Tuesday, October 15, 2019


BAHRAIN – UNITED ARAB EMIRATES
Pêcheurs de Perles et Musiciens du Golfe Persique – OCORA 42, recorded by Poul Rovsing Olsen, 1962-1963 (LP)
#Bahrain #Sharjah #United Arab Emirates #pearl divers #naham #oud #surnai #tabl #lyre #tanboura #Ocora #traditional music #world music #taqsim #Baluchi #bedouin music #Arabic music #trance #vinyl
#Bahrain #Sharjah #United Arab Emirates #pearl divers #naham #oud #surnai #tabl #lyre #tanboura #Ocora #traditional music #world music #taqsim #Baluchi #bedouin music #Arabic music #trance #vinyl
#Bahrain #Sharjah #United Arab Emirates #pearl divers #naham #oud #surnai #tabl #lyre #tanboura #Ocora #traditional music #world music #taqsim #Baluchi #bedouin music #Arabic music #trance #vinyl
#Bahrain #Sharjah #United Arab Emirates #pearl divers #naham #oud #surnai #tabl #lyre #tanboura #Ocora #traditional music #world music #taqsim #Baluchi #bedouin music #Arabic music #trance #vinyl
#Bahrain #Sharjah #United Arab Emirates #pearl divers #naham #oud #surnai #tabl #lyre #tanboura #Ocora #traditional music #world music #taqsim #Baluchi #bedouin music #Arabic music #trance #vinyl
#Bahrain #Sharjah #United Arab Emirates #pearl divers #naham #oud #surnai #tabl #lyre #tanboura #Ocora #traditional music #world music #taqsim #Baluchi #bedouin music #Arabic music #trance #vinyl

This precious LP, recorded in 1962-1963, offers a rare glimpse into the fascinating traditional music from Bahrain and Sharjah (United Arab Emirates) in the Persian Gulf (aka the Arabian Gulf).

Side A features stunning side-long singing by pearl divers from Muharraq, Bahrain, who have been diving for pearls for more than 4,000 years. By the early 1960’s, when this recording was made, they had almost disappeared following the competition of cultured pearls from Japan in the 1930s, the discovery of oil and the area’s gradual modernization.

As pearl diving was a physically exhausting and perilous job, pearl boats welcomed professional naham lead singers onboard with accompanying musicians playing drums and hand cymbals to encourage and sustain the energy of the divers and their helpers. Nahams sang at top volume, supported by percussion, and the crew responded in deep, low drones (similar to vocal drones in Tibetan Buddhist music), exclamations, clapping, and whistling. These extraordinary trance-like collective worksongs were played uninterrupted from dawn to dusk.

Side B showcases inspired and dense performances highlighting the region’s rich ethnic and cultural diversity:

(B1) Salim Ahmed performing a Taqsim (maqam rast) on the oud lute, Manama (Bahrain);

(B2) Baluchi wedding music featuring a surnai oboe and tabl drum, Sharjah (UAE);

(B3) Kafur Moubarek, lyre (or tanboura) and voice, interpreting a love poem, Manama (Bahrain);
Kafur Moubarek was a Sudanese Bahraini. “Nowadays the lyre is rarely used, except by East Africans; lyres may be found in Saudi Arabia and several sheikhdoms of the Arabian Gulf but the musicians who play them are always Africans of Sudanese origin,” says Poul Rovsing Olsen in the liner notes. (see miniature below).

(B4) Rajab bin Khamis on droneless jirbe bagpipe, and two tabl drums, Manama (Bahrain).

Ce disque précieux, enregistré en 1962-1963, offre un aperçu rare de la fascinante musique traditionnelle de Bahreïn et de Sharjah (Émirats arabes unis) dans le golfe Persique (ou golfe Arabique).

La Face A présente des chants fascinants de plongeurs de perles de Muharraq (Bahreïn) qui pêchaient la perle depuis plus de 4 000 ans. Au début des années 1960, lorsque cet enregistrement fut réalisé, ils avaient presque disparu en raison de la concurrence des perles de culture du Japon dans les années 1930, la découverte de pétrole et de la modernisation progressive de la région.

Comme la pêche à la perle était un travail particulièrement éprouvant et périlleux, les bateaux-perles embarquaient des chanteurs professionnels naham, accompagnés de musiciens jouant du tambour et des cymbales à main pour encourager et soutenir l’énergie des plongeurs et de leurs assistants. Le naham chantait fort, soutenu par des percussions, auquel l’équipage répondait par des bourdons profonds dans l'extrême grave (rappelant les bourdons vocaux que l’on trouve dans la musique bouddhiste tibétaine), des exclamations, des applaudissements et des sifflements. Ces extraordinaires musiques collectives qui mènent à la transe étaient jouées sans interruption de l'aube au crépuscule.

La face B présente des musiques denses et inspirées qui reflètent la riche diversité ethnique et culturelle de la région:

(B1) Salim Ahmed exécutant un Taqsim (maqam rast) sur luth oud a cinq double cordes, Manama (Bahreïn);

(B2) Musique de mariage Baloutchi avec un hautbois surnai et un tambour tabl, Sharjah (Émirats arabes unis);

(B3) Kafur Moubarek, lyre (ou tanboura) et voix, interprétant un poème d'amour, Manama (Bahreïn);
Kafur Moubarek était un Bahreïni soudanais (voir miniature ci-dessous). « De nos jours, la lyre n’est guère utilisée que par les Africains de l'Est ; on trouve des lyres en Arabie Saoudite et dans plusieurs émirats du Golfe mais les musiciens qui s'en servent sont toujours des Africains d'origine Soudanaise, » explique Poul Rovsing Olsen dans les notes de l’album.

(B4) Rajab bin Khamis jouant de la cornemuse jirbe sans bourdon, accompagné de deux tambours tabl, Manama (Bahreïn).



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“ONE OF THE MOST MUSICAL CULTURES OF ITS TIME?
The result, demographically and socially, of having professional musicians on so many pearling boats is remarkable. In 1907 J.G. Lorimer stated that Bahrain had 917 boats. If only half of the vessels had two musicians on board, in a population ca 70,000 that would indicate that 1.3 percent of Bahrainis were professional-level musicians. If we go back in time, the proportions are even greater. The Dutch explorer Carsten Niebuhr noted that by 1750 Kuwait actually had 800 pearl diving boats in a population of 10,000. If only 500 of the boats had one nahham, then 5 percent of the population of Kuwait were active musicians. This is a remarkable amount of people devoted to music in a lone community. Comparatively, in the US in 1910, not even a quarter of 1 percent were considered professional musicians (Lorimer 1907; Niehbur 1792, 127; Shamlan 2000, 53; US Census Bureau; U.S. Census of Population). The large proportion of Gulf musicians did not just have an impact on the seamen but also on the greater community. After four months on the pearling boats, musicians returned and were heard by, and influenced, the local residents. (…) Certainly, the Arabian Gulf is historically one of the most musical regions of the Peninsula.”*

*From the fascinating and richly-documented Music and Traditions of the Arabian Peninsula – Saudi Arabia, Kuwait, Bahrain, and Qatar by Lisa Urkevich, Routeledge, 2014.


#Bahrain #Sharjah #United Arab Emirates #pearl divers #naham #oud #surnai #tabl #lyre #tanboura #Ocora #traditional music #world music #taqsim #Baluchi #bedouin music #Arabic music #trance #vinyl


#Bahrain #Sharjah #United Arab Emirates #pearl divers #naham #oud #surnai #tabl #lyre #tanboura #Ocora #traditional music #world music #taqsim #Baluchi #bedouin music #Arabic music #trance #vinyl

#Bahrain #Sharjah #United Arab Emirates #pearl divers #naham #oud #surnai #tabl #lyre #tanboura #Ocora #traditional music #world music #taqsim #Baluchi #bedouin music #Arabic music #trance #vinyl


Photograph below is from Mughal Paintings: Art and Stories by Sonya Rhie Quintanilla, Cleveland Museum of Art, 2016:
Lyre player (track B3), presumably Sudanese, Mughal painting, India, c. 1640-1660.

MusicRepublic BAHRAIN – UNITED ARAB EMIRATES Pêcheurs de Perles et Musiciens du Golfe Persique – OCORA 42


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Sunday, October 6, 2019

INDONESIA
Sulaeman – Kacapi Suling - Sundanese Flute & Zither – Universitas Nasional - Fakultas Seni - Bakti Budaya, recorded in Jakarta, 1975 (10 in, 33 RPM)
#Indonesia #West Java #Sunda #Sundanese music #Suling flute #Sulaeman #Kacapi #zither #traditional music #world music #vinyl #10 inch record
#Indonesia #West Java #Sunda #Sundanese music #Suling flute #Sulaeman #Kacapi #zither #traditional music #world music #vinyl #10 inch record
#Indonesia #West Java #Sunda #Sundanese music #Suling flute #Sulaeman #Kacapi #zither #traditional music #world music #vinyl #10 inch record
#Indonesia #West Java #Sunda #Sundanese music #Suling flute #Sulaeman #Kacapi #zither #traditional music #world music #vinyl #10 inch record

I first heard Sulaeman’s bamboo suling flute with zither on half of the Flute and Gamelan of West Java LP (1978) on the Tangent label. Everyone I played this music to, even people unfamiliar with traditional music, fell under its ethereal spell.

The Sundanese suling master, born c. 1910, started his career very young accompanying famous singers in the 1920s and 1930s, with whom he recorded a string of shellac 78 rpm discs. Sulaeman lived as a recluse and disappeared from view until he was rediscovered, in 1970, and invited to join the Faculty of Fine Arts at Jakarta’s National University. Sulaeman subsequently toured in Indonesia and abroad and recorded this precious duet featuring his exquisitely magical suling flute acccompanied by a delicate and lyrical 18-string kacapi zither played by the brothers Sukaya and Sukatma Di Karta.

J’ai entendu la flûte suling de Sulaeman avec de la cithare pour la première fois sur l’album Flute and Gamelan of West Java (1978) sur le label Tangent. Toutes les personnes à qui j'ai fais écouter cette musique, même celles peu familiarisées avec la musique traditionnelle, sont tombées sous son charme éthéré.

Le grand maître du suling sundanais, né vers 1910, débuta sa carrière à un jeune âge en accompagnant des chanteurs célèbres dans les années 1920 et 1930, avec lesquels il enregistre une série de disques 78 tours. Sulaeman vivait en solitaire et disparu de la circulation jusqu’à ce qu’il soit redécouvert en 1970 et invité à rejoindre la Faculté des beaux-arts de l’Université nationale de Jakarta. Sulaeman donna par la suite des concerts en Indonésie et à l'étranger et enregistra ce précieux duo présentant son jeu magique de flûte suling en bambou accompagnée d'une cithare kacapi à 18 cordes délicate et lyrique jouée par les frères Sukaya et Sukatma Di Karta.


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Our other Sundanese music post:
Gamelan Degung directed by Enip Sukanda (suling) - Galloway Records here


#Indonesia #West Java #Sunda #Sundanese music #Suling flute #Sulaeman #Kacapi #zither #traditional music #world music #vinyl #10 inch record

Please help me purchase important traditional records to pursue my global curation            project and share the best finds with you on this blog:



Sunday, September 29, 2019

TANZANIA
Fabulous Gogo Music from Tanzania – Heartbeat of Africa – Sapra Ltd CMIL 98, recorded by David Fanshawe (7 in, 33 RPM)

#Tanzania #Tanzanie #Gogo #Wagogo #African music #traditional music #world music #David Fanshawe #trance #dance #ceremony #ritual #magic #possession #spirit world #vinyl
#Tanzania #Tanzanie #Gogo #Wagogo #African music #traditional music #world music #David Fanshawe #trance #dance #ceremony #ritual #magic #possession #spirit world #vinyl
#Tanzania #Tanzanie #Gogo #Wagogo #African music #traditional music #world music #David Fanshawe #trance #dance #ceremony #ritual #magic #possession #spirit world #vinyl
#Tanzania #Tanzanie #Gogo #Wagogo #African music #traditional music #world music #David Fanshawe #trance #dance #ceremony #ritual #magic #possession #spirit world #vinyl

The pastoral Gogo (aka Wagogo) people inhabit the dry, semi-mountainous Dodoma region of central Tanzania. According to Wagogo music specialist Polo Vallejo, “they are famous and admired for their splendid vocal polyphonies. Their instrumental repertoires and dances illustrate the originality, complexity and musical refinement of African music… One of the most striking features of the Wagogo is that drums are played only by women.”*

David Fanshawe’s album Fabulous Gogo Music from Tanzania is an enthralling aural excursion with multilayered abstract complexity, fluid polyrhythms, and telepathic collective performances: Funeral Dance, to mourn the death of a leader with horns, flutes, percussion, singing and choir (A1); Intoxicating Marimba, with two marimbas whose sound box resonators are “covered by a thin layer of spiderweb to create a vibrating buzz” (A2); Gogo Choirs, with rich vocal polyphony (A3); Kikombo Zeze, with two zeze players (B1); Vipango Orchestra, with seven instruments and two percussions (B2); and Songs of Cultivation, with singing, horns, and percussion (B3).

These distinctive tracks, featuring deep otherworldly sounds that extend beyond the confines of the instruments’ envelopes through harmonics, vibration and distortion, exemplify how traditional African art “is not a means but an end–transmutation from the human into the supernatural.”**

Les Gogo (ou Wagogo) sont un peuple pastoral de la région semi-montagneuse de Dodoma au centre de la Tanzanie. Selon le spécialiste de la musique wagogo Polo Vallejo, « Ils sont réputés et admirés pour leurs splendides polyphonies vocales. Leurs répertoires instrumentaux et leurs danses particulières illustrent l’originalité, la complexité et le raffinement musicaux du continent africain. (…) Une des particularités les plus frappantes des Wagogo c’est que seules les femmes battent le tambour. »*

L’album Fabulous Gogo Music from Tanzania enregistré par David Fanshawe est un voyage captivant fait de musiques complexes et abstraites, de polyrythmes fluides et de performances collectives télépathiques: Dance funèbre pour pleurer la mort d’un dirigeant, avec trombes, flûtes, percussions, chants et choeur (A1); Marimbas enivrantes, avec deux marimbas dont les caisses de résonance sont « recouvertes d'une fine couche de toile d'araignée pour obtenir un bourdonnement » (A2); Cœurs Wagogo, avec une riche polyphonie vocale (A3); Kikombo Zeze, avec deux joueurs de zeze (B1); Orchestre Vipango, avec sept instruments et deux percussions (B2); et chants agricoles avec voix, trombes et percussions (B3).

Ces morceaux, composés de sonorités profondes avec des harmoniques, des vibrations et des distorsions qui font déborder les instruments de leurs enveloppes, illustrent bien que l’art africain traditionnel « n’est pas un moyen mais une fin – une transmutation de l’humain vers le surnaturel ».**

**Francis Bebey’s African Music – A People’s Art, Laurence Hill Books, 1975.

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David Fanshawe (1942-2010) was an English composer whose most famous work was the album African Sanctus (1972), which combines Western choral harmony with his recordings of traditional African music. Fanshawe passionately explored the great diversity of our dying global traditional musical heritage and painstakingly recorded thousands of hours of indigenous music in Europe, Egypt, Sudan, Uganda, Kenya, Tanzania, Afghanistan, Iraq, Bahrain, and the Pacific islands. 

Our other post of a David Fanshawe recording:
Kenya  Sounds of Masailand  Sapra Ltd here

Photograph below is from Les Civilisations Noires by Jacques Maquet, Marabout Université, 1962:

Wagogo boys during a circumcision ceremony, photographed by George Rodgers (1908-1995), late 1940s.

MusicRepublic TANZANIA Fabulous Gogo Music from Tanzania – Heartbeat of Africa – Sapra Ltd CMIL 98

Please help me purchase important traditional records to pursue my global curation                                project and share the best finds with you on this blog:




Friday, September 20, 2019

INDIA
Zia Mohiuddin Dagar – Raga Todi & Raga Pooriya – His Master's Voice - 7 EPE 1312, 1967 (7 in, 45 RPM)

#India #Hindustani #Dhrupad #Zia Mohiuddin Dagar #rudra veena #rudra vina #meditative #deep listening #meditation #traditional music #Indian music #world music #vinyl #45 RPM
#India #Hindustani #Dhrupad #Zia Mohiuddin Dagar #rudra veena #rudra vina #meditative #deep listening #meditation #traditional music #Indian music #world music #vinyl #45 RPM
#India #Hindustani #Dhrupad #Zia Mohiuddin Dagar #rudra veena #rudra vina #meditative #deep listening #meditation #traditional music #Indian music #world music #vinyl #45 RPM
#India #Hindustani #Dhrupad #Zia Mohiuddin Dagar #rudra veena #rudra vina #meditative #deep listening #meditation #traditional music #Indian music #world music #vinyl #45 RPM

Born in Rajasthan, where his father Ziauddin Khan Dagar was a court musician for the Maharaja of Udaipur, Zia Mohiuddin Dagar, aka Z.M. Dagar, (1932-1990) was a formidable master of the seldom-played Rudra veena (or bin).

All the
vocalists of the illustrious Dagar family played the Rudra veena as an accompaniment to their singing. But Z.M. was the only Dagar to play the Rudra-veena as a Dhrupad performance instrument instead of focusing on singing.

In order to render the subtleties and nuances of Dhrupad with greater depth and versatility, Dagar enlarged the instrument’s gourds and hollow neck to add bass and resonance for enhanced stage presence and longer sustain times of notes and harmonics.

This rare 45 RPM exemplifies the maestro’s deep, slow, spiritual musings, which create a meditative space and inspired tension of timeless universal value.


Mohi Bahauddin Dagar (b. 1970) is now carrying on his father’s
Rudra veena tradition.

Né au Rajasthan, où son père Ziauddin Khan Dagar officiait en tant que musicien à la cour du maharaja d'Udaipur, Zia Mohiuddin Dagar, alias Z.M. Dagar, (1932-1990) fut le plus grand maître de la rudra vina (ou bin) dans la seconde moitié du XXe siècle.


Tous les chanteurs de l'illustre famille Dagar jouaient de la rudra vina pour s’accompagner au chant. Mais Z.M. était le seul Dagar de sa génération à adopter la rudra-vina comme instrument de concert Dhrupad plutôt que le chant.

Afin de rendre les subtilités et les nuances du Dhrupad avec plus de profondeur et de fluidité, Z.M. Dagar transforma la rudra vina en élargissant la taille des gourdes et du manche creux de l’instrument afin d’ajouter des basses et de la résonance pour une plus grande présence scénique et pour allonger la durée du sustain des notes et des harmoniques.

Ce 45 tours rare illustre les envolées lentes, délicates et méditatives du maestro, qui créent un espace contemplatif avec des tensions inspirées d’une valeur universelle.

Mohi Bahauddin Dagar (né en 1970) perpétue à présent la tradition de son père au rudra vina.


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Our other Dhrupad share:
Nasir Aminuddin Dagar (vocal) - HMV EASD 1420 here

Don’t miss Tawfiq's essential Zia Mohiuddin Dagar shares here


Photograph below is from The Mystic Spiral: Journey of the Soul by Jill Purse, Thames & Hudson, 1980:

Sudama approaching the Golden City of Krishna, painting, Punjab Hills, India, c. 1785.
"The pearl being sought by the pilgrim Sudama is the Golden City of Krishna. Like the Buddhist Sudhana, he is the hero whose wanderings in search of the highest wisdom every devotee should emulate. The spiral nature of his quest for enlightenment, the circuitous route on which all such long and difficult journeys lead man, is echoed and affirmed by nature. Like the spiralling of the clouds and water, which enshrouds the Way of the dragons in mystery, the ambiguous forces of nature spiral into great vortices behind him; from their swirls strange natural beasts appear."

MusicRepublic INDIA Zia Mohiuddin Dagar – Raga Todi & Raga Pooriya – His Master's Voice - 7 EPE 1312, 1967 (7 in, 45 RPM)

Please help me purchase important traditional records to pursue my global curation                                project and share the best finds with you on this blog: