Showing posts with label 1972. Show all posts
Showing posts with label 1972. Show all posts

Saturday, April 30, 2011

Nigéria - Musiques du plateau - Rec. 1972 by Benoît Quersin





Nigéria - Musiques du plateau
Angas, Birom, Jarawa, Burom, Yergam, Pyem
Recorded in 1972 by Benoît Quersin
Institute of African Studies 
Ocora - OCR-82 - 1974?







Side A

1 Deng-deng
 - chanson avec accompagnement de harp molo 3'14
2 Solo de xylophone kundung 3'02
3 Bwana
 - chanson avec accompagnement de harp molo 2'00
4 Chanson de Angas
 - chanson avec accompagnement de chitare molo 3'35
5 Chanson de Pyem
 - chanson avec accompagnement de chitare molo 6'05
6 Ensemble de flûtes sharawa, et tambours du village 4'20


Side B

1 Ensemble de sifflets izur nfiko 2'30
2 Musique Komtin - chœur et idiophones 4'53
3 Orchestre de molo de Maisage Zindam Ndam 5'25
4 Orchestre de molo de Zhimak Tyem 2'44
5 Danse Wasam Burum avec tambours 3'08
6 Danse et chants Kida manoma 2'45
7 Vièles monochordes goge 1'50



I posted some Nigerian recordings recently released on the lable Bärenreiter and here is another Nigerian but on the no less prestigious lable Ocora. There are some very good tracks here that I hope you will enjoy!

Here is a quote from the sleeve:

The Jos Plateau, where the recordings on this record were made, rises to an average height of twelve hundred metres in the centre of Nigeria. It makes up the northern extreme of Benue-PlateauState. one of the twelve states of the Federal Republic of Nigeria. politically reorganized since 1967. Without doubt the countryside includes some of the most beautiful in western Africa, and the climate of these highlands gives it a Mediterranean appeal. But what the plateau is particularily known for is the discovery of rich veins of tin just below the surface. the exploitation of which brought to light surprising archeological remains. These reveal the existence of a very old civilization (800 BC to 200 AD) where an iron industry was wide-spread and where art had reached a high level : the "Nok Culture''.

If this civilization fortold the states which were to appear in the neighbouring districts from after the eleventh century. their creators are not the ancestors of the present day plateau populations : these forty or so tribes and sub-tribes of various origins, each possessing its own language and traditions, are as yet largely unknown. With a very independant character. there were for a long time a worry to the British Administration which had wanted, since 1904, to control these "Plateau pagans ", as they were called by the Hausa Moslems.

"Living in their own villages and prefering their own company, they are still largely spectators of the approach of civilisation", remarked a high official in 1933. This is of course no longer true today; but the plateau tribes were amongst the last in Nigeria to accept the change.

Six tribes are represented on this record. If we look at the different traditions, the Pyem originated from a country to the north. Gobir, and were amongst the first wave of immigrants. The Angas remembered having lived in Kanem, and then Bornu before the arrival of the Kanuri pushed them out, towards the 13th or 14th century; from this large tribe several other plateau groups were derived, including the Tal, which in turn gave rise to the Yergam or Talok (signifying "comes from Tal "). The Burum, present neighbours of the Yergam. say they originated from the Jukun, of which they would have been a branch or vassal tribe. During the 16th and 17th centuries, Angas, Burum and Yergam were a part of the Jukun Empire - also called Kororofa - which experienced at the time an extraordinary development with the conquest of the territories east and south of the Plateau, as well as the Kano and Zaria Hausa Kingdoms to the north-west.

This expansion would also have lead the Birom, who lived in the forests to the south, to move to the plateau. The Kororofa State dissolved in the 18th century in circumstances which remain mysterious, and the political and cultural centre moved towards the north: the jihad (holy war) of the great leader Fulani Usman dan Fodio started in 1804 in fact, and in it his followers subdued in some six years all the Hausa States and Jukun dependent outlying Plateau tribes. The interior tribes resisted the invaders. However, the Fulani made little effort to convert or assimilate the “pagans”, being satisfied to collect tributes. Only the Burum are largely islamic. but their case is different. They gave themselves from the beginning of the 18th century a dynasty of Kano origin.

Finally. the few Jarawa groups established not far from Jos, came from the Bauchi Emirat where the large part of the tribe are still found.

Despite their diversity, the Plateau tribes share the same type of existence : an essentially agricultural economy with a few handicrafts (pottery basket-making, weaving, forging). The dwellings are round huts with conical roofs, grouped in circles. Several compounds make a village.

Most of these societies have not developed a centralized political organisation. independant groups rarelv passing one or several villages (Birom), or a section of a tribe (Yergam, Angas). The Pyem had however a ‘supreme chief' with politico-religious functions.

Ancestor cults. with nature spirits, and agricultural fertility rites play an important role (cf. tracks A-2, A-3, and B-1).

The languages belong to the Benoue-Congo branch of the Niger-Congo group, except for the Pyem, which is an Afro-asiatic language.



Kundung xylophone


Molo harpe


Ikpang ichir


Akishak calabash rattles


Raft zither


Harpe and castanets


Wasam burum dance


Goge onestring fiddle


Sistre





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Sunday, March 27, 2011

Songs and Dances of Macedonia - Recordings by Deben Bhattacharya



Songs and Dances of Macedonia - The Living Tradition
Recordings by Deben Bhattacharya
Argo Record Co. ZFB 56 - P.1972



Side A

A1 Ipirotigo
A2 Mparfalidigo
A3 Karagouna
A4 Laigo
A5 Gotsari

Side B

B1 Ovcarka
B2 Crnagorca
B3 Battle Tune
B4 Spaivcheto
B5 Wedding Dance
B6 Table Songs
B7 Wedding Dances



Here is one more of the Deben Bhattacharya field recordings. This time he is going further south to Macedonia. A helping hand extended from a good friend in music allows us to hear these recordings. It was through him we were supplied with the rip and photos of cover and labels. Himself an excellent stringman who plays several instruments, pointed out the merits of the bouzouki player Dino Trig who is represented with three tracks on this record, A1, A4 and A5, all samples of rather inticate pickings, hear for yourself. Hope you enjoy! As always there is many things to read at folkcatalogues blog, also this one is mentioned in a post on a Greek Argo record that I will post here a little later. Read on here...






Friday, March 25, 2011

Songs and Dances from Czechoslovakia - Rec. by Deben Bhattacharya


Songs and Dances from Czechoslovakia - The Living Tradition
Recordings by Deben Bhattacharya
Argo Record Co. - ZFB 59 - P.1972



Side A


A1 Shepherd's Fujara and song 3'45
A2 Ballad 4'49
A3 Cerkany 5'56
A4 Mountain song 3'14
A5 Dudy 2'04


Side B


B1 Gathering hay 4'50
B2 Harvest song 1'17
B3 Humorous song 1'26
B4 Vitani jara 3'16
B5 V lete 3'00
B6 Drinking song 2'16
B7 Starodavny valassky 3'52





Here is one more of the Deben Bhattacharya East European folk music recordings. This record was kindly supplied by rff000, a collector friend in music who not only shared his rip of the music and photos of the sleeve but also made good scans of the labels, to allow me to keep the same format for the posts here! I thank him much for that! All I did was some minor editing for clarity and readability only.




Saturday, March 5, 2011

Chembai Vaidyanatha Bhagavatar - Carnatic Classical Vocal in Telugu & Sanskrit


Chembai Vaidhyanatha Bhagavatar - Carnatic Classical Vocal in Telugu & Sanskrit
Columbia - S/33ESX 6063 - P.1972


Side A

A1 Vara Narada — Vijayasri 4'15
A2 Ingaadhaya Radha — Chakravaham 18'00

Side B

B1 Samagana Vinodhini — Hamsanandhi 7'00
B2 Ksheerasagara — Devagandari 9'55
B3 Rara Muralidara - Guruvayorappan Song — Vijayanangari 4'20

accompanists:
Dr. L. Subramaniam, violinT.V. Gopalakrishnan, mridang
Alangudi Ramachandran, ghatam






You have no idea how much I like to finally be able to post some really magnificent Carnatic Male Vocal. Here is for some reason a part of the music I listen to the most. There will be a few more male singers coming in the following days!
This is the music I have found to be the most satisfying for my well being, and why hesitate to use words like healing, as in some mysterious way it truly is! This intense constantly glowing inner sound resonating in all directions, permeating every inch of the very substance around me. Music that maybe is not surprising or revealing, but manifest and constant, assertive and firmly embedded in a tradition larger than the individual. Music that promotes the good and makes me want to be a part of mankind. Spiritual music bearing witness of the struggles of the human soul to attain the divine. The love and goodness of cultivating ones heart and mind as one, and invoking the humble practice of selflessness.




"The bell metal voiced"
Chembai Vaidyanatha Bhagavatar (1895-1974)


Chembai Vaidyanatha Bhagavatar, Tamil: செம்பை வைத்தியநாத பாகவதர்) was a Carnatic music singer from the Indian state of Kerala. Known by his village name Chembai, or simply as Bhagavatar, he was born to Anantha Bhagavatar and Parvati Ammal in 1895. Chembai was noted for his powerful voice and majestic style of singing. His first public performance was in 1904, when he was nine. He was a recipient of several titles and honours. He was known for his encouragement of upcoming musicians, and also for his ability to spot new talent. He was responsible for popularizing compositions like Rakshamam, Pavana Guru, among others.The music critic 'Aeolus' describes him as "the musician who has meant the most to Carnatic Music in the first fifty years of the 20th century" Some of his prominent disciples include Yesudas, T. V. Gopalakrishnan, V.V.Subramaniam, P.Leela, among others. Many memorial music festivals are held in his honour annually since his death in 1974, the most important being the annually celebrated Chembai Sangeetholsavam.
from the Wikipedia, read some more here

"Chembai Vaidyanatha Iyer was one of the leading practitioners of Carnatic Music in the period usually referred to as the 'Golden Era'. Old timers are enthusiastic in pointing out that he, along with Ariyakudi Ramanuja Iyengar & Maharajapuram Viswanatha Iyer formed the 'Modern Trinity of Carnatic Music', the trio who were responsible for keeping up the concert tradition in the vacuum caused by the departure of the titans in the beginning of the 20th Century before the entry of the bright young stars such as Musiri Subramania Iyer, Semmangudi Srinivasa Iyer, G.N.Balasubramanian, Madurai Mani Iyer and the female-trio comprising of M.S.Subbulakshmi, D.K.Pattammal and M.L.Vasanthakumari, who took to the stage later. But what made Chembai different from them was his voice, that booming, metallic, powerful voice which never seemed to depart from sruti.

It is not very hard to imagine why Chembai, as he was popularly called, was phenomenally popular. With a knowledge of the art deeply acquired and with a voice that earned him the fame of 'Bell Metal Voiced Bhagavatar' with its power and majesty yet sweet and melodious, Vaidyanatha Bhagavatar rose to supreme heights, taking vast audiences to rapturous delights in a span of about 70 years of performance expertise. Born in a family of musicians, whose traditions ran uninterruptedly for over two centuries, and being a great grandson of 'Chakra Tanam' Subba Iyer, who was a contemporary of Saint Thyagaraja, Chembai had music in his blood. A deeply religious man, music in his family was taught and learnt as part of Vedic instruction. He had his early training under his father and equipped himself fully to give an independent performance even at the age of nine. A humble man, he attributed all his success to his favorite God - Guruvayurappan. "
Quoted from webpages created in his honour.
You will find more detailed biography and some anecdotes,
words by other musicians and much more to read on
those webpages here


The accompanying musicians on this album:


Dr. L. Subramaniam, violin


T.V. Gopalakrishnan, mridang



Alangudi Ramachandran, ghatam
Great ghatam player but very hard to find any good pictures of!


Friday, March 4, 2011

Sheik Chinna Moulana - More Nagaswaram


Sheik Chinnamoulana - Nadhaswaram
EMI Columbia - S-33 ESX 6061 - P.1972




Side A

A1 Sri Ragukula - Hamsadhwani - Thyagaraja 6'03
A2 Thathwamariya Tharama - Reethi Gowla - Papanasam Sivan 11'09
A3 Mariyatha Gathayya - Bayravam - Thyagaraja 4'49


Side B

B1 Pallavi Ragamaligai - Hemavathi 15'48
B2 Kreetagi Vanamali - Sindubairavi 4'03
B3 Apagaraninthai Sakkaravalam 1'55



Favourite tracks on this Lp are Thathwamariya Tharama in Reethi Gowla, and the Kreetagi Vanamali in Sindubairavi. Hope you enjoy!





Music  +

Friday, February 18, 2011

The Syrian Maqams - Recorded by Deben Bhattacharya


The Syrian Maqams - The Living Tradition
Recorded and Produced by Deben Bhattacharya
Argo - ZFB 58 - P.1972



Side A

A1 Bashraf Sama'i Taatiyus
A2 Taqsim on Nay
A3 Taqsim on Violine
A4 Ajam on Buzuk


Side B

B1 Hijaz
B2 Rasd
B3 Taqsim on 'Ud

A1,A3, B1-B3 Recorded in Damascus 1955
A2,A4 Recorded in Damascus 1960

Named Musicians:

Badruddin Halibie, ney A2
Joudad Halibie, qanun A1
Muhammad Jabban, ud A1,B3
Muhammed Abdul Karim, buzuk A4






Tuesday, January 18, 2011

Hugh Tracey - Musical Instruments - 5 - Xylophones


Hugh Tracey - The Music of Africa Series
Musical Instruments - 5 - Xylophones
Kaleidophone - KMA 5 - P.1972



Side A

A01 Ulumbundubundu - Valley Tonga - 1'00
A02 Musingasinga yakora egali - Nyoro - 1'16
A03 Nandikulamude - Ganda - 1'15
A04 Okachi - Dhola - 1'29
A05 Kondo natipala bako - Zande Bandiya - 2'00
A06 Mkazi wa mulomo (The talkative woman) - Nyanja-Mang'anja - 2'48
A07 Kalubambu tambo abibongo - Kanyoka - 2'24
A08 Mulaal karimukwa panga (Mulala stole money) - Lozi - 2'36
A09 Mutomboko and Luwendo - Luba - 2'40

Side B

B01 Lawanzani michanga sika timbila tamakono (Come together and make music for the new year) - Chopi - 3'46
B02 Demonstration of the left and right-hand melodies of the ground or subject upon which the previous item was based - Chopi - 0'51
B03 Msitso we Mbidi (Second orchestral introduction) Chopi - 3'00
B04 Chibudu - Chopi (an Intermezzo) 2'18
B05 Msitso wokhata (First orchestral introduction) Chopi - 1'07
B06 Hinganyengisa masingita (Listen to the mysteries) Chopi - 3'30
B07 Nzashaniseka (I am suffering) - Tswa - 1'03
B08 Kachancha - Lunda - 1'56






Hugh Tracey - Musical Instruments - 4 - Flutes and Horns


Hugh Tracey - The Music of Africa Series
Musical Instruments - 4 - Flutes and Horns
Kaleidophone - KMA 4 - P.1972



Side A

A01 Sigowilo duet - Chopi - 0'43
A02 Godumaduma gwa Mosadi - Tswana-Lete - 2'25
A03 Chansi cha nzige - Zaramo - 2'45
A04 Ai-ye! Nzara yakabora (Ai-ye! Famine has come) Sena-Tonga 3'05
A05 Bwomera envu (When your hair turns grey, you are getting old) - Soga - 1'25
A06 Kikwabanga - Ganda - 2'31
A07 Herdsman's tune - Nande - 1'24
A08 Flute tune - Nyakyusa - 1'20
A09 Mishiba - Luba-Songe - 2'35

Side B

B01 Custodo a mabile - Gitonga - 2'35
B02 M'Sodomo - Nyanja-Chewa - 2'39
B03 Mavumbala - Yogo - 3'05
B04 Nkete - Nyoro-Haya - 2'34
B05 Rwakanembe - Nyoro - 1'14
B06 Kyarutema - Rwanda - 2'54
B07 Mulimo omutanda (The owner of the house) Soga 1'17
B08 Chombela - Luba-Bakwanga - 2'45






Hugh Tracey - Musical Instruments - 3 - Drums


Hugh Tracy - The Music of Africa Series
Musical Instruments - 3 - Drums
Kaleidophone - KMA 3 - P.1972


Side A

A01 Enkoito - Haya - 1'35
A02 Mambala - Luba - 2'07
A03 Fwanda-fwanda - Lala - 1'36
A04 Manyanga - Nyamwezi - 1'20
A05 Ngororombe - Sena-Tonga - 3'49
A06 Royal Drums of the Omwami of Rwanda
A07 Royal Drums of the Omwami of Rwanda - Tutsi - 4'33

Side B

B01 Drum message, calling people to come - Kanyoka - 1'07
B02 Three drum signals - Mangbele - 1'53
B03 Kwebemera Omukana (Drums for a royal occasion) - Nyoro - 1'12
B04 Mitamba yalagala kumchuzi - Zaramo - 0'40
B05 Kyuma - Ganda - 1'35
B06 Likhuba - Manganja - 1'10
B07 Congo Bereji - Yogo - 2'14
B08 Nadu - Medje - 2'00
B09 Yando - Buudu - 1'49
B10 Manyanga - Nyamwezi - 2'20