Hugh Tracey - Musical Instruments - 1 - Strings

Hugh Tracey - The Music of Africa Series

Musical Instruments - 1 - Strings

Kaleidophone - KMA 1 - P.1972

Side A

A01 Ganga - Ganda - 1'22

A02 Okwagala omulungi kwesengareza - Ganda - 3'04

A03 Elosi aberu akipore imaqniti abiro - Teso - 0'55

A04 Ekyoma kyabora - Nyoro - 1'37

A05 Tichi mabere - Dhola - 1'27

A06 Gitari na Congo - Zande- 1'33

A07 Munya gwerira Munyale - Ganda - 1'37

A08 Bengeria - Kipsigis - 1'18

A09 Chemirocha - Kipsigis - 1'26

A10 Chepchona marinda - Nandi - 1'00

A11 Gideon Magak - Luo - 1'13

A12 Abasevendi abada - Ganda - 1'18

Side B

B01 Odhiambo Odet - Luo - 1'22

B02 Dzombe rija - Chewa - 1'11

B03 Nenemegyeti - Medje - 1'36

B04 Ngwidika sadanga wapamagulu - Hehe - 3'08

B05 Lukiza - Haya - 2'41

B06 Ndalame - Tonga - 1'56

B07 Kazela kambe lemba - Yao- 1'25

B08 Tisimbi wasauka - Chewa - 1'11

B09 Ihlomulo walekaya mangawa yauima - Hlengwe - 0'53

B10 Ngoneni ngoneni bakithi - Swazi - 1'12

Inspired in parts by a post from Stefan on his wonderful blog Worldservice I decided to pay my tribute to Hugh Tracey who devoted much of his life to preserve African music that most likely otherwise would never have met our ears. The only gripe is of course that much is presented in a very inventory fashion and often we are left with a minute or two , sometimes even less, of music that could have gone on for hours. Well, I am sure his efforts helped to make many more people aware of the richness, creativeness and immense beauty, diversity and depth of African Music. This first part of the series of seven LP's are the devoted each to a group of instruments and the last three edited by geographical origin. Actually by nation, and I think, but I do not know for sure, that many of the other volumes, they were supposedly 118 LP's in all, issued on different labels, had that similar approach. I have come across a few others that were not by nation (geography) but by the best hits of a certain year. This of course resulting from the fact that some recordings he made, he also tried to place on the more hit-driven commercial market. He placed several recordings on 78 rpms in the Gallo catalogue, but most were produced and distributet to reseach libraries, National Radiostations, institutions of music and and musicology and most likely some batches were distributed to various Ethnographic Museums over the world.

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