Salamat Ali & Nazakat Ali - Megh, Bhairagi Bhairav rec. 1970

Front Cover: ‘Lady With Vina’ (Todi  Rāgini) - Kulu c.1720, 

Courtesy of the Victoria & Albert Museum.

Salamat Ali & Nazakat Ali 
• Megh, Bhairagi Bhairav
Hanibal Records - HNBL 1332 - P.1988




Side A

A1 Rāg Megh - Jhumrā tāl - medium and fast Tintāl 26'08


Side B

B1 Rāg Bhairāgi-Bhairav - Jhumrā tāl - Jhaptāl and Tintāl 25'57

rec, 1970, London


Ustad Salamat Ali Khan, vocal
Ustad Nazakat Ali Khan, vocal
Shaukat Hussain Khan, tabla
Ghulam Mohammed, sarangi




The two brothers - Ustad Salamat Ali and Ustad Nazakat Ali - are a legend in the world of North Indian classical music. They learnt from their father - Ustad Vilāyat Ali Khan and are the doyen of the Shim Chaurāsi Gharāna - or tradition of singing. A unique feature of their music is the contrasting but balanced performance of the two singers; Salāmat Ali being the more virtuosic with the most incredible and breathtaking technical skill no less matched by his wonderful musical phrasing; Nazakat Ali providing a more’ gentle, sombre and austere accompaniment.

It is a pleasure to listen to this recording in 1988, particularly because it was first recorded in 1970. and reflects truly the quality of their music at the height of their skills. The artists have a most sincere approach to their art and always give of their best, whether in live performance or in the recording studio the standard is always the same.

My introduction to them was in concert in 1969, during their first visit to London at the Commonwealth Institute. The prospect of seeing the two brothers perform was an exciting one and I was not disappointed in my expectations. They sang one Rāg for about an hour and a half, keeping the audience absolutely spell-bound. Since then, sadly. Ustād Nazākat Ali has passed away, making this recording of the duo an even rarer treat. Today Ustad Salāmat Ali performs with his own son Sharāfat Ali, thus continuing the family tradition and it is a pleasure to say that Ustad Salāmat Ali will, even by his current performances, enter into the annals of Indian music as one of its greatest exponents. The style in which the music is sung is called “Khyāl”, and is the most popular rendition of classical vocal music of North India and Pakistan today. Khyāl has superseded the more ancient and austere tradition of Dhrupad over the last 200 years or so. The word itself means “imagination” or “fantasy”. The hallmark of Khyāl therefore is the freedom it allows an artist to be creative and to improvise, which Dhrupad did not allow to such an extent and, as a result, singers developed incredible virtuosity and vocal technique. This is most evident in Ustad Salamat Ali’s music. This utterly gifted artist has a powerful voice moving through a range of three octaves with ease. Salamat Ali has great control, ranging in the use of Gamak (fast wide vibrato) to the very fine ornamental phrases.

As with virtually all traditional Indian music three math elements are discernible in this recording. The first is the drone - played on the Tanpura. The second is rhythm - played here on the Tabla. The third is the main melodic line. The two singers alternate in their improvisations around a predetermined composition or Bandis in slow, medium and fast tempi, thus only one melodic line prevails. A fourth element is represented by the Sarangi - a beautiful bowed instrument which echoes the math melodic line and occasionally “fills” in with the Sarangi player improvising in his own right. In both pieces the musicians follow the traditional pattern of Khyāl. Each Rāg begins with a Bara or Bilampit Khyal in which tbe tempo is very slow and over which the singers create phrases in the Rāg working their way gradually up the scale. Each phrase or idea is concluded by returning to the “ciz” - a short refrain ending on the sum or the first beat of the Tal. The music gains in intensity and virtuosity as it progresses in a spiral fashion up the scale and eventually faster in tempo. The rhythm changes markedly into the Chotā or Drut Khyāl in which the central composition or Bandis alternates with fast and beautiful phrases. The pieces end with a Tarana - sung in very fast tempo, bringing each rendition to an exciting conclusion.

It is interesting to note that both the Rāgs performed here are pentatonic. They have the same intervals except that Bairāgi has a flat second and Megh has a natural second, the other intervals being the tonic, the fourth, the fifth and the flat seventh. The result is an astonishing and completely different mood and hence rendition. Rāg Megh is associated with the rainy season, with love and anticipation. As it is sung on this record it has a very romantic feel. The Rāg Megh is traditionally performed in the late afternoon or the late evening. Bairāgi on the other hand is associated with a sad mood and is devotional and often expresses the individual’s longing for God personified through human love. This Rāg is usually performed in the early morning.

text above extracted from the backside of the record sleeve

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Les Touareg - rec. by Danièle & Douchan Gersi - 1970

Les Touareg (Avec les Seigneurs des Sables) 
- Tassili, Iforas, Hoggar.
Traditional Tuareg tribal music recorded by Danièle & Douchan Gersi
Disques Alvarès - (Production la Boîte à Musique) C 469 - P.1970



Side A

A01 Tindi
A02 Tindi
A03 Tindi
A04 Tindi
A05 Tindi
A06 Tindi
A07 Tazengarat (Appel aux Esprits)


Side B


B01 Ahal
B02 Ahal
B03 Ahal
B04 Ahal
B05 Tindi (Imzad)
B06 Tindi (Imzad)
B07 Chant de Guerre et Tindi
B08 Tindi
B09 Saha (Chant pré-islamique)
B10 Tindi (Cheo Menina)
B11 Tindi (Aicha)
B12 Tindi (Danse des batons)
B13 Tindi des Kel Ajjer



Bonus interimistic post! Here is a great record that was thanks to a fellow blogger and good friend Janas, who runs a most exquisit blog named Chaudron and that is worthy of many walkabouts. The picture below is from one of his previous posts on a book about the Hoggar Tuaregs, check it out here. He also has a remarkable collection of records and some of the most rare vinyl, some that I have been looking for during a long long time. This record is one of them! I am very happy to share with you this most appreciated addition to the Luobaniyan archives, and there are some more equally great ones waiting to be posted also generously shared by him.. Hope you enjoy as much as I do!

The Tuareg of the Hoggar

Music ▼ +

Amanat & Fateh Ali Khan • Raag Darbari & Sakh - 1970

Amanat Ali Khan & Fateh Ali Khan 
• Raag Darbari & Sakh 
EMI Pakistan - ALPC 12 - P. 1970


Side A 

A1 Darbari 22’09

One of the most popular of our Raags Darbari was created by Naik Mian Tansen, one of the nine ‘gems’ of the great Moghal King, Akbar. It was the monarch himself, who in view of this Raag's stately form, inbuilt grandeur and majestic overtones gave it the name Darbari, literally meaning ‘of the court’ – that is a Raag fit for the Kings. This assessment of Darbari has not changed in the last four hundred and fifty years and it is still considered a Prince among the Raags. In fact no classical singer or instrumentalist can be considered to have finished his education without complete mastery over this important melodymode.

Amanat Ali Khan, Fateh Ali Khan's rendering of Darbari is in three phases. The opening slow movement is in Iktala a rhythm of 12 beats, the second in Teen Tal having 16 beats and the third even faster movement is a Tarana, also in Teen Tal.


Side B  

B1 Sakh 28’34

It is a seven note Raag of the family of Sakhs. The fourth and the seventh are flat and the rest of the notes are sharp. Structually and even emotionally it is close to Ragesri. The little changes of stress in the notes in the three composition bear testimony to their different origins. The spirit of the Raag. as indeed its treatment, gives the impression of peace, of quiet beauty and of subdued richness with the soft under current of gentle romance.

Sakh is sung for you in three movements. The first slow phase is in Iktala, the second faster movement is in Jhaptal – a rhythm of 10 beats - and the final movement, the Tarana is sung in Teen Tal.



The Sarangi accompaniment is provided by Ustad Hamid Husain
and the Tabla is played by Vajid Husain.


Here is a response to a very recent request. I was holding this back as I always think I could come up with some reason connecting one post with another but there is really no excuse not to post this. It was one of the records I brought with me to Peking in the seventies as a part of the life supporting music kit. Half of my suitcase contained music, free jazz, second vienna school, african field recordings and popular, arabic and indian classical and because of the times Peking opera was barely to be heard no recordings were available on kunqu opera so I brought a lot of that, and a lot of coffee and almost no clothes! This one got much playtime in my "student room turned musical café". Hope you enjoy. Truly music "of the court", the best thing with that is that in Luobaniya we can all be the pashas, the moghuls, the maharajas, the viziers, the caliphs, the nawab, the pradhans, diwans, and the sultans and the khans and... (did I forget someone?)... Anyhow true nobility exists only for those with ears to hear!

Amanat Ali Khan - b. 1932 — d. 1974

Fateh Ali Khan b. 1935

Amanat Ali Khan,  Fateh Ali Khan, receipients of Pakistan's highest music award, Pride of Performance (1969), are the grandsons of late Ustad Ali Bukhsh of Patiala.

Ustad Ali Buksh, in keeping with the ancient Dhurpud tradition, used to sing with his friend Ustad Fateh Ali Khan, father of late Ustad Ashiq Ali Khan of Patiala. He also had many memorable solo performances to his credit. So great was the fame of these two maestros, that to this day, nearly half a century later they are household names throughout the length and breadth of the sub-continent.

They had the good fortune of imbibing the knowledge from no less than four schools of Khayal singers. Their relentless devotion, combined with intrinsic talent and authentic musical education, flowered into a distinct form of Khayal singing, known as the Patiala Style.

The Patiala music is singularly rich in Khayal and Tarana compositions and has the freshness and vigour of the modern times along with the classical authenticity of the ancient Raags.

Today, Amanat Ali Khan and Fateh Ali Khan, sons of Ustad Akhtar Hussain Khan, represent the best traditions of the Patiala Style of Khayal singing. In this album you will hear their versions of Raag Darbari and Raag Sakh.

quoted from the sleevenotes of Salim Gilani

Music ▼ +

Madurai Brothers - Nadhaswaram 1970

The Madurai Brothers - Nadhaswaram

M.P.N. Sethuraman & M.P.N. Ponnuswamy

EMI India - S-33 ESX 6037 - P.1970

Side A 

A1 Anadhudanuganu - Jingla 4'04

A2 Swararagasudharasa - Sankarabharanam 17'54

B1 Manasa etulo - Malayamarutham 4'25

Side B

B2 Naane unai nambinen - Hamsanandhi 13'25

B3 Aadum chidambaramo - Bhehag 5'21 

More Nagaswaram for the needy!  This is an excellent record we did not have here before presented to me by a musician friend whose wonderful collection of rare West African and Moroccan music we shall hear more from when some of the more rare ones appear here on Anthems as time allows. 

He has generously let me go on excursions in his record shelves and this one was an odd out, I used to have a copy of this record myself but that one had vanished sometime over the years. 

There were several other Carnatic LP's but alas, sometimes overlapping tastes means that there are many copies of the same, so unfortunately this one was the only "unique". The rest were mostly african and some of those I am sure will find a good audience here. 

Music ▼ +

Music from Czechoslovakia - Recordings by James McNeish

Music from Czechoslovakia - [Folk Music of Czechoslovakia]

Recordings by James McNeish

Argo Record Co. - DA 89 - P.1970

Side A

A1 Song — Dance 3'43

A2 Poison Ballad 1'00

A3 Children's Song - The Burning Sun 2'15

A4 Landler 1'08

A5 Love Song 2'05

A6 Drinking Song 0'56

A7 Bagpipe Solo 1'07

A8 Hollar Song 1'30

A9 Lullaby, Chodsko area 0'50

A10 Love Song 1'23

A11 Murder Ballad, 3'02

A12 Cimbalom Solo 3'38

A13 Nature Song 1'33

Side B

B1 Wedding Song 1'15

B2 Lullaby for an Illegitimate Child 1'43

B3 Bandit Song 1'50

B4 Bagpipe Song 0'45

B5 Song Without Words 1'58

B6 Polka 2'45

B7 Hollar Duet 1'07

B8 Bagpipe Song 0'44

B9 Field Song 3'12

B10 Bagpipe Solo 4'35

B11 Orphan's Lullaby 2'18

B12 Wedding Song 1'38

IT is said that Karel Plicka, the, indefatigable collector of Slovak melodies, amassed in his lifetime some fifty thousand texts and tunes. When it is considered that Slovakia in size, and population roughly represents only a third of Czechoslovakia the statement even if exaggerated, gives some idea of the musical resource of that country. Had Plicka devoted himself to Moravia or Bohemia instead, his rewards would probably have been as great.

Plicka's energies were at their height between the wars. And today?

In a corner of southern Moravia, to take one sparsely populated valley on the Velička River where I recorded in 1966, there are still two hundred individual Folk musicians of repute. In southern Bohemia young girls will stroll into the country, exchanging songs all day, and return at night without having repeated themselves

In mid-Slovakia, marooned in a rundown school under the Tatra Mountains, I encountered a young schoolteacher who began singing work songs at nine in the evening and was still singing, far from exhausted, at three the following morning.

A portion of the music of these three areas is reflected on this disc: a highly personal choice resulting from two postwar field trips. In these areas alone there is a complex of regional expression, enriched by western and eastern cultures, sufficient to occupy a team of ethno-musicologists for a lifetime. From the sleeve notes by James McNeish...

James McNeish

These field recordings were made in 1960 and 1966 by New Zealander James McNeish. McNeish is an interesting character. Born in 1931 in New Zealand, he did a BA in modern languages, taught a bit, then, in 1958, worked his passage to Europe on a Norwegian freighter.

He became a fireman at Joan Littlewood’s Theatre Workshop and, after a spell teaching in south London, set off around Europe in 1959 with his first wife, recording folk music. He recorded in Poland, Czechoslovakia and Hungary before landing in Sicily in 1960, where he stayed two to three years.

Back in London (1963 or 1964), he turned the Greece and Sicily recordings into two series of radio programmes for the BBC’s Third Programme. Two people from Argo sat in on one of the programme recording sessions, “got excited by what they heard and commissioned a disc”, he remembers.

The Sicily recordings – Sicily in Music and Song (Argo DA 30) – and this album got a simultaneous release in the UK and the USA in early 1965. A later Argo LP of McNeish recordings – Folk Music of Czechoslovakia – was one of reviewer Brian Rust’s albums of the year in The Gramophone in 1970. "A model of its kind, instructive and delightful."

quoted from Folkcatalogues excellent blog some more to read about McNeish and Argo there!

I choose this one because it fitted with the previous post. I will post the Greece, and Sicily albums mentioned in the text a little later but first there are still some more Deben Bhattachariya coming...

Music ▼ +

Romania - Deben Bhattacharya recordings

Musique Folklorique du Monde - Roumanie

Enregistrements Deben Bhattacharya

Musidisc- CV 1111 - P.1970-4?

Side A

A1 Hora Lautaresca 1'42

A2 Pe vale 1'31

A3 Doina - Lyric Song 3'10

A4 Doina, on fluier 2'04

A5 Legenyes 1'41

A6 Chant d'amour Moldave 1'38

A7 Ciocanesteanca 3'16

Side B

B1 Invirtit 1'35

B2 Chant d'amour d'Oltanie 2'05

B3 Chant d'amour d'e Transylvanie 1'19

B4 Bumbiereasca 1'37

B5 Bucium 0'27

B6 Doina, on Tilinca 1'36

B7 Fecioreasca 1'17

B8 Ballade 2'18

B9 Chant d'amour 3'02

So, finally ... Lets go with Deben Bhattacharya to Europe and start with "Roumanie". The year of recording is not clear so maybe we can get the help of some of you that are more experts on this music than me. Folkcatalogue maybe can help out! I have not much to say about this record except that there are a few tracks I like very much and others that leave me wondering. I will come back to how the recordings from Eastern Europe were recieved. The next one may very well be the Argo from Rumania or the Musidisc "Hongrie". Apart from the Musidisc I will post all the Caprice, Ocora and Argo recordings I have of Deben Bhattacharyas East European and other European recordings and I will let you listen yourselves before I make any more private comments. Hope you enjoy a few tracks here and if you know more about the music and musicians please let us all know!

Music ▼ +

Sheik Chinna Moulana - Nagaswaram

Sheik Chinna Moulana - Nagaswaram
EMI Columbia - S-33 ESX 6029 - P.1970




Side A

A1 Janaki Ramana - Suddhaseemanthini 5'33
A2 Valli Nayakane - Shanmugapriya 16'09

Side B

B1 Marugelara - Jayanthasri 7'51
B2 Karuninchutaku - Sindhumandari 2'33
B3 Itu Sahasamulu (Javali) - Saindhavi 3'44
B4 Thullumadhivetkai (Thirupughaz) - Hamsanandhi 6'37



I promised more Nagaswaram music and here comes another of the great masters. The profound artistry of Sheik Chinna Moulana. He was a childhood admirer of T.N. Rajarathnam Pillai, and in later years emulated Pillai's approach to the nadhaswaram.


"For many in the audience, the Dalai Lama’s address was the night’s high-point. But there was a final treat awaiting us; for, at the break of dawn, the peerless nadaswaram player Sheikh Chinna Moulana made an appearance. Here was a man who embodied the Mahatma’s (and Ramu’s) ideals as well as any Indian then living. Born in a Muslim family in Andhra Pradesh, and a practicing Muslim himself, his faith was capacious enough to embrace a deep devotion to Lord Ranganatha. By the time we heard him that morning in Delhi, he had lived for 25 years at Srirangam, making his home just outside the great temple there. Thus was one of the holiest of Hindu holy spots enriched by the presence, and the music, of this Telugu-speaking Muslim."

from The Hindu here

Sheik Chinna Moulana (1924-1999)

Sheik Chinna Moulana - "chinna" (in this case meaning younger, as opposed to "pedda" elder) - might have remained a provincial musician had he not learnt to combine the Thanjavur style of music with that of his native school; in the event, he was accepted as a nagaswara vidwan of great merit in Tamil country. His hero was Nagaswara Chakravarti T.N. Rajarathnam Pillai, whose birth centenary was celebrated two months ago. There was poignancy when Chinna Moula, delivering his presidential address at the Music Academy's annual festival last December, said that he would place the Sangeeta Kalanidhi title at the "feet" of the late Rajarathnam Pillai before accepting it; poignancy because the Academy had not deemed it fit to honour Rajarathnam with the title, apparently because he had thumbed his nose at the establishment.


Sheik Chinna Moulana was born in Guntur, Andhra Pradesh, into a musical family whose ancestry goes back to Sheik Nabi Sahib of Sattalur. He received his initial training from his father, Kasim Sahib, and later from vidwan Adam Sahib of Chilakalooripeta. He received further training in the Tanjore style of playing under the Nachiarkoil brothers, Rajan and Dorai Kannu.

Sheik Chinna Moulana gave his first performance in 1960 in Tamil Nadu, India and quickly gained renown.

He was an artiste in great demand and performed extensively in India and abroad. He served as an honorary professor at the Tiruvayyar Music College in Tanjore district. He was known to be a devout follower of the Hindu deity Ranganatha, which lead him to reside in the pilgrim city of Srirangam where he established the Sarada Nagaswara Sangeeta Ashram, a school for aspiring nagaswaram players. Notable students of the ashram were his own grandsons Babu, Pedda Kasim and Chinna Kasim as well as Mahaboob Subani and Kalishabi Mahaboob.

The Music Academy in Madras chose to honour Chinna Moula for a combination of reasons. First, no nagaswara vidwan had been given the title for 37 years. Secondly, Chinna Moula was an outstanding exponent of the nagaswara, a maestro no less, with a large following. Thirdly, he hailed from Telugu country and it would be in keeping with the image of the Music Academy as an all-India organisation to go beyond the boundaries of Tamil land to honour an 'outsider', although Chinna Moula had lived in Srirangam, near Tiruchi, for many years and acquired the status of an honorary Tamil. Finally, as the nation celebrated the 50th anniversary of Independence, it was fitting to honour a man who symbolised not only linguistic but also religious harmony.

"Moula Saheb"

This cover below is the typical generic cover that many records were sold with when the originals were used up. This is the most "generic" of them all, with the same image on both sides. Some had the same artwork but would at least have the name of the artist and the titles of the music printed on them. The original cover would be great to see, so if someone visiting this blog has it please pass it on to me.


Music ▼ +

M.S. Subbulakshmi - Bhaja Govindam - Vishnu Sahasranamam

M.S. Subbulakshmi - Bhaja Govindam - Vishnu Sahasranamam

EMI Odeon - SMOAE 5011 - P.1970

Side A

A1 Talk on Bhaja Govindan by Sri Rajagopalachari 'Rajaji' 2'05

A2 Bhaja Govindam - 11'04 - (lyrics in sanskrit, with interpretation into hindi and english)

A3 Vishnu Sahasranamam - Dhyanam - 6'54

Side B

B1 Vishnu Sahasranamam - Stotram 22'43

Sri Rajagopalachari 'Rajaji' (1878 — 1972)

Chakravarthi Rajagopalachari (Tamil: சக்ரவர்த்தி ராஜகோபாலாச்சாரி) (December 10, 1878 - December 25, 1972), known as or Rajaji or C.R., was an Indian lawyer, writer, statesman and a devout Hindu . He was the second Governor-General of independent India. Later he became the Chief Minister of Madras State, and was one of the first recipients of India's highest civilian award Bharat Ratna (in 1954).

CR made several literary contributions. His works in his native Tamil are recognized as modern classics (published and re-printed several times). After his break with politics, he started on the massive task of translating the Hindu Scriptures Ramayana , Mahabharata from Sanskrit to Tamil; and later into English.

He received rave reviews from scholars and religious seers alike. He translated Upanishads and Bhaja Govindam into English. His book Hinduism - Doctrine and Way of Life is a concise essence of the doctrine and way of life propagated by Hinduism.

His novels and short stories, themselves would have won him public adulation. He also translated 'The Tirukkural' from Tamil to English. 'Tirukkural' is an ancient piece of the Tamil literature and is often referred to as 'the flower of Tamilnad'. His ability as a writer, is in a sense, unparalleled, not just in India alone.

Some of his poetry was set to music and sung by Carnatic music's dominant personality M.S. Subbulakshmi at several occasions of importance, and once at the United Nations, Kurai Onrum Illai - (meaning - No regrets have I My lord, None) is a very famous song in the semi-Carnatic music genre written by Rajaji and the most popular version, (widely acknowledged as soul-stirring) has been rendered by M.S. Subbulakshmi. Rajaji also composed a hymn which was sung in 1966 at the United Nations, again by M.S. Subbulakshmi.

I will post the UN concert in the following days...

Read much more...

Music ▼ +

Sulamangalam Sisters - Murugan Devotional Songs

Sulamangalam Sisters - Murugan Devotional Songs

EMI India S/33ESX 6031 - P.1970

Side A

A1 Sri Mahaganapathe

A2 Swararagasutha

Side B

B1 Panchashadpeedaroopini

B2 En Indha Mounam

B3 Arbuthamana pazhaniappa

B4 Kandan mel kaadal

B5 Nalamyavum tharuvai muruga

B6 Mamaduraiyil

I have little to add about the music of this record, except that it is one of the best Sulamangalam Sisters I have heard. A beautiful mix of Carnatic Classical and Carnatic Devotional "Filmi" songs. I wholeheartedly recommend it. And it makes me "triply" happy as it has a little story. It belongs to a very special batch of recordings. I wrote the following in one of my comments to one of the previous postings on Carnatic Devotional Music:

"As I have friends traveling to India that will for the first time see and stay in places I love and that they have been loving from a distance. They travel to meet with another wonderful friend and all this is because of music! I have over the last month on and off been thinking about how best to make this travel and congregation an auspicious one and as I wanted to be there myself but only can travel later in the year I was thinking of some way that I also could be part of their adventure and therefore we are all going to have this Carnatic spring!

Over the following days we shall see not only posts of my own records but also some contributions by my friends! There will be several more devotional albums and soon to follow, there is at least one more Sulamangalam Sisters!

(This post contains that very album!)

The record was spotted and secured by the good Arvind and sent over the great water and ripped and digitally fondled by good Costis with very little help from the lazy dog zwan but whose overseeing I am sure was crucial to the whole undertaking! This eventually led to these digital likenesses finding their way through the myriads of protocols on the internet to finally land with us here!

I am confident you will enjoy many of them!

It will be my great pleasure to be with you on your journey and to bring other travellers in music along with us!"

That is what I wrote, and what the Carnatic Spring postings mean, is that for the duration of my friends journey that starts today (on what numerological seems to be very special date 2011.02.22 and as I hope an auspicious one!) I will play mostly Carnatic music at home and burn incense for their safe passage and for the first week there will only be posts with Carnatic music here at Luobaniya!!

Thank you so much Costis for the rip and the photos made just before leaving and thank you Arvind for finding the records taking good care of them and passing them on to a good future!

I propose that we keep doing this "digital trinity offerings" later and on a more regular basis!

But to make it clear to everyone else, that are not specifically into Carnatic Devotional or Classical Music, you may rest assured I am not going to stop posting music from other traditions! There will be music interspersed in the course of posting from most all over the world. I may even go to Europe when it gets a bit warmer here. I still have not finished posting Deben Bhattacharya's field recordings but they will come, as will the Bärenreiters, Esperance, BAM, and all the others! I have not forgotten! I just have too many things I want to share with you at the same time. Chinese, Japanese, Arabic, African, South East Asia, they will all come back but now it is this glowing warming of the Carnatic Spring that will shine over all of you!

Music ▼ +

Religious Songs from Bengal recorded by Deben Bhattacharya

Chants religieux du Bengale - Religious Songs from Bengal

enregistrés aux Indes et édités par Deben Bhattacharya

Bôite à Musique - BAM LD 099 - P.1970

Side A

Songs of the Bauls

A1 The new man of love and faith 8'40

A2 On understanding oneself 3'40

A3 Cultivate the human land 7'00

A4 Release your worldly weight 4'45

Purna Chandra A3

Bhaktadas Baul A2

Haripada Debnath A1, A4

Side B

Poèmes de Chandidas (XIV• siècle)

B1 Poèmes de Chandidas 22'20

a) Instrumental opening

b) Extempore song and commentary about Krishna's greatness

c) A version of Chandida's song "O firend, who made me hear the name of Shyam?

d) Improvisation, song and commentary about Krishna's encounter with Brinda duti

e) Chandida's song: "It is a disgrace"

Shri Nabagopal, vocal

This is the first of a series of posts where I will pay homage to the work of Deben Bhattacharya to make so many musical traditions known. A well deserved tribute to a remarkable person who was responsible for preserving so much music mostly of the popular traditions from so many different countries but never neglecting the musique savante. I will start by posting some of his early Indian recordings, mainly because the first real contact with live concerts of Indian classical and folk music that I ever had was through the concerts he had helped to arrange together with Rikskonserter while he was living in Sweden from the 1960's - 1970's. It was not just art music but also folkmusic like the Rajastani music of the Langas. That was the first Indian folk music I had ever heard and to hear that live in repeated concerts several hours long with singers and musicians like Alladin, Noor Mohmad and Shumar Khan. Some of these concerts were recorded and broadcasted by the Swedish Radio. I will post some of those broadcasts a little later on. Here is a little something about those times that Deben Bhattacharya spoke about in a most interesting interview that he gave to Kevin Daly in 1982.

"Between ’61 and ’62 I went to live in Stockholm. Sweden was very fruitful for me; Stockholm Radio began to take fairly regular programmes from me. Soon after that, a new organisation called Rikskonsert started in Stockholm. It was run by a man called Nils Wallend, and its job was to impart musical education in Swedish schools, from playgroup to adult – all paid for by the state. They invited me to produce the extra-European music and also I got involved with music of the socialist countries because I had done a lot of work in those countries, and I had a fairly large collection of music from most of the socialist countries except Russia. I brought musical groups from various countries to Sweden, to appear at concerts and in schools to show them what music of other countries was like." You can read the full interview here...

Also don't forget to take a stroll over to the excellent post on the recordings made by Deben Bhattacharya in Israel in June and July in 1957 at the blog here, The World's Jukebox...

A very young Deben Bhattacharya with a gopijantra-playing Baul.

Anandalahari

Shri Nabogopal Mithra Shakur

The true sleeve backside

Substitute scavenged from the inside flap.

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