chant De Devotion (Jogi) (3′20)
6. Chant De Separation (Majhirana) (2′42)
7. Chant De Devotion (Jogi) (3′52)

Side Two:

1. Extrait D’un Drame Lyrique (Mirasi) (3′04)
2. Chant De Mariage (Nath-Baba) (3′16)
3. Berceuse (Dholi) (2′28)
4. Danse Devotionnelle Teratali (Kamarh) (3′12)
5. Chant D’ Amour (Kalbelia) (2′42)
6. Ballade D’Amour (Langa) (5′13)

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Inauspicious as this record appears (note the ‘FREE’ cut-out on the corner), it features mind blowing shehnai playing by the great Bismillah Khan, combined with the masterful sitar of Ustad Vilayat Khan. A devout Muslim, Bismillah furthered a delightful hybrid sound within Indian classical music that was part of a tradition his father helped establish. Our man on sitar, the fierce Ustad Vilayat Khan (purported to have been rivals with Ravi Shankar), worked closely with instrument makers to customize his sitars as an attempt to push the traditional sound, and liked to perform without a tanpura drone, instead, filling out the silence with strokes to his chikari strings.

The thee tracks on this record are totally lush and amazing, carrying a distinct palette that’s indebted to Bismillah’s colophon. The tune “Chaiti-Dhun” is one of the finest Indian classical cuts I’ve heard, as the two giants provide a wonderful call and response interplay that’s both wistful and lighthearted.

Capitol Records, ST 10483, 1967

Side One:

1. Duetto (Jugalbandi) (24′48)

Side Two:

1. Chaiti-Dhun (12′56)

2. Bhairavee-Thumree (13′21)

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G.S. SACHDEV, FLUTE: TWO MOODS

Full of feeling, this dreamy workout features flautist G.S. Sachdev, as well as the inimitable Zakir Hussain on trademark tabla. Also in attendance were Jessica Skala, tanpura; and Ilene Marder, swar-peti. Master of the ancient bansuri flute (made of a lone stick of bamboo), Sachdev is not as prolific or well known as some of his contemporaries, but he nevertheless still records and performs today. Zakir Hussain studied classically, but went on to record with East/West rockers like John McLaughlin (among others), and provides a solid foundation to the ragas on this LP, floating in and around the two cycles with effortless rhythm. Recorded in 1981 for Chandi Productions, this is contemplative stuff - so grab your hot beverage in the morning and listen to side A, and when you return in the evening, grab your peace pipe for side B and call it a day!

From Sachdev’s website: “Unlike many musicians, he has shied away from fusion, finding great pleasure and a sense of immense satisfaction with the rigors of infinite exploration within traditional pure classical Indian music. Beyond his worldwide live performances, Sachdev’s music is thoroughly enjoyed in yoga studios, meditation ashrams, massage rooms, spiritual centers and homes everywhere imaginable. His music is considered an antidote to stress, fatigue and cynicism.”

Chandi Productions, CP 102, 1981

Side One:

1. Raga Kaushik Dhwani (Morning Raga) (25′52)

Side Two:

1. Raga Purya-Kalyan (Evening Raga) pt.1 (13′22)
2. Raga Purya-Kalyan (Evening Raga) pt.2 (12′00)

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CARNATIC MUSIC OF SOUTH INDIA: THE VOICE OF K.V. NARAYANSWAMY

Here’s another burner that’s sure to please, featuring the lilting, bright and perfected voice of the great Kollengode Viswanatha Narayanaswamy (don’t know if there’s an alternate spelling, but everything I find differs from how it’s printed on the record). The LP features V.V. Subramaniam, violin; Paighat Raghu, mridangam; Alla Rakha, tabla; and Amiya Das Gupta, tamboura. In addition to the vocal workouts, the record emphasizes the great Alla Rakha’s drumming, providing ample room for his flourishes on side two, while side one features meaty sections of V.V. Subramaniam’s violin hooks. If you like the southern tradition, then turn this up, open your Pañcaratra, light the match, and float your way right into Sriman Narayan’s lap just in time for sunset tea.

“KVN’s concert career spanned over 40 years. He delighted listeners all over India and abroad with his immense classicism and sweet voice. He had a wide repertoire and was capable of extensive variations both of his concert fare and the technical make-up of the concert. He serves as a model musician, who has paid attention to every aspect of music carnatic musicians strive for, be it lyrical purity in various languages, gifted adherence to shruti, vast repertoire and innovative aspects.”

World Pacific Stereo, WPS 21450, 1968

Side One:

1. Ragam Todi (23′54)

Side Two:

1. Ragam Kambhoji (16′52)
2. Ragam Purnchandrika (Tillana) (3′57)

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SHANKAR FAMILY & FRIENDS

Moving on, yet down a circuitous path, this oddball record is definitely a departure from the pure representations above, offering a slightly curious hybrid of style, mood, and approach. Nevertheless, it contains contributions from a chunk of the above performers, and with repeated listens, showcases the delightful genius of Ravi Shankar’s songwriting. This was a 1974 release on producer George Harrison’s Dark Horse Records out of Hollywood, all of which was written, composed and arranged by Ravi Shankar (with the exception of “I Am Missing You” which George arranged).

Unfortunately, the version I have contains no inner sleeve with details, but I do know the record included Klaus Voorman, bass; Ray Pizzi, bassoon; Kamala Charavarty, backing vocals; Sharad Kumar, flute; Ashish Khan, sarod and zither; Shivkumar Sharma, santur and vocals; Shubho Shankar, sitar; Ravi Shankar, surbahar, sitar, voice, and synthesizer [Moog]; Lakshmi Shankar, zither [swarmandal], vocals; Hari Georgeson, electric guitar, acoustic guitar; W. Webb, ersaj; G. Sachdev, flute; Tom Scott, flute, handclaps; Hari Chaurasia, flute, cowbell; Al Casey, mandolin; Billy Preston, organ; Fred Teague, organ; Pranesh Khan, dholak; Nodu Mullick, kartal; Alla Rakha, tabla; Nicky Hopkins, piano; Ronald Cohen, sarangi; Malcom Cecil, synthesizer [Moog]; Paul Beaver, synthesizer [Moog]; Robert Margouleff, synthesizer [Moog]; Vinny Poncea, Tambourine; Fakir Muhammad, tambura; L. Subramaniam, violin; Bobby Bruce, violin [electric]; Gordon Swift, violin [electric]; Jitendra Abhisheki, vocals; and Harihar Rao, dholak, voice. That’s a lot of talented friends!

*Side two has no logical breaks, and was recorded as one continuous track.

A&M/Dark Horse Records, SP-22002, 1974

Side One:

1. I Am Missing You (sung by Lakshmi Shankar) (3′39)
2. Kahan gayelava Shyam salone (sung by Lakshmi Shankar) (2′52)
3. Supane me aye preetam sainya (sung by Lakshmi Shankar) (4′14)
4. I am Missing You (Reprise) (sung by Lakshmi Shankar) (3′59)
5. Jaya Jagadish Hare (sung by jitendra Abhisheki and Chorus) (4′55)

Side Two:

(Dream, Nightmare & Dawn - Music for a Ballet by Ravi Shankar) (29′06)

Overture
Part One, Dream
Festivity & Joy
Love - Dance Ecstacy

Part Two, Nightmare
Lust (Raga Chandrakauns)
Dispute & Violence
Disillusionment & Frustration
Despair & Sorrow (Raga Marwa)

Part Three, Dawn
Awakening
Peace & Hope (Raga Bhatiyar)

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THE HABIBIYYA: IF MAN BUT KNEW

If the above is a surreal hybridized departure, then this is even farther afield, yolked as it is in musical traditions that transcend its component parts. Michael Evans, Ian Whiteman, Roger Powell, Conrad Archuletta, and Susan Archuletta comprised this lineup, performing a host of compositions that channel mainly Middle Eastern vibes, but transverse Japan and India, landing somewhere back on the British Isles. The core members Evans and Powell were Brits from an underground outfit called “Mighty Baby” who got to traveling to, among other places, Morocco, where they were influenced by Sufism. Having been profoundly affected both spiritually and musically by the tradition, they became converts, enlisting other members for their musical troupe, thus yielding this their only release from 1972. Although re-issued in the last couple years, I thought I’d post my crusty copy since the re-issue contains extra tracks not found here, plus extensive liner notes that flesh out the rest of their story. This is really beautiful and authentic stuff, a folk-psyche phantasmagoria that should float you into a devotionally purple-haze in no time.

Matthew Amundsen for Brainwashed: “The musicians fasted for three days prior to recording, and then they began each session with an hour of meditation. Their methods paid off, for the music is clear and stunning in their attempts to channel the divine. Using no overdubs, drums often set the tone while the other instruments swirl around them in distinct layers. Tranquil but never boring, these songs are enchanting spiritual explorations that reach to trance-inducing heights. While several songs are instrumentals, when the group does sing, their harmonies are a transcendent pleasure. Further entwining themselves with Ibn al-Habib, the lyrics they sing are actually the master’s own words.”

Island Records, SW-9305, 1972

Side One:

1. Two Shakuhachis (1′41)
2. Koto Pice (4′57)
3. The Eye-Witness (8′16)
4. Mandola (5′48)

Side Two:
1. If Man But Knew (9′00)
2. Fana-Fillah (9′55)

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THREE MUSICIANS: MUSIC FROM THE ROCHESTER FOLK ART GUILD

Moving deeper into the zone of culturally hybridized multi-instrumental music, this curiosity yields some really gorgeous stuff, mixing flute, dulcimer, cymbalon, tenor recorder, dombak, dholak, daff, voice, bells and gongs, with some deft craftsmanship and playful arrangements. The songs vary in influence from Middle Eastern, Indian, Greek, Celtic, English minstrel, and North American folk/blues, with only one vocal bit on “The Twenty-third Psalm” which is just that, the singing of the Psalm (to a gorgeous cymbalon backdrop) - It all works. Funny thing about the record, though, no information seems to exists on it (that I could find), and the LP itself doesn’t list any of the personnel - it only says stuff like:

“Where does this music come from? The three come together. They come from their workshops and from the fields. What is created is more than the music of the three who play the instruments. It grows out of the life and work of the Rochester Folk Art Guild, part of the same process that takes place in the workshops and kitchens, in the gardens and fields. We are beginners, or rather, trying to be beginners, looking as we can for the root and branches of the craft of music. This recording reflects our present work. Come listen with us.”

Rochester Folk Art Guild, RFAG 1 Stereo, 1977

Side One:

1. Santori Tuning (3′39)
2. Duet 1 (1′35)
3. Lydian Improvisation (2′58)
4. Brook in the Valley (2′45)
5. Phrygian Waltz (2′42)
6. Twenty-third Psalm (4′34)
7. Merengue (2′22)

Side Two:

1. Up to the Wind (4′18)
2. Duet 2 (1′30)
3. Village Dance (1′25)
4. Phrygian Improvisation (7′32)
5. Muted Meter (3′33)
6. Easter Song (5′31)

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THE SKYGREEN LEOPARDS: CHILD GOD IN THE GARDEN OF IDOLS

My favorite Skygreen Leopards album, this was a limited 2005 LP on Jagjaguwar, housed in a delicate paper folded cover with its illustrations glued directly on top. Part instrumental, part field recording, part ballad (and boundless mixtures thereof), the album plays like a sonic vineyard; the tunes moving through themselves like the essential cohesive residue of thick detritus covering ancient forest floors. The music was “received” by Glenn Donaldson and Donovan Quinn, who’s impish improvisations and deeply creative spirit transcends the post post post folk revivalism and neo-punk highroads set forth by a current generation of fashionistas. With most any Jewelled Antler offering you get something else, something new, something unexpected and purely of the moment - if not for the sake of going in another direction where the light is usually better anyway.

Jagjaguwar, 2005

Side One:

1. Parasols Thro’ The Moors (2′50)
2. The Butterfly Dance (4′42)
3. Hill-Dwelling Bride (3′06)
4. The Orchard Daughter (2′59)
5. Christ-Child Dances (5′18)

Side Two:

1. Hobo Sparrow’s Dream (3′05)
2. The Woodsman’s Dance (4′10)
3. Parallel Shadows (Part II)/Mad Loin (Part VII) (4′21)
4. Child God (4′08)

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