Showing posts with label 1977. Show all posts
Showing posts with label 1977. Show all posts

Tuesday, May 15, 2012

M.S. Subbulakshmi - At Carnegie Hall - 1977

M.S. Subbulakshmi - At Carnegie Hall 1977
Oriental Records - BGRP 1009-11 - P.1978



M.S.S Subbulakshmi & Party in Concert 

Disc 1


Side A

A1 Sri Maha Ganapati - Muthuswamy Dikshitar - Gowla - Misra Chapu
A2 Vandeham - Tirupai Annamacharya - Hamsadhvani - Kanda Chapu
A3 Sobillu - Tyagaraja - Jagan Mohini - Roopakam

Side B

B1 Rama Rama Gunaseema - Swathi Tirunal  Simhendra Madhyam - Adi





Disc 2


Side A

A1 Muruga Muruga - Perisami Thooran - Saveri - Misra Chapu
A2 Narayana - Purandaradasa - Suddha Dhanyasi - Kanda Chapu
A3 Raga Alapana - Kambodhi

Side B

B1 O Rangasayee - Tyagarja - Kambodhi - Adi
B2 Tani avartanam (Percussion solo)






Disc 3


Side A

A1 Devi Brova - Syama Sastri - Chintamani - Adi
A2 Ikanaina - Tirupati Narayanaswamy Pillai - Pushpalatika - Adi
A3 Bhajan


Side B

B1 Bhajans
1
2
3
4 Kandu Kandu
5

B2 Benediction






Radha Viswanathan, vocal support
Kandadevi Alagiriswami, violin
Guruvayur Dorai, mridangam


Flushing





[I am sorry that there is no split tracks the LP-sides have been converted as one file per side. Unfortunately I do not have the time at the moment to do so but maybe some fortunate extra time in the future will let me finish these chores and then I will replace these files. I am confident you can enjoy these ones in the meantime …]


Tuesday, April 10, 2012

Musique de Tchokwe in Zaïre - rec. Barbara Schmidt-Wrenger




Musique de Tchokwe in Zaïre - No. 11
rec. 1973 by Barbara Schmidt-Wrenger
Tervuren - Réference 6803073 - P.1977




Side A

A1 Tshiyanda 3'25
A2 Tshiela 4'30
A3 Mayenge 3'15
A4 Kalukuta 3'10
A5 Kulenge sa mwata 2'40
A6 Miaso ya jita 2'50
A7 Miaso ya ulo 2'30



Side B


B1 Miaso ya tshisaji 2'20
B2 Miaso ya ndjimba 2'40
B3 Miaso ya ndjimba 4'05
B4 Ndeji 1'35
B5 Musheta 2'20
B6 Mahamba 0'55
B7 Mungonge 2'30
B8 Uyanga 2'10
B9 Wali 2'40




I feel that there is little I have to say about this recording as with the other volumes this record comes with a multilingual book of almost 90 pages. I find that this series really is worth a wider circulation and that they are very important documents that most likely even the Tchokwe has no access to themselves.






Music ▼ +
Book (not yet available)

Sunday, June 19, 2011

Ram Chatur Mallick • Chant Dhrupad et Dhamar rec. 1976


 Pandit Ram Chatur Mallick 
• Chant Dhrupad et Dhamar
Musique de l'Asie traditionelle Volume 9 - Inde du Nord
rec. August 1976 in Patna
Playasound - PS 33513 -  P.1977



Side A

A1 Raga Darbari Kanhra - Alap - Dhrupad in Choutal 26'15

Side B

B1 Raga Multani - Alap - Dhamar in Dhamar Tal 27'30







Very well, I'll conclude these Dhrupad excesses for the moment with a Dharbanga post. There is already a lot to digest here already. This single record of Ram Chatur Lal Mallick will have to represent "The Mallicks". I know of no other LP's so you are welcome to enlighten me if there are any others. There are just a few CD's to be found by him and at least one by his son Vidur Mallick. What happened to the possible career of Abhay Narayan Mallick I have no idea about anything recent, maybe some of you do? There is at least one K7 with him published back in 1998 on the label Ninaad with the catalogue number NC 0011 called Gauhar • The Pearl of Darbhanga Dhrupad. It was posted before on the Raga Blog here...

This record was put out by PlayaSound, and in their series Musique de l'Asie traditionelle there were quite a few other titles that were interesting so if you are sitting on good copies of any of those please contact me so we can share them here! Or better yet, start your own blog and I will follow that one! 
You can find some of the titles in that series as well as some African ones on the back of the sleeve!

There is quite a bit more to read in the gatefold of the record sleeve but it was unkind to any attempts of OCR so you will have to read it from there. There is a French and an English version of the text. I am sorry that there is a bit of a rumble on the first part of the B-side. It gets milder but is still annoying as it is in the more quite part of the recording but it gradually goes away and is all gone by 2'15 - 2'20. If anyone have a better rip I would be happy to have a replacement. Again we owe thanks to our good friend His Excellency for lending us his copy. As always, I hope you enjoy!



Pandit Ram Chatur Mallick,  1903 - 1990
Ram Chatur Mallick was a leading representative of the Darbhanga (Bihar) school of Dhrupad singing and was taught by Rameshwar Pathak. He passed away on January 13, 1990 in Patna, Bihar.




Abhay Narayan Mallick, vocal support


Ramashish Phatak, pakhawaj



Music ▼ +

Thursday, June 2, 2011

Debu Chaudhuri • Ragas Kedara & Piloo - P.1977





Debu Chaudhuri • Ragas Kedara, Piloo
EMI India - S EMGE 11004 - P.1977





Side A

A1 Raga Kedara - Alap and Masitkhani Gat - in Teental 19’36


Side B

B1 Raga Kedara - Razakhani Gat 5’54

B2 Raga Piloo - Teental 13’18






Here is another, not so exposed sitarplayer for your enjoyment.

There really are not that very many recordings on vinyl by him that I could find but this is one of the first that I knew of. He was a disciple of Ustad Mushtaq Ali Khan, an exponent of the Senia Gharana. I have posted one more recording by him before, recorded in 1987, ten years later than this one where he plays the ragas Bageshri and Maund. You can listen to it here





Thirtyfive year old Debabrata ‘Debu’ Chaudhuri is one of the most important sitar players of the day. Born in a business family of East Bengal, Debu had decided at a very early age that music would be the sole love and passion of his life. There was opposition from some quarters and scepticism from others, how could anyone without a traditionally musical background carve for himself a niche in the world of classical Music? But those who know Debu know that there was no room for doubt then or now. Debu has all that goes to make a musician great. He has the vision, the intuition and the grasp, above all his music is the creation of a man completely dedicated to his art.







Debu is a disciple of Ustad Mushtaq Ali Khan, an exponent of the Senia Gharana marked apart from other things, for its lineage which can be traced back to the great doyan of Indian music, Mian Tansen. The Guru-Shishya Parampara (the tradition of passing knowledge from master to pupil) of this school, was initiated by the great Sitar player, Amrit Sen. who was a direct descendant of Mian Tansen. Ustad Mushtaq Ali Khan represents all that is the best in not only his own school but also in the traditional Indian classical music, the intrinsic purity and lyricism of style, coupled with a perfection of technique. As a recognition of his invaluable contribution to the preservation and furtherance of Indian classical music, the Ustad was awarded the prestigeous Academy Award last year. Debu has had the proud privilege of learning sitar at the feet of this maestro.



Debu Chaudhuri has had many opportunities to display his talent both at home and abroad. At home he is an artiste widely acclaimed and has also been featured in the National Programmes. Abroad, he has had the distinction of being the first Indian musician to participate in the famous Montreaux-Vevey Music Festival in Europe and Shiraz Festival of Iran. He has also represented India in other International Music Festivals.

Debu stepped out of India for the first time in 1967 and since then has gone round the world half a dozen times. His recent tour covered among other countries, South America and the West Indies, which gave the people there their first ever opportunity to savour of Indian Classical music.

Apart from the general popularity, Debu's excellence in his field has attracted golden opinion from eminent musicologists all over the world. Dr. Nicholas Nabokav classes him as one of the finest musicians of the world. Dr. A. Danielou, Director, International Institute for comparative music in Berlin, has given him a place in the recorded U N Anthology of Oriental Music. At home Debu has been acknowledged as a musician of great lyricism and imaginative wealth.

What does he feel about his frequent trips abroad ? They are stimulating he feels, and above all he enjoys them because they give him an opportunity to acquaint his foreign audiences with the inherent beauty and mystery of Indian classical music.

Currently Debu is teaching instrumental music at the Delhi University and the Bharatiya Kala
Kendra, and he has a fine crop of promising students to his credit, some of whom have already been recognised in the music world.

This Album was recorded at the H.M.V. Studio, Calcutta, immediately after Debu's return from his last world tour. Accompanying Debu on the Tabla is Shyamal Bose, an artiste of All India Radio, Calcutta. Shyamal Bose, a disciple of Ustad Feroze Khan and Shri Jnan Prakash Ghosh is a virtuoso in his own right and belongs to the Farakkabad School of Tabla players.

from the original sleevenotes by Sujata Chauhan






Music ▼ +

Saturday, April 9, 2011

Rwanda III - Musique de Danse rec. Jos Gansemans



Rwanda III - Musique de Danse - Dansmuziek
Recordings by Jos Gansemans 1973-1975
Alpha - 5025 - P.1977





Side A


A1a Imbyino - femmes - hora wararaye 3'20
A1b Imbyino - femmes - Kimbagira Nyamaraba 4'28
A2a Imbyino - filles - Amataba 3'12
A2b Imbyino - filles - Mabano 3'54

A3a Chant et danse nuptial 4'00
A4 Urwagitari 3'15



Side B


B1 Ikiniba 3'03
B2 Ikinyemera 3'32
B3 Intore 6'36
B4a Twa - danse Urubyiruko 2'32
B4b Twa - danse Igibuge 4'16
B4c Twa - danse Umuhamilizo 3'00



This is the third and last of the Rwanda series from Tervuren. For a review of all three volumes see previous post. Hope you enjoy. There will be some more LP's coming but may take a little while because they have much more voluminous annotations, each volume comes with a 40-80 pages book. They were all written in Flemish but have translations of the full text into English, French and German so the actual information is divided by four. The congolese volumes are especially worth waiting for in my opinion. Hope you also like these volumes as posting them here means rather a lot of editing work!


Ikinyemera dance.

Ikinimba dance.

Girls singing the Imbyiro.

Dancing Twa women.

Dance of imbyino women.

Poses of intore dancers.


Twa singer.




Music ▼ +

Friday, April 8, 2011

Rwanda II - Musique Vocale - P.1977


Rwanda II - Musique Vocale - Vokale Muziek
Recordings and documentation by Jos Gansemans

Alpha - 5024 - P.1977





Side A

A1a Chants pastoraux - amahamba - indama 4'35
A1b Chants pastoraux - kubangulira 3'00
A2a Chants de chasse - amahigi + thembe (à l'arc) 2'24
A2b Chants de chasse - amahigi + inzogera (à la lance) 2'27
A3a Chants de travail - kwidoga 3'18
A3b Chants de travail - amasare ubwato 2'24
A4 Chant cultuel - Nyagitansi 3'35


Side B

B1 Berceuse igihoso 3'00
B2 Berceuse + ubuhuha 2'22
B3 Poème dynastique igisigo 4'04
B4 Indilimbo z'ingabo 3'12
B5 Chant nocturne igitaramo 2'03
B6 Chants cultuel - Lyangombe aho rero 3'52
B6 Chants cultuel - Umuhara 2'03


Here is volume two of the Rwanda series from Tervuren. This like the other two comes with several pages of documentation about the recordings that were made by Jos Gansemans during the years 1973-1975.

Below is a review of all three volumes from Ethnomusicology January 1981
- vol. 25, No.01, pp 178-179
by Kazadi wa Mukuna. (beware of misspellings resulting from OCR)

Rwanda, Vol. I. Musique Instrumentale/Instrumentale Muziek (Musee Royale de l'Afrique
Centrale/Koninklijk Museum voor Midden-Afrika, Tervuren). One 12" 33 1/3 rpm disc. 1977.
Alpha 5023. Descriptive notes by Jos Gansemans in Flemish and French bound into slipcase, 6 pp., mus. ex.

Rwanda, Vol. II. Musique VocalelVokale Muziek (Musee Royale de 1'Afrique
Centrale/Koninklijk Museum voor Midden-Afrika, Tervuren). One 12" 33 1/3 rpm disc. 1977.
Alpha 5024. Stereo. Descriptive notes by Jos Gansemans in Flemish and French bound into slipcase, 6 pp., mus. ex.

Rwanda, Vol. III. Musique de Danse/Dansmuziek (Musee Royale de 1'Afrique
Centrale/Koninklijk Museum voor Midden-Afrika, Tervuren). One 12" 33 1/3 rpm disc. 1977.
Alpha 5025. Stereo. Descriptive notes by Jos Gansemans in Flemish and French bound into slipcase, 6 pp., mus. ex., photos.


In the past few decades, knowledge of the musical culture of the Banyarwanda (people of Rwanda) in the outside world was dominated by the sound of ingoma drum ensembles, the direct descendants of the royal drum ensembles of the Tutsi dynasty. Since the bulk of what is available on this musical culture is scattered in records devoted to African music in general or a large region of Africa, the release of these records will be more than welcome to music educators, students, and amateurs of Banyanvanda culture. The three albums in the set contain samples of music from three major repertoires: instrumental, vocal, and dance music, representing musical styles peculiar to the Banyanvanda as well as displaying their artistry on musical instruments (mbira, musical bow, drums) also common in other parts of Africa south of the Sahara.

Ethnographic notes on the Banyanvanda and their land are featured in the first record, devoted to instrumental music. These notes, perfunctorily written by Jos Gansemans in Flemish with French translation, provide no vital information
on the Banyarwanda or their culture, nor do they assist in relating the albums to their proper cultural context. One must turn to a description of each selection for valid historical, cultural, and musical information, some of which is supplemented by black-and-white photographs of the event.

RECORD REVIEWS

Record I, Side A opens with two selections of epic songs accompanied by inanga (board zither). an instrument whose zone of diffusion is limited to Rwanda. Another musical instrument used by Banyarwanda to accompany their epic songs is the mbira (thumb-piano), known to have been borrowed from Bakongo in Lower Zaire. The playing (Record I, Side A/5) resembles that of the Bakongo and the Luba of Zaire. characterized by the dampening of the keys with the index fingers after being plucked with the thumbs. Iningidi (a bowed monochord lute) is another borrowed instrument which has gained in importance in the north and center of the country, in spite of its recent anival in the culture. This instrument is also prominent in Uganda, where it is known by the same name. Side B contains predominantly the music of aerophones whose playing technique and overall expression are peculiar to this culture. The best example can be heard in Band 4 on ihembe (hunting horn). The last three bands (5, 6, and 7) represent three distinct styles of ingorzadrum ensembles from Rubungo, Rubavu-Gisenyi. and Mibilizi- Cyangugu regions.

In Africa. the Banyarwanda must be counted among those people whose musical cultures are dominated by unaccompanied vocal songs. This is revealed in Record II, devoted to vocal musical styles. Side A contains songs to accompany both solitary and communal work. In a culture where cattle-raising occupies a paramount position in the "cultural focus," the work-song repertoire is dominated by pastoral songs whose subject matter ranges from milking to praising cattles' lineage. Side B, on the other hand, contains cult songs, drinking songs, and lullabies. A unique feature of Banyarwanda vocal style is the lullaby accompaniment (BIZ), in which the singer produces a muted sound by letting the air through his loosely closed lips.

Record III contains music for four types of dances: dances performed by young girls at wedding ceremonies: warriors' dance: intore (dance of the chosen ones); and those of the Twa pygmies. Concerning field recording technique. some of the dance recordings (A/[. 2, 3) lack implicit noises. such as footsteps. In this case. recording technique (context, number and placement of microphones, etc.) is surely pertinent documentation for those interested in ethnomusicological method and training. Otherwise, Jos Gansemans is to be congratulated for a fine
technical production.

Michigan State University Kazadi wa Mukuna


Young woman accompanying herself on the wan intara singing the song Nyagitansi


Three women from Lyangombe with typical ritual hairdoes.


Singer of Amahamba.
Hunters With Spears Singing Songs Of The Hunt.

Men with painted faces during Umuhara.

Hunters with bow and arrow.

Handtechnique for Ubuhuha.



Music ▼ +