JANUARY 10′
SANZA AND GUITAR: MUSIC OF THE BENA LULUWA OF ANGOLA AND ZAIRE
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)
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)
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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