MusicRepublic INDIA – PAKISTAN – IRAN – TURKMENISTAN – TURKEY – ALGERIA – MOROCCO – NIGERIA –– UGANDA / Music in the World of Islam – 4: Flutes & Trumpets – Tangent TGS 134

INDIA – PAKISTAN – IRAN – TURKMENISTAN – TURKEY – ALGERIA – MOROCCO – NIGERIA – UGANDA 

Music in the World of Islam – 4: Flutes & Trumpets – Tangent TGS 134 – Recorded by Jean Jenkins and Poul Rovsing Olsen between 1960-1975, released in 1976 (LP)

The landmark World of Islam Festival, held in the UK in 1976, was a large-scale events designed to showcase the rich history, art, culture, and science of the Islamic world, which spans from West Africa to Southeast Asia. This monumental festival featured exhibitions across several major institutions, where approximately 6,000 artworks and artifacts from 30 countries were displayed in locations like the Science Museum, the British Museum, and the Victoria and Albert Museum. A key component was the ‘Music and Musical Instruments in the World of Islam’ exhibition at the Horniman Museum, which featured over 200 musical instruments curated by ethnomusicologists Jean Jenkins (1922-1990) and Poul Rovsing Olsen (1922-1982). To accompany this display, the curators simultaneously released the seminal Music in the World of Islam series, a set of six LPs organized by instrument family: The Human Voice (Vol. 1), Lutes (Vol. 2), Strings (Vol. 3), Flutes & Trumpets (Vol. 4), Reeds & Bagpipes (Vol. 5), and Drums & Rhythms (Vol. 6).

 

I'm thrilled to share Vol. 4: Flutes & Trumpets LP, a personal favorite in the series. Its presents superbly curated tracks from nine countries: Nigeria and Uganda in West and East Central Africa; Algeria and Morocco in North Africa; Turkey and Iran in West Asia; Turkmenistan in Central Asia; and India and Pakistan in South Asia. The collection highlights various flutes and trumpets, including the satara and düduk duct flutes (A1, B2), nay (ney) and gasba flutes (A3, A4a, A4b, B4, B5), the bansuri transverse flute (A6), and a donaly flute (B3). Also included, are nafir trumpets (A2, A5), a general term for long ceremonial trumpets in the Muslim world; a quirky bankia Rajasthani folk trumpet (B6); and the extraordinarily powerful collective music of an Alur ceremonial ensemble from Uganda (B1), comprising forty aguara ivory trumpets of various sizes and small horn cone flutes.

 

Le célèbre World of Islam Festival, qui s'est tenu au Royaume-Uni en 1976, était un événement d’envergure destiné à mettre en valeur l’histoire, l'art, la culture et la science du monde islamique, qui s'étend de l'Afrique de l'Ouest à l'Asie du Sud-Est. Ce festival monumental comprenait des expositions dans plusieurs institutions majeures, où environ 6 000 œuvres d'art et objets provenant de 30 pays ont été présentés dans des lieux tels que le Science Museum, le British Museum et le Victoria and Albert Museum. L'un des temps forts était l'exposition « Musique et instruments de musique dans le monde islamique » au Horniman Museum, qui présentait plus de 200 instruments de musique sélectionnés par les ethnomusicologues Jean Jenkins (1922-1990) et Poul Rovsing Olsen (1922-1982). Pour accompagner cette exposition, les conservateurs ont simultanément publié la série phare Music in the World of Islam, un ensemble de six disques vinyles classés par famille d'instruments : Les Voix (Vol. 1), Les Luths (Vol. 2), Les Vièles (Vol. 3), Les Flûtes et Trompettes (vol. 4), Les Anches et Cornemuses (vol. 5) et Les Tambours et Rythmes (vol. 6).

 

Je suis ravi de vous présenter le quatrième volume, l’album Flutes & Trumpets, l'un de mes tout préférés de la série. Il rassemble des superbes morceaux provenant de neuf pays : le Nigeria et l'Ouganda en Afrique de l'Ouest et de l'Est ; l'Algérie et le Maroc en Afrique du Nord ; la Turquie et l'Iran en Asie de l'Ouest ; le Turkménistan en Asie centrale ; ainsi que l'Inde et le Pakistan en Asie du Sud. Cette collection met en avant divers types de flûtes et de trompettes, y-compris les flûtes à conduit satara et doudouk (A1, B2), les flûtes nay (ney) et gasba (A3, A4a, A4b, B4, B5), la flûte traversière bansuri (A6) et la flûte donaly (B3). On y trouve également des trompettes nafir (A2, A5), terme général désignant les longues trompettes cérémonielles dans le monde musulman, une trompette folklorique bankia du Rajasthan (B6), ainsi qu’une musique collective extraordinairement puissante d'un ensemble cérémonial alur d'Ouganda (B1), composé de quarante trompettes en ivoire aguara de différentes tailles et de petites flûtes coniques en corne !

INDIA

A1 – Lahara (introduction to a tune)

Kammo Khan, plays a pair of satara duct flutes; one is fingered and the other acts as a drone; 
Recorded in Jodhpur, Rajastan, 1968.

 

MOROCCO

A2 – Wedding Procession
Long straight nafir trumpets, ghaita oboes, and a large tabl drum;

Recorded in Marrakesh, 1975.

 

TURKEY (TÜRKIYE)

A3 – Nay solo

Niyazi Sayın;

Recorded in Istanbul, 1975.

 

ALGERIA

A4a – Nay (or gasba) and handclapping

 

A4b – Polyphonic religious music

Two singers accompanied by a nay (or gasba) flute; 

Recorded in Messaad, 1970.

 

NIGERIA

A5 – Nafir
Bariba song of welcome. Horns and drums;

Recorded in Okuta, 1960.

PAKISTAN

A6 – Langaga Patanchanada

Punjabi folk song performed by a village band.

Sian ditta Quadri, bansuri transverse flute; Nubarak Ali, santur dulcimer; Rehmat Khan, ghara struck earthen pot; and Jalit Hussain, dholak double membrane drum;

Recorded in Lahore, 1975.

 

UGANDA
B1 – Festival 
Music of the Alur people. Around 40 aguara Ivory trumpets of various sizes and small horn cone flutes;

Recorded in Arua, 1968.

 

TURKMENISTAN
B2 – Pair of düduk duct flutes

One plays the melody while the other acts as a drone;

Recorded in Ashkabad, 1960.

 

PAKISTAN

B3 – Dehi Sher (patriotic ballad)

Baluchi music.

Samad Khan, donaly flutes; Baluch Khan, singing in a throat monotone and controlling his voice by pressing his throat;

Recorded in Quetta, 1975.

 

ALGERIA

B4 – Hadra

Muslim brotherhood music.

Two nay (gasba) flutes and four bendir frame drums inspire trance;

Recorded in Metlili Châamba, 1970.

 

IRAN

B5 – Nay Solo

Hasan Naheed;

Recorded in Teheran, 1975.

 

INDIA
B6 – Podina

Rajasthani folk music. Gopal, bankia trumpet; Manudin, sarangi fiddle; Ramjar, harmonium; Aligar, majira cymbals; Shabudin, dholak drum; Bumi, dhol drum;
Recorded in Jaipur, 1975.

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***

 

Jean Jenkins (1922-1990) was a major 20th century ethnomusicologist known for her seminal recordings of traditional music, notably from Africa, central Asia, and with a specific focus on the music in the world of Islam. She also wrote books and diaries, took many excellent photographs, and built a traditional musical instrument collection which she donated to the National Museum of Scotland in 1980.

Poul Rovsing Olsen (1922–1982) was a Danish composer and ethnomusicologist who worked at the Danish Folklore Archives. He is best known for his work on music from the Persian Gulf region.

My other post recorded by Jean Jenkins:

Music of Eritrea – Ethiopia Vol. 3 – Tangent Records TGM 103 here 

Poster of the exhibition ‘Music and Musical Instruments in the world of Islam’ held at the Horniman Museum, London, from April 6 to October 6, 1976, as part of the World of Islam Festival 1976:

The photographs below are from Music and Musical Instruments in the World of Islam by Jean Jenkins and Paul Rovsing Olsen, Horniman Museum, London, World of Islam Festival 1976:

Nay, classical end-blown flute, Fez, Morocco:

Hausa musicians playing the nafir or kakaki (the Hausa royal trumpet,) northern Nigeria:

Rajasthani folk music with bowed kemayche, dhol drum, 

and double-reed surnai. Jaisalmer, India:

Karna metal trumpet of the Qashqai nomads. Near Shiraz, Iran:

Argun player. One pipe produces a drone. Iskenderun, Turkey:

Ghaita player gathering wedding guests. Tlemcen, Algeria:

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best finds with you on this blog here below:

INDIA Amir Khan – Memorable Evenings with Ustad Amir Khan Saheb – HMV – STC 04B 7371 to 7374

INDIA – INDE

Amir Khan – Memorable Evenings with Ustad Amir Khan Saheb – HMV – STC 04B 7371 to 7374 (4 Cassettes)

The unrivalled and highly influential 20th century Hindustani classical Khyal vocalist Amir Khan (1912-1974), was born in Kalanaur, Punjab State. After first studying the bowed sarangi under the tutelage of his father Shahmir Khan, Amir embraced singing, and later founded the Indore Gharana school based on the styles of three towering vocalists, namely Abdul Wahid Khan (1871–1949), Rajab Ali Khan (1874–1959) and Aman Ali Khan (1888–1953).

Author Susheela Misra (1920-1998) wrote, “His music combined the massive dignity of Dhrupad with the ornate vividness of Khayal. (…) What set him apart from his contemporary artistes was the fact that he never made any concessions to popular tastes, but always stuck to his pure, almost puritanical, highbrow style.”* 

 

According to musicologist Deepak Raja, “Ustad Amir Khan was easily the single most influential Hindustani vocalist of the 20th century. His music deeply influenced his contemporaries and (…) continues to shape the dominant tendencies in vocalism, as well as instrumental music…he set standards of musicianship that have yet to be bettered.”**
 

I first heard these recordings some 20 years ago, and they were a true revelation. The level of inspiration and the amazing sound texture flowing throughout these four cassettes offer a remarkable showcase of Khan’s deep, mellow baritone voice that effortlessly expressed intensity, sensuality, creativity, dignity and glowing majesty. This is music of the highest order.

Amir Khan (1912-1974), né à Kalanaur, dans l'État du Pendjab, fut un chanteur Khyal classique Hindustani sans pareil et extrêmement influent. Après avoir étudié la vièle à archet sarangi sous la tutelle de son père Shahmir Khan, il se dévoue au chant et fondera par la suite l'école Indore Gharana qui synthétisa les styles de trois chanteurs majeurs d'antan : Abdul Wahid Khan (1871-1949), Rajab Ali Khan (1874-1959) et Aman Ali Khan (1888-1953). 

L'auteur Susheela Misra (1920-1998) affirma : « Sa musique combine la grande dignité du Dhrupad avec la vivacité ornementale du Khayal. (…) Il se distingua des artistes de son époque en refusant de faire des concessions pour s’adapter aux goûts du jour du public et en restant fidèle à la pureté de style, empreint d’érudition, voir même d’une certaine austérité ».*

Selon le musicologue Deepak Raja, « Ustad Amir Khan était de loin le chanteur Hindustani le plus influent du XXe siècle. Sa musique a profondément influencé ses contemporains et (…) continue de façonner les tendances dominantes non seulement du chant classique, mais également de la musique instrumentale ».**

Ces enregistrements, que j'ai découverts il y a une vingtaine d'années, furent une véritable révélation. Le niveau d'inspiration remarquable et la riche texture sonore qui imprègnent ces quatre cassettes illustrent avec brio sa voix de baryton fluide et suave qui exprimait l'intensité, la sensualité, la créativité, et la dignité avec une majesté éclatante.

A1 – Raga Bairagi – Mansumarat Nis Din Tumharo Naam

A2 – Raga Charukeshi – Laaj Rakho Tum Mori Gusaiyan

B1 – Raga Puriya – Chin Chin Baat Takat Hun Tori

B2 – Raga Madhu Kauns – Bairanbhai Rain

C – Raga Shuddha Kalyan – Khayal Vilambit In Jhumra Taal Tarana In Teentaal

D – Raga Bageshri Khayal – Vilambit In Jhumra Taal

E – Raga Miyan Malhar – Karim Naam Tero

F – Raga Miyan Malhar – Barasan Lagi Re Badariya

G – Raga Jog Khayal Vilambit In Roopak Taal Khayal Drut In Teental

H – Raga Darbari Khayal Vilambit In Jhaptaal Khayal Drut In Teental 

*Susheela Misra’s Great Masters of Hindustani Music (1981).

** http://swaratala.blogspot.com/2011/08/ustad-ameer-khan-1912-1974.html

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My other Hindustani Khayal male vocal posts:

Amir Khan – HMV – EASD 1331 here
Amir Khan – Rare Creations of Ustad Amir Khan – Inreco here
Faiyaz Khan – HMV – EALP 1292 here
Faiyaz Khan – Hindusthan Record – LH 5 here
Bade Ghulam Ali Khan – Padma Bhooshan – Odeon MOAE 5004 here
Bhimsen Joshi – HMV – 7 EPE 1246 here
Bhimsen Joshi – HMV – ECLP 2264 here
Nazakat & Salamat Ali Khan – HMV  – 7 EPE 1356 here
Salamat and Nazakat Ali Khan – HNBL 1332 here
D. V. Paluskar – HMV – EALP 1295 here

Mallikarjun Mansur – Sings Rare and Complex Ragas – Inreco here
Kumar Gandharva – Hindustani Classical – HMV – ECLP 2360 here
Omkarnath Thakur – SEDE 3302 COLUMBIA here

The Emperor Bahadur Shah (reigned 1707-1712) mounted on an elephant, late 17th century (Wikipedia Commons):

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pursue my global curation project and share the 

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LIBERIA Folk Music of Liberia – Smithsonian Folkways Records FW 04465

LIBERIA
Folk Music of Liberia – Smithsonian Folkways Records  FW 04465, recorded by Packard L. Okie in 1954, 1992 reissue (Cassette)

In the 1980s, I began collecting Folkways records, but they were hard to find, costly, and often had subpar sound quality. After the Smithsonian Institution acquired Folkways Records in 1987, the catalog was reissued on audio cassettes in the early 1990s. These cassettes offered improved sound and were produced on an on-demand basis. Because of this limited, direct sales model, they are quite rare today.

 

The album includes enthralling traditional and folk musics of old performed by the Kpelle (A2, A5, B5), Bassa (A4, B3), Mandingo (A1, B2), Gio (Dan) (A3), Lorma (A6) and Grebo (B4) peoples of Liberia. These 1954 recordings made in Robertsport, Grand Cape Mount County, Bromley, Montserado County, and Gbanga, Central Province, feature vocals (A1, A2, A3, A6, B1, B2, B3 B4), guitars (A1, B4), drums and percussion (A3, A6, B3, B5), balafons (B2), a musical bow (B4), a harp (B3), and horns (B5).

 

Don’t miss the terrific acoustic guitar and vocals (B4), the mesmerizing bush cutters' polyrhythmic vocals (A2) and the vibrant Kpelle ensemble with its haunting horns, drums, and percussion (B5).

 

Lorsque j'ai commencé à collectionner les disques Folkways dans les années 1980, ils étaient difficiles à trouver, chers et leur qualité sonore laissait parfois à désirer. Après l'acquisition de Folkways Records par la Smithsonian Institution en 1987, le catalogue a été réédité sur cassettes audio au début des années 1990. Ces cassettes offraient une meilleure qualité sonore et étaient produites à la demande. En raison de ce modèle de vente directe et limité, elles sont assez rares aujourd'hui.

 

Cet album nous plonge dans les musiques traditionnelles et folkloriques d'antan du Liberia jouées par les peuples Kpelle (A2, A5, B5), Bassa (A4, B3), Mandingue (A1, B2), Gio (Dan) (A3), Lorma (A6) et Grebo (B4). Réalisés en 1954 à Robertsport, Grand Cape Mount County, Bromley, Montserado County, et à Gbanga, Central Province, ces enregistrements comprennent des voix (A1, A2, A3, A6, B1, B2, B3, B4), des guitares (A1, B4), des tambours et des percussions (A3, A6, B3, B5), des balafons (B2), un archet musical (B4), une harpe (B3) et des trompes (B5).

 

Ne manquez pas la superbe guitare acoustique (B4), le chant de travail polyrythmique envoûtant des défricheurs de brousse (A2) et l'ensemble Kpelle avec ses trompes, tambours et percussions circulaires lancinantes (B5).

Mandingo people

A1 – Mandingo Song

Female and male singers with guitar;

This song is an ode to the Prophet Muhammad and is performed during Eid al-Fitr that marks the end of Ramadan's month of fasting;

Gbanga, Central Province.

Kpelle people

A2 – Worksong

Six male bush-cutters sing.

 

Gio (Dan) people

A3 – Laborers’ song

Laborers accompanied by bamboo slit drums;

Bromley on the St. Paul River.

 

Bassa people

A4 – Solo musical bow held in mouth for pitch variations
By Jon Wieh;

Bromley on the St. Paul River.

 

Kpelle people

A5 – Harp solo 
By Pepe Kroma;

Senje District, Bomi County.

 

Lorma people

A6 – Lorma (Buzi) song

Two men sing and play Fanga drums with women vocals.

Gio (Dan) people

B1 – Song of the Snake Society (handling snakes and healing snake bites)
Singers led by Jeru.

 

Mandingo people

B2 – Mandingo Song

Vocals and two balafons with 17 wooden bars (pictured)
This song is an ode to the Prophet Muhammad and is performed during Eid al-Fitr that marks the end of Ramadan's month of fasting.

 

Bassa people

B3 – Bassa song

Belly harp (pictured), vocals and percussion by Jeffly and Bo;

Gbanga, Central Province.

 

Grebo people

B4 – Kru song 

The singer, who plays an imported acoustic guitar, learned this tune from Kru sailors.

 

Kpelle people

B5 – Kpelle Ensemble

Horns, drums with rattles and a struck iron triangle;

This ensemble honors the Gbanga chief during the Independence Day festivities on July 26;

Gbanga, Central Province.

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The cover of the 1960 vinyl reissue of the album:

Photographs below are from Primitivism in 20th Century Art: Affinity of the Tribal and the Modern by William Rubin, MoMA, 1987, and the Guy Loudmer catalog for the June 28-29, 1989, art auction at Paris-Drouot:

Grebo mask, 70 cm, Liberia or Côte d'Ivoire:

Dan (Gio) mask, 27 cm, Liberia or Côte d'Ivoire:

Please help me purchase important traditional records to 

pursue my global curation project and share the 

best finds with you on this blog here below: