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 payed 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 a 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)

[.zip_pt.1]  [.zip_pt.2]

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)

[.zip]

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)

[.zip]

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)

[.zip]

Last month’s Lead Belly 10″ inclusion was pretty popular, so this month I’m posting the great document that encapsulates his final recording sessions, and should convert anyone who isn’t (for whatever reason) already a devotee of his inimitable musical and cultural legacy. These field recordings were done over the course of three evenings in September of 1948, just nine months before he died from Lou Gehrig’s disease. Recorded in he and his wife Martha’s NYC apartment by Fredric Ramsey Jr., they had no idea these would be the last, as he was only 61 at the time. The songs are all one-takes, and appear in the order they were recorded, with only some extraneous dialogue removed to conserve space. Plenty is included however, and contains lively descriptions and personal anecdotes that are (among other things) a rare first-person glimpse into early 20th-century African American experience. The first two sides are a cappella, with all subsequent sides featuring the trademark 12-string guitar (side three containing a version of John Henry that will melt your shoes - just one of many highlights). Lead Belly’s sense of timing, rhythm, musical intuition, virtuosity, personal experience, and vast library of songs (effortlessly plucked from memory), offers the listener an unrivaled compendium of American folk blues - not to mention all the tunes that rock and roll swiped. From the booklet notes:

“At the time of these recordings, recording tape was in its experimental stage. In 1953 when the tapes were taken out of their original boxes and played, some of the tape was found to be damaged and in a few cases it adhered to the next winding. We proceeded then as follows. Peter Bartok re-dubbed all the tape, and Ramsey edited the dubbed tape for a six-sided long-playing records set. However it was found that by eliminating most of the bands as suggested by Ramsey we could get 30 minutes on one side of a 12″ record to make a four-records set.” - Moses Asch

“Perhaps it would be fairest to Leadbelly to say that when he made the recordings contained in this set of long-playing records, he had no idea they were to be his last. Nor were they recorded under “professional” circumstances; in a big studio with swatches of acoustical dampers, a dozen microphones to choose from, a battery of control consoles, and a staff of prompters and technicians. Had they been made this way, they might have been quite different.

A SHORT TECHNICAL NOTE ABOUT RECORDINGS OF LEADBELLY’S LAST SESSIONS: As stated before, the facilities of larger recording studios were not available for this project. The acoustics of the New York apartment were corrected as much as possible with drapes, and the best equipment available in the early days of tape recording was used. For the first evening, a small voice microphone was employed. For the second and third evenings (with guitar) it was thought that a dynamic microphone of good quality would provide the best pick-up.

It would therefore be misleading to claim that, by todays standards, these are “extended range” recordings, although we do believe that for the most part they are adequately clean and crisp, and represent an advance over all other older, acetate recordings of Leadbelly. Everything has been done to clear the tapes of obvious defects due to faulty tape manufacture; some difficulty was experienced with tape purchased in good faith which began to peel off in spots not long after it had been used for recording. Fortunately, a better tape was made available before we had got too far along, and a majority of performances has been well preserved.”

“In the United States, not so long ago, we had a giant of a man with us, a singer and adventurer whose exploits, if we did not know the actual facts of his existence, might one day have been amplified into a sort of Paul Bunyan legend that could hardly have been more colorful than the truth. Leadbelly, or Huddie Leadbetter was Born in Mooringsport, Louisiana, son of a farmer who worked 68 acres of land in the Caddo Lake district. From the beginning, young Huddie was bewitched by music. One uncle had a guitar; his friends played small accordions, or “windjammers’” as they called them in that part-Cajun, part-Negro country. At twelve or thirteen, Huddie started riding off in the canebrakes and bottomlands to play for sukey jumps and breakdowns - Saturday night get-togethers in cabins and little, low dance halls. He was soon “good as they had on a windjammer,” according to his own testimony.

It was a rough crowd. In the North, social workers would probably have intervened. But late 19th century Negro youngsters in the South were allowed to go their way and settle their problems (no one considered them problems, anyway) amongst themselves. They drank, they made love and they got into fights.

It was one of these fights, a few years later, that started Huddie on the hardest part of his life, and shaped his career for years to come. In a bottomland fracas involving Huddie, a man was killed.

They hung the sentence on Huddie, and sent him to a prison camp, or country farm. He broke out of that, but soon got into other troubles. He was too young, too handsome, too powerful. Women couldn’t let him alone, and he couldn’t let them alone. But through it all - from 1918, when he was sentenced in the Bowie County Courthouse, Texas, to 1935, when he was released from the Angola State Prison Farm, in Louisiana  - Huddie kept close to his music. He broke jail, he rambled, he married and remarried, he picked cotton, he worked in a car agency; all this was part of, but strangely incidental to, the main drive of his life - the need to learn more songs, the need to perform them, anywhere.” - Fredric Ramsey

*For the MP3’s (as with the LP’s), songs are in groups within bands (or tracks), and breaks occur between bands not songs. The sides of each LP are listed as Part One - Side One (FP2941A), Part One - Side Two (FP2941B), and so on. There is one .zip archive for each LP side, eight total.

Folkways Records, FA 2941 A/B, FA 2941 C/D, FA 2942 A/B, FA 2942 C/D, 1962

**Part One - Side One (FP2941A):

Band 1
1. Yes, I Was Standing in the Bottom (1′40)
2. Yes, I’m Going Down in Louisiana (0′42)
3. Ain’t Going Down to the Well No More (1′23)
4. Dick Ligger’s Holler (0′43)
5. Liza Jane (2′08)
6. Dog Latin Song (0′52)
7. Leaving Blues (0′31)

Band 2
8. Go Down, Old Hannah (4:59)
9. The Blue Tailed Fly (Jimmie Crack Corn) (2′20)
10. Nobody in This World is Better Than Us (1′26)

Band 3
11. We’re in the Same Boat, Brother (2′18)
12. Looky Looky Yonder (1′33)
13. Jolly O the Ransom (0′57)

Band 4
14. Old Ship of Zion (1′51)
15. Bring Me a Little Water, Silvy (1′27)
16. Mistreatin’ Mama (1′24)
17. Black Betty (1′52)
18. Ain’t Going Down to the Well No More (2′45)

**Part One - Side Two (FP2941B):

Band 1
19. Yes, I’m Going Down in Louisiana (0′28)
20. I Don’t Know You, What Have I Done? (3′11)
21. Rock Island Line (1′03)
22. Old Man, Will Your Dog Catch a Rabbit? (1′29)
23. Shorty George (0′46)
24. Stewball (2′34)
25. Bottle Up and Go (1′25)
26. You Know I Got to Do It (0′52)
27. Ain’t It a Shame to Go Fishin’ on Sunday (1′21)
28. DeKalb Blues (Ain’t Gonna Drink No More) (2′37)
29. Winnsboro Cotton Mill Blues (2′18)

Band 2
30. My Lindy Lou (1′08)
31. I’m Thinking of a Friend (3′22)

Band 3
32. He Never Said a Mumbling Word (2′28)
33. Gee, But I Want to Go Home (Army Life) (3′59)
34. In the World (2′01)
35. I Want to Go Home (1′26)

**Part Two - Side One (FP2941C):

Band 1:
36. New Iberia (3′08)
37. Dancing with Tears in My Eyes (3′11)
38. John Henry (4′59)

Band 2
39. Salty Dog (3′29)
40. National Defense Blues (3′30)
41. Easy, Mr. Tom (2′08)
42. Relax Your Mind (4′09)

Band 3
43. Bottle Up and Go (3′36)
44. Polly Wolly Wee (1′45)

**Part Two - Side Two (FP2941D)

Band 1
45. Pig Latin Song (2′10)
46. Hawaiian Song (2′15)
47. Drinkin’ Lum Y A Alla (1′50)
48. The Gray Goose (2′17)
49. Silver City Bound (6′01)
50. The Titanic (5′14)

Band 2
51. Death Letter Blues (3′30)
52. Oh, Mary Don’t You Weep (3′28)
53. He Never Said a Mumbling Word (2′49)

**Part Three - Side One (FP2942A):

Band 1
54. The Midnight Special (2′11)
55. Boll Weevil (3′06)
56. Careless Love (6′29)

Band 2
57. Easy Rider (3′00)
58. Fannin Street (Mr. Tom Hughes’ Town)(Cry to Me) (3′31)
59. DeKalb Blues (Ain’t Going to Drink No More) (3′54)

Band 3
60. Birmingham Jail (2′56)
61. Old Riley  (1′46)
62. Julie Ann Johnson (1′11)
63. It’s Tight Like That (3′12)

**Part Three - Side Two (FP2942B):

Band 1
64. 4, 5 and 9 (4′53)

Band 2
65. Good Morning Babe, How Do You Do? (0′41)
66. Jail House Blues (4′31)

Band 3
67. Well, You Know I Had to Do It (2′56)
68. Irene (Goodnight Irene) (1′22)

Band 4
69. Story of the 25 Cent Dude (2′20)
70. How Come You Do Me Like You Do? (3′24)
72. Hello Central, Give Me Long Distance Phone (5′29)
73. Hesitation Blues (2′17)

Band 5
74. I’ll Be Down on the Last Bread Wagon (3′35)

**Part Four - Side One (FP2942C):

Band 1
75. Digging My Potatoes (4′00)
76. Springtime in the Rockies (3′02)
77. Chinatown (1′12)

Band 2
78. Rock Island Line (1′57)
79. Backwater Blues (3′27)
80. Governor Pat Neff (Sweet Mary) (3′12)

Band 3
81. Irene (Goodnight Irene) (2′44)
82. Easy, Mr. Tom (2′16)
83. In the Evening When the Sun Goes Down (2′54)

Band 4
84. I’m Alone Because I Love You (2′54)
85. House of the Rising Sun (2′23)
86. Oh, Mary Don’t You Weep  (1′58)

**Part Four - Side Two (FP2942D):

Band 1
87. Talk About Fannin Street (3′41)
88. Fannin Street (Mr. Tom Hughes’ Town) (3′36)
89. Sugar’d Beer (1′40)
90. Didn’t Old John Cross the Water? (2′01)

Band 2
91. Nobody Knows You When Your Down and Out (3′19)
92. Bully of the Town (2′08)

Band 3
93. Sweet Jenny Lee (1′54)
94. Yellow Gal (2′04)
95. He Was the Man (3′48)
96. We’re in the Same Boat, Brother (4′16)

Band 4
97. Leaving Blues (2′36)

[.zip_pt.1]  [.zip_pt.2]  [.zip_pt.3]  [.zip_pt.4]  [.zip_pt.5]  [.zip_pt.6]  [.zip_pt.7]  [.zip_pt.8]

KINGS OF THE TWELVE STRING

Released in 1973 by Flyright Records out of the UK, this compilation of tunes by some familiar folk blues artists segues nicely out of the above, and offers another taste of the unique strand of folk-blues as performed on a 12-string guitar. Indeed these are some of the greats, featuring four tracks by Blind Willie McTell, and includes Seth Richard, Willie Baker, Barbecue Bob, George Carter, Charlie Turner, and Charlie Lincoln (aka Charlie Hicks). Prior to digital re-mastering techniques, many of the original 78’s (from which these were direct copies) hadn’t been transferred, making compilations like this a great find for enthusiasts who didn’t have access to the originals. Much of this music has since been re-issued in one form or another, especially Blind Willie McTell’s extant recordings, and here presented is a small sample of that deep sound. Most of these recordings are probably from the 20’s and 30’s.

Flyright Records, Flyright LP 101, 1973

Side One:

1. Dark Night Blues (Blind Willie McTell) (2′56)
2. Mama, Let Me Scoop For You (Blind Willie McTell) (3′10)
3. Ain’t It Grand To Be A Christian (Blind Willie McTell) (3′04)
4. Loving Talking Blues (Blind Willie McTell) (2′37)
5. Skoodeldum Doo (Seth Richard) (3′08)
6. Lonely Seth Blues (Seth Richard) (3′17)
7. No No Blues (Willie Baker) (2′49)

Side Two:

1. How Long Pretty Mama (Barbecue Bob) (3′23)
2. Barbecue Blues (Barbecue Bob) (3′07)
3. Ghost Woman Blues (George Carter) (2′53)
4. Weeping Willow Woman (George Carter) (2′42)
5. Kansas City Dog Walk (Charlie Turner) (2′58)
6. Depot Blues (Charlie Lincoln) (3′00)
7. Mama, Don’t Rush Me (Charlie Lincoln) (3′06)

[.zip]

BLIND LEMON JEFFERSON/SON HOUSE

Blind Lemon is referenced by Lead Belly in the above in a nice anecdote, so I might as well give him his due by posting the only record I have that contains his music. Paired by LP sides with the mighty and incomparable Son House (Eddie James House Jr. - one of my all time favorites), this record is a delightful addition to any folk blues collection. This Biograph record published in 1972 is a step ahead of the “Kings…” LP, in that it provides at least some information regarding the artists (the above containing only artist’s names and song titles), as well as information on the original 78 recordings; labels, dates, etc. I am less concerned with that stuff and more interested in the music, and as contemporaries of Lead Belly, this is a another glance at some lions in the mix of early to mid-century African American folk blues. These tracks were recorded between 1926 - 1941. From the liner notes:

“Son House was born on March 21, 1902, on a farm in Coahoma County, just outside of Lyon, a small town a few miles from Clarksdale, Miss. When he was about eight years old he moved to Louisiana where he spent a good part of his youth. In 1928 he started playing the guitar and two years later through a recommendation by his friend Charlie Patton he began recording for the Paramount Record Company. Of the nine sides he recorded for Paramount only six have been found. These sessions were made in Grafton, Wisconsin in the summer of 1930 and are considered among the greatest blues performances recorded in the thirties” - Arnold S. Caplan

“Yeh, I’ll tell you another guy who used to play. I loved to hear him play but couldn’t nobody never be lucky enough to dance by his music. That was Lemon Jefferson… Lemon was one of the crack-batters in record making” - Son House

Biograph BLP-12040, 1972

Side One:

Son House
1. My Black Mama, Part 1 (3′10)
2. My Black Mama, Part 2 (3′16
3. Preachin’ The Blues, Part 1 (3′01)
4. Preachin’ The Blues, Part 2 (2′50)
5. Dry Spell Blues, Part 1 (3′08)
6. Dry Spell Blues, Part 2 (3′11)
7. Delta Blues (Leroy Williams, harmonica) (5′25)

Side Two:

Blind Lemon Jefferson
1. Wartime Blues (3′07)
2. Weary Dog Blues (2′46)
3. Gone Dead On You Blues (2′50)
4. One Dime Blues (2′50)
5. Lemon’s Cannonball Moan (2′36)
6. Eagle Eyed Mama (2′38)
7. Dynamite Blues (3′00)
8. Big Night Blues (3′12)

[.zip]

THE IMMORTAL CHARLIE PATTON

The music on this 1962 release, although re-issued by various labels over the years, was the first time these songs had been compiled and made available to a wider public, hitherto only enjoyed by the possessive collector of rare 78’s. Additionally, this was the first release for the Origin Jazz Library founded by Bill Givens, and began what was an amazing output of rarely heard (primarily) African American blues, gospel, jazz and folk music releases (I posted another Origin record on the November 08′ page called “In The Spirit…”). Since Charley Patton was buddies with Son House, and according to him, had encouraged him to record his music (as noted above), it seems fitting to include this one. Most country blues fans are familiar with the idiosyncratic, yet powerful sounds of Charley Patton (aka Elder J.J. Hadley), and his tunes yield an infectious and stirring contribution to the genre, with their anecdotal poetry, stark realism, and untamed spirit. In fact, many consider him the father of the Delta Blues, and Musicologist Robert Palmer considered him among the most important musicians that America produced in the twentieth century. See a nice illustrated history about Patton by R. Crumb here. From the liner notes:

“He was born somewhere in the Delta around 1885. He moved to Clarksdale as a young man, remaining there until 1933 when he moved on to the greener fields of Memphis. According to all reports, he died there in late 34′ or 35′ of tetanus resulting from wounds received in a knife fight. Around Clarksdale, Patton had a reputation for hard drinking, fighting, and “courting”. He avoided church, but was always on hand for socials where his singing and playing made him a favorite. His record sessions came in 29′, 30′, and 31′ in New York and Chicago for Paramount, and in 32′ in Chicago for Vocalion. Most of the persistent rumors about Charlie - that he was a part-time preacher, that he died in a Clarksdale fire, for two - are unconfirmed and seem to be based on the words to his songs… pointing to how closely the Country Blues singers were identified with the lyrics they sang in their peculiarly vivid, realistic, and extemporaneous style.”

Origin Jazz Library, OJL 1, 1962

Side One:

1. High Sheriff (3′18)
2. Green River Blues (3′12)
3. Elder Greene Blues (3′03)
4. Moon Going Down (3′16)
5. Going To Move To Alabama (3′00)
6. I Shall Not Be Moved (3′03)

Side Two:

1. Stone Poney Blues (2′55)
2. Frankie And Albert (3′13)
3. Runnin’ Wild Blues (2′57)
4. Some These Days I’ll Be Gone (3′17)
5. I’m Goin’ Home (3′04)
6. Poor Me (3′02)

[.zip]

NEGRO FOLK MUSIC OF ALABAMA, VOL. 6: GAME SONGS AND OTHERS, RECORDED IN ALABAMA BY HAROLD COURLANDER

These beautiful a capella songs were recorded in the field in western Alabama during January and February of 1950 by Harold Courlander (assisted by Ruby Pickens Tartt & Emma Courlander), and are a unique document rich in the spirit of African Amercian folk music history. Many recognizable tunes here, the first side is comprised of all game songs, or children’s songs (credited to various schools), while the second side features, in addition to work songs and chaingang songs by a host of singers from the region, a series of seven tunes magically performed by Celina Lewis. This record is one in a series of six LP’s that comprised the Folkways set “Negro Folk Music Of Alabama,” and unfortunately is the only one I possess. The cover art by the great Ronald Clyne (who did the graphics and illustration for most of the Folkways records ever produced) is a shining example of his beautiful and minimalist design sensibilities. From the booklet notes:

“The emphasis in these recordings from Alabama is upon musical content and style rather than performance. Selections have been made with a view to documentation. “Performances” have been sacrificed to make way for what seem to be more traditional folk styles. But the sheer music in many of these recordings is not easily excelled.” - Harold Courlander.

Folkways Library FE 4474, 1955

Side One:

1. Mary Mack (Children of Lilly’s Chapel School)
2. Bob A Needle (Children of Lilly’s Chapel School)
3. Watch That Lady (Children of Lilly’s Chapel School)
4. Old Lady Sally Wants To Jump (Children of Lilly’s Chapel School)
5. Loop De Loo (Children of Lilly’s Chapel School)
6. Green Green Rocky Road (Children of Lilly’s Chapel School)
7. Rosie Darling Rosie (Children of Brown’s Chapel School)
8. I Must See (Children of Pilgrim Church School)
9. Bluebird Bluebird (Children of Pilgrim Church School)
10. May Go ‘Round The Needle (Children of East York School)
11. Stooping On The Window (Children of East York School)
12. Charlie Over The Ocean (Children of East York School)

Side Two:

1. Session With Celina Lewis - [a] Catch That Squirrel [b] Sangaree [c] Whoa, Mule, Can’t Get The Saddle On [d] Rosie Gal [e] Bullfrog [f] Kushie Dye Yo [g] If I Had My Way
2. Water On The Wheel (Annie Grace Horn Dodson)
3. Go Pray Ye (Annie Grace Horn Dodson)
4. Captain Holler Hurry (Willie Turner)
5. John Henry (Willie Turner)
6. Going To Have A Talk With The Chief Of Police (Peelee Hatches)
7. Meet Me In The Bottoms (Davie Lee)
8. When The Role Is Called In Heaven (Joe Brown, Harrison Ross and Willie John Strong)
9. I Moaned And I Moaned (Joe Brown, Harrison Ross and Willie John Strong)
10. I’m Standing In A Safety Zone (Rosie N Winston)

[.zip]

Field recordings by ethnomusicologist Dr. Barbara Schmidt-Wrenger and husband Wolfgang Schmid-Wrenger, recorded on a Stellavox and taken from between 1973 and 1976. Genuinely one of the most beautiful records I own. Superior recording technique meets amazing songs from the Sub-Sahara, featuring some instrumentals, but thriving mostly on choral workouts accompanied by various rhythm devices, including a type of gourd that serves as both a wind and percussive instrument (called an issanji - like a thumb piano - see cover). Additional hand clapping, rhythm sticks and some tongue singing offer a totally joyous non-stop groove machine. The “B” side hosts the only guitar tracks, specifically the last two - the final track “Kabwalala” is worth the whole trip. Try NOT playing this one over and over and over. From the liner notes:

“The music of the Bena Luluwa differs markedly from that of their neighbors in Angola: the Batshokwe, Bapende and Balunda. Particularly impressive to the Western ear is the strong polyrhythmic component in their dances and choir songs, handclapping, rattles and drums are brought together in one piece of music, and form an intricate rhythmic webbing.”

Lyrichord Stereo LLST 7313, 1977

Side One:

1. Festival Dance of the Bena Luluwa of Angola (3′02)
2. “Kabibobo” (4′28)
3. Birth Song (2′59)
4. “Issanji” Orchestra (2′09)
5. “Ntambwe mwalula” (2′10)
6. “Moya mae” (3′07)
7. “Bya mwenya” (2′40)
8. “Nadifwilabiani” (Death through Sickness) (1′53)

Side Two:

1. Dance Command (0′37)
2. “Issanji” Orchestra (3′13)
3. “Melanda a nwambamba” (3′55)
4. “Kanuayi” (5′00)
5. “Kabwalala” (11′04)

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AFRICA WITCHCRAFT & RITUAL MUSIC: RECORDED IN KENYA AND TANZANIA BY DAVID FANSHAWE

More tribal sounding than the above, but that makes sense given the ritual emphasis. Recorded by composer and ethnomusicologist David Fanshawe, the sounds here are unique variations in acoustic complexity, where the practice of spiritual healing and music are inextricably linked. I imagine as I listen what it must have been like to witness this stuff being performed, which according to Fanshawe, were nearly extinct traditions back in 1975 when this was released. From the liner notes:

“In this recording, I have tried to capture the spirit of a musical heritage now nearly extinct. The music on this album comes form a part of East Africa whose musical traditions remain largely unknown to the rest of the world. Particularly fascinating is the manner in which music and medicine are combined in the indigenous practice of witchcraft; music takes on the power of medicine, and medicine becomes associated with the healing sound of drums, interwoven with beautiful threads of melody.

Nonesuch Recrods, H-72066 (Stereo), 1975

Side One:

1. Ngoma ra mrongo (Taita, Kenya) (4′50)
2. Mwari Initiation (Taita, Kenya) (1′52)
3. Coconut Pickers Song (Lamu, Kenya) (3′05)
4. Matondoni Wedding (Lamu, Kenya) (2′07)
5. Marimba (Tanzania) (3′07)
6. Tuken Moral Songs (Kenya) (6′10)
7. Giriama Spirit Dance (Kenya) (2′18)

Side Two:

1. Kayamba Dance: Giriama Wedding (Kenya) (4′35)
2. Alto Bung’o Horn (Kenya) (0′42)
3. Akamba Witch Doctor (Kenya) (4′07)
4. Pokot Witch Doctor (Kenya) (3′03)
5. Pokot Dance (Kenya) (1′34)
6. Song of Dawn (Kenya) (2′57)
7. Lukuji (Kenya) (2′57)
8. Nyatiti (Kenya) (3′06)
9. Funeral Dance (Kenya) (2′32)

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ALBERT AYLER, DON CHERRY, GARY PEACOCK, SONNY MURRAY “VIBRATIONS”

This Arista release from 1975 was from a performance recorded on September 14th, 1964 in Copenhagen, comprised of a fierce lineup that makes for some really intense sorcery. All Ayler compositions, the outfit seems particularly lock-stepped in time and space, yielding amazing improvisational signatures around the characteristic folk-Americana/spiritual undercurrents that characterize Ayler’s compositions. If you love 60’s avant-garde jazz and black spiritual music, then this is the one.

“I like to play something, like the beginning of “Ghosts”, that people can hum. And I want to play songs like I used to sing when I was real small. Folk melodies that all the people would understand. I’d use these melodies as a start and have different simple melodies going in and out of a piece. From simple melody to complicated textures to simplicity again and then back to the more dense, the more complex sounds.”

Arista Records, AL 1000, 1975

Side One:

1. Ghosts (2′04)
2. Children (6′50)
3. Holy Spirit (8′29)

Side Two:

1. Ghosts (7′58)
2. Vibrations (4′55)
3. Mothers (7′06)

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“ROCK ISLAND LINE” LEADBELLY: HUDDIE LEDBETTER MEMORIAL ALBUM, VOL. 2

This 10″ record was produced by Folkways in 1951, and memorialized one of the great lions of extant folk blues from the period, just two years following his death. There is a good reason Huddie Ledbetter was considered one of the greats then (as now), and it’s all in the music - a combination of 12-string guitar, his powerfully harmonic voice, and a playfulness that betrayed the darker side of the blues. The record includes the amazing “Sukey Jump” featuring Huddie on the accordion (which was his first instrument), as well as the legendary “Black Girl” (aka “In The Pines”) that Nirvana covered as “Where Did You Sleep Last Night” on their “Unplugged” record. Not only do we get wonderful renditions of these songs, but also glimpses of late 19th and 20th century American history (albeit dimly lit when viewed through a contemporary lens). Although a tad rough in terms of recording quality (transferred from the original 78’s), revelry in song transcends, as it always does when Leadbelly sinks in.

Folkways Records, FP 14, 1951

Side One:

Band 1. Cotton Song
Band 2. Ha Ha This Way
Band 3. Sukey Jump (Win jammer)
Band 4. Black Girl
Band 5. Rock Island Line
Band 6. Blind Lemon
Band 7. Bottle Love And Go

Side Two:

Band 1. On A Monday
Band 2. Shorty George
Band 3. Duncan And Brady
Band 4. Old Riley
Band 5. Leavin’ Blues
Band 6. Pigmeat

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THE INDIAN BAMBOO FLUTE: TWO MASTERS IN TRADITION, GOUR GOSWAMI AND STEVEN GORN

This is a 1985 Lyrichord release of Western disciple Steven Gorn sharing the LP (split sides) with his teacher Gour Goswami. The recordings were made at separate times, Goswami’s “Rag Marwa (Sunset Raga)” recorded in 1974 (just one year before he died of a heart attack), while Gorn’s “Rag Jog (The Deep Night Raga)” lists no date, but was probably done around the time of the release. Cosmic and thoughtful, this record is a really sweet and meditative standout combining the unique sound of the Indian bamboo flute in service to the great tradition. The performances are patient and melodic, with a certain funkiness and groove - the overall mood befits both ragas. The performers include Sri Samir Mazumder, tabla (on Goswami’s side), and Ray Spiegel, tabla (on Gorn’s side).

Lyrichord Stereo, LLST 7387, 1985

Side One:

1. Rag Marwa (Sunset Raga)

Side Two:

1. Rag Jog (The Deep Night Raga)

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THE VIRTUOSO VIOLIN OF SOUTH INDIA: SUBRAMANIAM

Ganesha’s is a fitting image for this LP, as patron of arts and sciences, he is emblematic of the artistry found within. The term virtuoso gets used a lot to describe masters of Indian classical music, and usually for good reason. In the case of Dr. L. Subramaniam it can’t be used enough. Master of the Karnatic, chakravarti (emperor of violinists), I have yet to hear any playing to rival his, with its ever enveloping combination of precision, style, and improvisation, he reinvigorates my fascination with Indian music every time. The performances here are delicate and measured, carrying the listener deep into the Subramaniam universe. Dig the infinite. From the liner notes:

“The violin looks exactly like the Western instrument of the same name. But it is tuned differently and held in a totally different playing position, with the performer seated cross-legged on the floor, the top of the neck of the instrument resting on his ankle. the bottom of the instrument rests between his collar bone and chest, making it possible for the player’s left hand to use a “sliding finger” technique that is employed to produce the ornaments, i.e., the grace notes and embellishments called gamakas, which abound in this music and are an essential part of the melodic structure.”

*There are two tracks listed on side “A” but no logical break appears, so they are reproduced as one track.

Lyrichord, SUBRAMANIAM - LLST 7390, 197?

Side One:

1. Ragam (21′45)
2. Tanam (5′11)

Side Two:

1. Pallavi (23′00)

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DAVID HYKES & THE HARMONIC CHOIR “CURRENT CIRCULATION”

This 1984 LP features two performances, “Subject to Change” recorded in April of ‘84 at The Cathedral of St. John the Divine in NYC, and “Current Circulation” recorded in June of ‘84 at St. Paul’s Chapel at Columbia in NYC. Totally compelling all acoustic works, this recording references liturgical and Himalayan influences (among others), and is a study in ascending tones and vibrational harmonics. Hykes, A fascinating guy, is utterly committed to the use of the voice as a conduit to the universe, and is a student of Dharma and Tibetan Buddhist masters, etc., and continues his vocal/spiritual work today, utilizing one as an extension of the other.

Celestial Harmonies, CEL 010 Digital, 1984

Side One:

Subject to Change (Solo) (5′00)

Current Circulation:
Part 1 Ascending Mount Summation (7′30)
Part 2 (Beginning) (9′46)

Side Two:

Current Circulation:
Part 2 (Conclusion) (3′03)
Part 3 One Above (5′00)
Part 4 Free Ascents (3′30)
Part 5 Flight Patterns (Georgian Joy) (2′30)
Part 6 Rainbow Landing (1′38)

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Recorded at Ramsey Prison Farm in Texas on November 18th, 1965 by Bruce Jackson, this is not only a lyrical expression about the hardships of prison life in rural Texas, but also a document about some essential aspects of the African American experience. Directly grounded in the worksongs and spirituals forged during slavery in North America, J.B. delivers a personal interpretation of a music born out of suffering - you’ll be stunned and amazed. From the liner notes:

“Smitty - J.B. Smith - is eleven years into a forty-five year sentence that begun in 1954; he is 48 years old. This is his fourth time in prison in Texas and he does not expect to be paroled for some time. For him, a song like “No More Good Time in the World for Me”, though it draws heavily on the general inmate song vocabulary, is completely personal; the situation applies to him almost without qualification.”

J.B. Smith: “The oldtimers still sing. That is, if whoever is carrying (in charge of) the squad will let them. In some cases the boss won’t let them sing.”

“The young men don’t get a chance to work with the older men and they haven’t experienced working with older men. A lot of them have never been in the system before. And the crews they work with don’t even know the songs, the worksongs that they work by. But once they get to working with the older men, they learn the songs and they try to carry them on when they can. But like I said, in most cases they can’t because they’re not permitted.”

“All Takoma records should be available from any local friendly superior record dealer, and can be ordered direct from us otherwise for $5 the copy, postpaid.”

Takoma B 1009, 1965

Side One:

1. I Got Too Much Time For the Crime I Done (9′47)
2. The Danger Line (0′43)
3. No More Good Time In the World For Me (13′26)
4. Sundown Man (0′24)

Side Two:

1. Ever Since I Been A Man Full Grown (23′19)
2. Bud Russell (0′54)

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MALAMINI JOBARTEH & DEMBO KONTE “JALIYA”

If freedom has a sound it might be embedded somewhere in the reverberations of the kora, especially as performed here by Malamini Jobarteh and Dembo Konte. This is another communion of voice and kora that elevates the heart and stirs the soul, encouraging countless metaphors relating to warmth, sunshine, etc. (that should fall right off the tip of your tongue cuz your maw will be agape at how gorgeous this record is!). These Gambian fellows are well matched, and carry on as if they have been locked together in spirit and body since the beginning of time. The second side features a track called “Cheddo” which is a longer and somewhat dissonant variation on the form, serving as a standout on the LP. From the liner notes:

“Malamini and Dembo were brought up in the same household as brothers and were taught to play by Dembo’s father, the late Alhai Bai Konte, one of the greatest kora players. Echoes of Bai’s highly individual style can be heard throughout this record.”

Triple Earth Records, STERNS 1010, 1985

Side One:

1. Segou Tutu (2′49)
2. Mbassi (5′02)
3. Solo (4′06)
4. Bamba Bojang (7′28)
5. Tutu Jara (3′11)

Side Two:

1. Fode Kaba (5′29)
2. Cheddo (17′53)

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DAVE EVANS “SAD PIG DANCE: COLLECTION OF GUITAR INSTRUMENTALS”

A really great and confident set of instrumentals, uniquely crafted and totally in-step with both the British folk revival and American Primitive pickers of the 60’s and 70’s. Dave forges his own path, with a distinctly unique finger playing style that utilizes some deft harmonics and percussive techniques. This is virtuosic playing, but remains warm and personal, totally connected to the art of music. Alex Henderson for All Music Guide writes:

“If you consider yourself an expert on folk but aren’t familiar with Dave Evans, it isn’t surprising. The acoustic guitarist never became well known, although not because of a lack of talent - Evans‘ talent is obvious on 1974’s Sad Pig Dance, his first session for Kicking Mule. On this unaccompanied solo guitar outing, Evans‘ focus is instrumental folk that incorporates elements of rock and Mississippi Delta blues.

His great instrumental talents - including techniques involving alternate tunings and percussion-like sound effects - have continued to be an obsession among guitarists from the new age crowd to free improv noise guitar deviates; this fact tends to overshadow Evans’ work as a singer/songwriter. It was in this mode that he first presented himself to the listening public on the 1971 album entitled The Words in Between. It was Evans’ picking, not his singing, that attracted fellow guitarist and record label manager Stefan Grossman who, in the late ’70s, began documenting a variety of guitarists including Evans on the Kicking Mule label. Most of Evans’ best music from the ’70s has been reissued.”

Kicking Mule Records, KM 120, 1974

Side One:

1. Stagefright (3′46)
2. Chaplinesque (1′07)
3. The Train And The River (2′25)
4. Veronica (2′16)
5. Captain (2′32)
6. Knuckles and Buster (2′32)
7. Medley: Mole’s Moan (The Gentle Man Trap) (3′00)

Side Two:

1. Sad Pig Dance (1′28)
2. Raining Cats And Dogs (2′45)
3. Braziliana (1′45)
4. Sun And Moon (3′32)
5. Steppenwolf (2′46)
6. Morocco John (1′41)
7. Sneaky (4′00)

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BALACHANDER, SOUNDS OF THE VEENA, FEATURING THE FLUTE OF RAMANI

Here’s a live recording of our friend S. Balachander and a flautist named Ramani from an unspecified date and location, released in 1966 by World Pacific. This is a lively record with some really playful renditions by Balachander, and is more like a split LP than anything - Ramani gets about the same band width as Balachander, each occupying one of the two tracks on each side (the two don’t perform together, although presumably the performances are the same concert). Also featured are Sivaraman on mridangam, Natesan on tamboura, and Ramabhadran on kanjeera.

Balachander is considered one of the all-time great Veena players, with the unique status of having never studied with a master. Developing his own style while becoming accomplished with a variety of instruments, he’s largely self-taught. Credited with both having elevated the status of the Veena from an instrument for ‘chamber concerts’ to a ‘Pucca’ or concert instrument, as well as having created a style previously “unknown, unattempted, and unexcelled.” In addition to composing film music, Balachander directed his own films which garnered some attention. From the liner notes:

“Ramani’s technical virtuosity and control of the Indian flute (which has no keys) is often remarked, even in India. But his real reputation rests on the “vocal” quality of his playing, which meets the Indian musical ideal - the human voice.”

World Pacific Stereo, WPS-21436, 1966

Side One:

1. Sarasa Saama Dhaana (11′30)
2. Koluvai Unnadae (9′00)

Side Two

1. Kadhanavarike (11′25)
2. Varanaaradha Naaraayana (9′40)

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MAHAVISHNU JOHN MCLAUGHLIN “MY GOALS BEYOND”

When I was in junior high I secretly borrowed a copy of my brothers copy of a live Mahavishnu Orchestra record, and with my music tastes ranging from Yes to The Mothers of Invention, I was pretty sure I had discovered the divine source. My interest in jazz/rock fusion only lasted a few years, and I never fully returned to my fascination with Mahavishnu Orchestra or John McLaughlin (in any of his various guises), with the exception of a record called “Johnny McLaughlin: Electric Guitarist” and this one. Interestingly, this devotional record (dedicated to John’s guru Sri Chinmoy) is split by side into two genres; the A-side containing two blazing E. Indian-tinged orchestrations, while the B-side contains all solo acoustic guitar tunes that incorporate some subtle cymbal and gong.

John McLaughlin can play guitar, almost to the point of absurdity. However, here he shows some restraint, even if he can’t help inserting some lightning scales on “Goodbye Pork-Pie Hat”, a tune that doesn’t really benefit from showboating. The central feature are the two tracks on side one, fitting smack dab into the cauldron of 70’s E. Indian hybrid jazz/rock fusion. John is less foregrounded here, allowing the synthesis of instrumentation to transcend. The A-side features Billy Cobham on drums, Charlie Haden on bass, Airto Moreira on percussion, Dave Liebman on clarinet, Badal Roy on tabla, Mahalakshmi on sitar, and Jerry Goodman on violin.

Douglas Records, Douglas 9, 1970

Side One:

1. Peace One (7′18)
2. Peace Two (12′22)

Side Two:

1. Goodbye Pork-Pie Hat (3′17)
2. Something Spiritual (3′30)
3. Hearts and Flowers (2′11)
4. Phillip Lane (2′38)
5. Waltz for Bill Evans (2′04)
6. Follow Your Heart (3′20)
7. Song for My Mother (2′35)
8. Blue in Green (2′43)

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THE TURKISH INFORMATION OFFICE PRESENTS: SONGS AND DANCES OF TURKEY

Some of the recordings here sound a lot like tracks on Rhassan Roland Kirk’s “Natural Black Inventions: Root Strata”, and it makes sense given that he incorporated an array of ethnic musical influences, as well as his use of a stritch which sounds almost identical to the Turkish zuna. Anyway, this is a fascinating record released by Folkways in 1956, leaving one to guess who might have been grooving to this sort of thing in the 50’s… No insert notes, but some descriptions about the tracks and a little background on Turkey are found on the rear. Basically, this is a comprehensive survey of the diversity of Turkish music styles, and with a geography stretching from the southeastern tip of W. Europe to the heart of the Middle East, it only makes sense the music would be so varied. Istanbul was a major crossroads to the ancient world, and has been occupied by various ethnic influences throughout history, so at times you can hear in its music what sounds like E. Indian, Asian (ala the Himalayas), Middle Eastern, European liturgical influences, and beyond.

Mostly instrumentals with a few vocal accompaniments, the record was recorded and curated by ethnomusicologist Laura Boulton, who probably had a really fun time accumulating this stuff - she presents great variety, and has good taste in music. All the songs are exceptional, the only real surprise being the recording of a military band in Izmir that’s not at all what I expect Turkish music to sound like.

Folkways Records, FW 8801, 1956

Side One:

1. Dance of Kars: clarinet, violin, drum (1′53)
2. Hop, Hop, Hop (love song from Central Turkey), chorus and orchestra (2′08)
3. Zeybek (dance from Izmir), clarinet and darbuka (1′34)
4. Zeybek (dance from Izmir), cura and darbuka (1′18)
5. Girl From Kermen (love song from Central Turkey) chorus and orchestra with bells and spoons (1′58)
6. Dance (from Rize on the Black Sea), tulum (bagpipe) (1′33)
7. Camel Bells (caravan song frm Trabzon on the Black Sea) (1′40)
8. The Waters of the Valley (love song from Erzurum), male solo and chorus (1′59)
9. Kazaska (dance from Kars), clarinet, violin, drums (1′34)
10. Dance (from Rize on the Black Sea), kemence (1′07)
11. Shepherd’s Song (from Rize on the Black Sea), kaval (0′42)
12. The Bacon Is In The Larder (dance from Rize on the Black Sea), male solo with kemence and clicks (1′30)
13. Black Pepper (popular love song from Istanbul), male solo with saz and darbuka (1′35)

Side Two:

1. Classic Song (Istanbul), chorus and orchestra (3′53)
2. Classic Song (Istanbul), chorus and orchestra (2′33)
3. Flute Solo (Istanbul) (1′30)
4. Zurna and Davul (dance from Ankara) (1′45)
5. Zurna and Davul (dance from Ankara) (1′07)
6. Mehter (classical, from Istanbul), chorus (4′58)
7. Izmir, march (3′11)
8. Dance from Kars, clarinet (2′12)
9. Every Morning, Every Dawn (love song frm Trabzan on the Black Sea) male solo with saz (2′29)

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Traditional old timey folk music when authentic and spirited makes for some of the most gratifying sounds I know, and these sweet grass songs of times gone by are just the stuff (and include all the usual death ballads, broken hearts, drifters, liquor, God, etc.). Ola’s voice is a solid driven engine with strength enough to freight the long winding family sound on this 1973 Rounder Records LP recorded by Gei Zantzingerin in 1972 in Devault, Pennsylvania. The record features Ola Belle Reed, banjo and fiddle; Bud Reed, harmonica, banjo and guitar; David Reed, banjo and guitar; John Miller, fiddle; and Alan Reed, banjo and guitar. Genuine and stirring, this is deeply rooted stuff, with tracks like “Fly Around My Pretty Little Miss” and “The Springtime of Life” winning hearts and moving feet - I can only trust that “The Soldier And The Lady” will soften even the hardest among us. Still available in CD format by the folks at Rounder. From the liner notes:

“Unlike many other musicians, Ola Belle’s music is balanced and integrated with the rest of her life. She views music as a part of life that can effectively bring people together and help them work together. Having grown up in a poor but religious atmosphere, she realized that if life can be made qualitatively better for any of us, it can be brought about only by a community sharing and working together. There is a very basic and vital optimism in Ola Belle’s belief that we can positively change our lives for the better by relying upon ourselves and “by taking matters into our own hands and doing something about the problems and situations that come in front of us everyday.” Since any true radical’s battlefield is provincialism and bigotry, Ola Belle has come to deplore many of the recent tendencies of country musicians to become ardently chauvinistic about their tastes in old-timey, bluegrass, etc. to the exclusion of all other music. This development runs directly counter to Ola Belle’s affirmations of music as a unifying and comradely tie among people. Ola Belle herself is aware of her own tastes and roots in music, but jealously defends the rights of other performers to choose their own style and material. Music, she feels, belongs to us all. As concrete support for this assertion, she can point to songs that are adapted beautifully to many different styles.”

Rounder Records 0021, 1973

Side One:

1. Wayfaring Pilgrim (4′29)
2. High On A Mountain (2′32)
3. The Soldier And The Lady (4′12)
4. Fly Around My Pretty Little Miss (2′00)
5. Go Home Little Girl (3′56)
6. Blues In My Mind (3′00)
7. God Put A Rainbow In The Clouds (2′47)
8. Flop Eared Mule (2′21)

Side Two:

1. The Springtime Of Life (4′07)
2. Billy In The Lowground (1′28)
3. You Don’t Tell Me That You Love Me Anymore (3′42)
4. I’ve Always Been A Rambler (3′16)
5. Rosewood Casket (2′38)
6. John Hardy (1′41)
7. My Epitaph (3′07)
8. I Believe (2′46)

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TWO MUSICAL TRADITIONS OF INDIA: DR. L. SUBRAMANIAM AND SMT. LAKSHMI SHANKAR

Although a huge fan of Dr. L. Subramaniam, this live split-LP’s highlight is Lakshmi Shankar’s contribution occupying the entire first side of the record. Her voice is totally captivating, and her versatility and gently patient style make for a really sweet ride into the ether. Lakshmi recorded with both Ravi Shankar and George Harrison, among others, and is well known in the lexicon of eastern Indian greats who have recorded for Western audiences. “Her greatest assets are a brilliant and melodious voice which encompasses three octaves with ease, a polished style, dedication to music, and an intelligent approach to art.” Featured with her are Zakir Hussain, tabla, and Vijayashree Subramaniam, tanpura.

On side two are three tracks by Dr. Subramaniam, the first of which is unfortunately cut short. One of the many great things about Indian classical music is the song durations, but unfortunately, the folks at Ganesh Records felt it better to include a variety of short tunes by the Dr. instead of just one side-long track as they did with Lakshmi. In the end you can’t go wrong with any song duration by Subramaniam, as he always delivers fanfare, and a mind-numbing brilliance of style and form. Featured with the Dr. are Palghat T.S. Mani Iyer, Mridangam, and Vijayashree Subramaniam, tambura. Unfortunately, I was unable to get information about the dates or locations of these performances, nor can I find any information about Ganesh Records (seems to be c. mid to late 70’s).

Ganesh Records, DRL 1008

Side One (Lakshmi Shankar):

1. Supna Ban Aaye, Raag: Rageshri Khyal Vilambit: Ektal

Side Two (Dr. L. Subramaniam):

1. Kriti: Siddhi Vinayakam, Raga: Shanmukhapriya, Tala: Roopakam, Composer: Muthusvami Dikshitar

2. Kriti: Paluku-Kanda Sakkeranu, Raga: Navarasa Kannada, Tala: Adi, Composer: Thyagaraja

3. Thirupugazh, Raga: Todi, Composer: Arunagirinathar

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JON GIBSON: TWO SOLO PIECES

The track “Cycles” on side one is a drop dead gorgeous minimalist drone piece, indeed one of the finest I have heard, containing no overdubs or electronics. Featured instead is what the liner notes describe as “an environmental, textural piece that is essentially improvised on a constantly shifting seven-note melodic progression in four-part harmony… played on a pipe organ… using sustained tones in various groupings, clusters, and stop settings.” Side two of the LP is a more straightforward “structured improvisation” for the flute, but no less interesting in its compositional framework, and as a demonstration of Gibson’s ability as a skilled flautist. The record has been reissued previously on CD by New Tone, and again recently in a package that includes three extra tracks not found on this Chatham Square LP. From the Grove Dictionary:

“Gibson began his own early experimental work as an improviser and composer, performing in the New Music Ensemble, which also included composers Larry Austin, Richard Swift and Stanley Lunetta. Gibson’s compositions reveal an underlying Minimalist/Post Modern vocabulary which he helped pioneer, along with influences from jazz, which he has studied since his teens, notably with saxophonist John Handy in the early 60s; and the South Indian vocal music he studied simultaneously at the Ali Akbar Khan School. Other non-Western musical influences include Indian musicians Pandit Pran Nath, Bismallah Khan and Mahalingam.”

Chatham Square Stereo LP 24, 1977

Side One:

1. Cycles (1973), Recorded December, 1975 at Washington Square Church, New York (22′49)

Side Two:

1. Untitled (1974), Recorded December, 1975 at Big Apple Recording Studio, New York (18′15)

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VIBRACATHEDRAL ORCHESTRA

Given the field, I think these guys do a nice job with the drone/improv/psych/whatever genre, and find themselves in fine form on this recording of a live performance from 2003 for WFMU radio in New Jersey. The lineup featured the usual Adam Davenport, Bridget Hayden, Julian Bradley and Michael Flower (Neil Campbell stayed home with a new baby), and included special guests John Godbert, Matthew Bower, and Tom Greenwood. Tribal harmonics meets electric atmosphere, with drone as platform for the freewheeling and earnest jams - the thing I appreciate most, though, is the members never stray too far from course, maintaining a cohesion that generally feels like a functional organic mass treading the sympathetic course on the good trip to peak-out mountain. Steve Rybicki writes:

“Vibracathedral Orchestra live is a totally different proposition than their “studio” recordings. Playing live gives them a chance to stretch out their improvisations and set the controls for the heart of the drone. Add to that the fact that they had acquired confidence after having just completed very successful gigs with American sympaticos Sunburned Hand of the Man and Double Leopards, the inspired contributions from their guests, and the soundboard quality you get from these two side-long recordings and what you’ve got is some pretty essential stuff.”

Eclipse Records, ECL 031, 2004

Side One:

1. Ridin’ Free (19′59)

Side Two:

1. Captain Labour (14′55)

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EKKEHARD EHLERS “BETRIEB”

Throughout this double LP are intersections between the cerebral and the poetic, and although rife with both, it’s sometimes hard to discern where the one begins and the other ends. This isn’t necessarily a bad thing, especially if you enjoy the fin de siécle minimalist sounds of Ekkehard Ehlers (et al.) in his various guises. “Betrieb” (operating) was Ehler’s first solo release under his own name from 1999 on Mille Plateaux, coming smack dab in the middle of the time when experimental post-digital deconstruction (call it what you will) was really taking hold, and lots of artists and computer music-types started making sounds similar to what you hear on this LP, utilizing among other things, the detritus (samples) from the library of 20th century music. That’s not a bad thing either, and while considering the genre through the austere impulses of this album ten years later, it’s an interesting listen both in its conceptual aspirations, and for the beauty it encompasses. The first two sides contain only song titles, with no source material references other than to Ives and Schoenberg (tucked away in the liner notes by Curd Duca), while the second two sides give credit to the artists covering titles from the first two sides, all more or less stalwarts within the genre (and thus, the détournement becomes the snake eating its tail sort of thing). If I recall, the latter ‘cover’ tracks could only be found on the LP version of the original release.

Mille Plateaux, MP 86, 1999

Side One:

1. Auf (0′49)
2. Innen (3′52)
3. Offen (4′33)
4. Langsam (3′16)
5. Weit (4′39)
6. Schneller (1′20)
7. Früher (6′09)

Side Two:

1. Rund (0′43)
2. Weiter (2′29)
3. Später (3′47)
4. Unten (6′29)
5. Tief (4′46)
6. Immer (1′15)
7. Zu (2′58)

Side Three:

1. Unten (Christian Fennesz) (3′56)
2. Tief (Akira Rabelais) (4′53)
3. Offen (Autopoieses) (5′54)

Side Four

1. Später (Full Swing) (7′22)
2. Weiter (Komet) (5′49)
3. Früher (Stewart Walker) (5′29)
4. Innen (Neina) (7′10)

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CHARLES IVES: THE SONATAS FOR VIOLIN AND PIANO, VOLUMES ONE AND TWO

“My God! What has sound got to do with music!” Ive’s once wrote, and a fitting departure point from the above to deliver a couple more relevant Folkways titles… From the Liner notes by Samuel Charters:

“Although Ives’ theories of music were strongly personal his general aesthetic theories were greatly influenced by the transcendentalism of Emerson, Channing, and Bronson Alcott, which believed that the natural world was the expression of a larger universal reality. He is regarded as one of the first American composers to write music in an American idiom, but he would have been disturbed to find himself thought of as only “American” in his creative expression. He felt that the artist’s only truth was to be found within himself, that what he might express as himself takes on the coloration of a place or environment, but if he has been honest in his artistic search the artistic truth that he has found will be a truth beyond any national or local tradition. Ives was too aware of the difficulties of “scene painting” to pretend that he could describe “… the west wind in the pines and oaks, the running brook… the distant voices of the farmers across the hill getting in their cows and sheep,” but he did insist that an artist could capture some essence of the larger spirit that was at the heart of the experience that concerned him. In the collection of essays that he wrote to accompany the publication of his “Concord” Sonata in 1920, “Essays Before A Sonata,” Ives discussed some of his philosophic attitudes toward music and art. In a concluding Epilogue he raised the question of how much a piece of music could be “descriptive.”

‘The futility of attempting to trace the source or primal impulse of an art inspiration may be admitted without granting that human qualities or attributes which go with personality cannot be suggested, and that artistic intuitions which parallel them cannot be reflected in music… That which the composer intends to represent as “high vitality” sounds like something quite different to different listeners. That which I like to think suggests Thoreau’s submission to nature may, to another, seem something like Hawthorne’s conception of the relentlessness of an evil conscience - and to the rest of our friends, but a series of unpleasant sounds. How far can the composer be held accountable? Beyond a certain point the responsibility is more or less undeterminable. The outside characteristics - that is, the points furthest away from the margins - are obvious to mostly anyone. A child knows a strain of joy from one of sorrow. Those a little older know the dignified from the frivolous - the “Spring Song” from the season in which the “melancholy days have come” (though is there not a glorious hope in autumn!). But where is the definite expression of late spring against early summer - of happiness against optimism? A painter paints a sunset - can he paint a setting sun?’

He then went on to the Emersonian ideal of the duality of artistic expression, with its belief that a work of art is at once its substance, or content, or “soul,” and its manner, or style, or technique. Music, he felt, should be like Emerson’s essays, all substance, contain the essence of some moment of reality. The American composer Elliott Carter, in an essay entitled “Ives Today: His Vision and Challenge,” which appeared in Modern Music in the May-June issue, 1944, recognized this duality in Ives’ music:

‘On the surface of his work, the infinite complexity of nature, the rapidly changing moods of forest and plain, the web of counterbalancing forces appear confused and dissociated. But Ives’ involved texture, while mirroring this superficial confusion, at the same time attempts to show the larger harmony of rhythm behind the natural process.’”

Folkways Records, FM 3346, FM 3347, 1965

Side One, Sonata 1:

1. ANDANTE - Allegro Vivace (8′19)
2. LARGO CANTABILE (8′49)
3. ALLEGRO (9′01)

Side Two, Sonata 2:

1. AUTUMN - Adagio Maestoso - Allegro Moderato (5′30)
2. IN THE BARN - Presto - Allegro Moderato (4′13)
3. THE REVIVAL - Largo - Allegretto (4′47)

Side Three, Sonata 3:

1. ADAGIO, Verse 1 - Andante, Verse 2, allegretto, Verse 3 - Adagio, last verse (14′08)
2. ALLEGRO (4′19)
3. ADAGIO CANTABILE - Andante Con Spirito (10′34)

Side Four, Sonata 4:

1. ALLEGRO (2′25)
2. LARGO ALLEGRO (con slugaroko) (6′09)
3. ALLEGRO (1′51)

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