Friday, November 29, 2019

INDIA – INDE
Surshri Kesar Bai Kerkar – Raga Lalat and Raga Malkauns – His Master's Voice – EALP 1278, released 1963, recorded mid-1950s (LP)
#India #Kesarbai Kerkar #Hindustani #Khayal #vocal #traditional music #Indian music #raga #musique indienne #Jaipur-Atrauli Gharana #devotional #India #Kesarbai Kerkar #Hindustani #Khayal #vocal #traditional music #Indian music #raga #musique indienne #Jaipur-Atrauli Gharana #devotional #India #Kesarbai Kerkar #Hindustani #Khayal #vocal #traditional music #Indian music #raga #musique indienne #Jaipur-Atrauli Gharana #devotional #India #Kesarbai Kerkar #Hindustani #Khayal #vocal #traditional music #Indian music #raga #musique indienne #Jaipur-Atrauli Gharana #devotional

The legendary Kesarbai Kerkar, or Kesar Bai Kerkar, (1892–1977) was one of the greatest and most influential Hindustani singers of the 20th century. Born into a family of musicians in the village of Keri in Goa, she embraced music at an early age and was tutored by Abdul Karim Khan (1872-1937) in Kolhapurat. She moved to Mumbai with her family and subsequently trained with various notable teachers, including Bhaskarbuwa Bakhale (1869-1922) and Ramkrishnabuwa Vaze (1871-1945). 

In 1921, Alladiya Khan (1855–1946), the demanding founder of the Jaipur-Atrauli Gharana, accepted her as his disciple. Kerkar began singing professionally in 1930 and achieved fame throughout India. Along with luminaries like Mogubai Kurdikar (1904-2001), Hirabai Barodekar (1905-1989) and Gangubai Hangal (1913-2009), she paved the way for the new generation of female Khayal vocalists.


Kerkar was committed to striving for perfection through hard work, total dedication, and an uncompromising attitude: She declined to sing light classical music and refused to use any amplification or be recorded live. She resolutely shunned the limelight, remaining true to tradition by performing mostly in courts and rarely gave public performances. She retired in 1964, in her seventies, when she realized her voice was deteriorating and left only a few recordings for posterity. Her death in 1977 went almost unnoticed. Despite her indelible influence and the profound respect of her distinguished peers–from
Siddheswari Devi (1908-1977) and M.S. Subbalakshmi (1916-2004) to Begum Akhtar (1914-1974) and Bimsen Joshi (1922-2011)–this musician’s musician is little known outside the circle of connoisseurs.

These nine tracks exemplify Kerkar’s power, sensuality, clarity, balance and masterful precision. "The yogini of music," as she was affectionately called by her admirers, brilliantly expressed the humanity, reflective intellect, sense of the sacred, and lofty dignity of a bygone era.


La légendaire Kesarbai Kerkar, ou Kesar Bai Kerkar (1892-1977), fut l'une des plus grandes chanteuses Hindustani du XXe siècle. Née dans une famille de musiciens dans le village de Keri à Goa, elle se dévoue dès son plus jeune âge à la musique et reçoit même pendant plusieurs mois des leçons d’Abdul Karim Khan (1872-1937) à Kolhapurat. Elle déménage ensuite à Mumbai avec sa famille et poursuit son apprentissage auprès de divers grands maîtres, notamment Bhaskarbuwa Bakhale (1869-1922) et Ramkrishnabuwa Vaze (1871-1945).


En 1921, l'exigeant Alladiya Khan (1855-1946), le fondateur du Jaipur-Atrauli Gharana, l'accepta comme son disciple. Kerkar commence à chanter professionnellement à partir de 1930 et acquiert peu à peu une grande renommée dans toute l'Inde. Aux côtés d’autres grandes figures du chant telles Mogubai Kurdikar (1904-2001), Hirabai Barodekar (1905-1989) et Gangubai Hangal (1913-2009), elle ouvre la voie à la nouvelle génération de chanteuses de Khayal.

Kesarbai 
Kerkar recherche perpétuellement la perfection par son travail acharné et un dévouement total sans aucune compromission: elle refusa de chanter de la musique classique légère, d'utiliser de amplification ou d'être enregistrée en direct. Elle n’aime résolument pas être sous les feux de la rampe, et, suivant la tradition, chante principalement dans les cours des maharajas et donne rarement des récitals publiques. Elle prend sa retraite en 1964, lorsqu’elle réalisa que sa voix se détériorait, et n’a laissé qu'un nombre limité d'enregistrements pour la postérité. Sa mort en 1977 est passée presque inaperçue. En dépit de son influence majeure et du profond respect témoigné par ses pairs – de Siddheswari Devi (1908-1977) à M.S. Subbalakshmi (1916-2004), et Begum Akhtar (1914-1974) à Bimsen Joshi (1922-2011) – sa musique reste peu connue en dehors du cercle des initiés.

Ces neuf pistes illustrent bien la puissance, la sensualité, la clarté, l’équilibre et la précision magistrale de Kerkar. « La yogini de la musique », comme l'appelaient affectueusement ses admirateurs, exprima avec brio l'humanité, la sensibilité, le sens du sacré et la noble plénitude d'une époque révolue.

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Our other shares of female Khayal singers
:
Kesarbai Kerkar, Siddheswari Devi, Gangubai Hangal, Kishori Amonkar here
Hirabai Barodekar here & here
Sulochana Brahaspathi here

Don’t miss Tawfiq’s (https://oriental-traditional-music.blogspot.com/) superb ultra-rare shares of Kerkar, which he held dear in his heart, he posted a few months before he died here




Photograph below is from Ritual Art of India by Ajit Mookerjee, Inner Traditions, 1998:


Invocation of the Sun. Agni, god of fire and ritual, and also the sacrificial fire, 
gouache on paper, Rajasthan, c. 18th century:

MusicRepublic INDIA – INDE Surshri Kesar Bai Kerkar – His Master's Voice – EALP 1278

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



Saturday, November 23, 2019

TURKEY – TURQUIE
Rythmes et Mélodies de Turquie  Le Club Français du Disque 92, recorded by Blaise Calame, 1957 (10 in, 33 RPM)
#Turkey #Turquie #Turkei #traditional music #folk music #world music #kemençe violin #mey #saz #zurna oboe #cura #tulum bagpipe #darbuka drum #dance music # Blaise Calame #Anatolia #Black Sea # Halil Can #vinyl
#Turkey #Turquie #Turkei #traditional music #folk music #world music #kemençe violin #mey #saz #zurna oboe #cura #tulum bagpipe #darbuka drum #dance music # Blaise Calame #Anatolia #Black Sea # Halil Can #vinyl

#Turkey #Turquie #Turkei #traditional music #folk music #world music #kemençe violin #mey #saz #zurna oboe #cura #tulum bagpipe #darbuka drum #dance music # Blaise Calame #Anatolia #Black Sea # Halil Can #vinyl

#Turkey #Turquie #Turkei #traditional music #folk music #world music #kemençe violin #mey #saz #zurna oboe #cura #tulum bagpipe #darbuka drum #dance music # Blaise Calame #Anatolia #Black Sea # Halil Can #vinyl

"In Turkey, popular music has long been overlooked and neglected compared with art music. It is actually one of the most interesting aspects of Turkish cultural life, now found solely in the countryside and remote mountainous regions. It is in these least accessible regions that one finds the most authentic examples of a musical art which occupies a special place in Middle-Eastern music," wrote violin player Blaise Calame in the 1957 French liner notes.

« Pendant longtemps la musique populaire a été sous-estimée en Turquie et négligée au profit de la musique savante. Elle représente pourtant un des aspects les plus intéressants de la vie culturelle, développée dans les campagnes et les nombreuses contrées montagneuses et retirées de la Turquie. C'est même dans les régions les moins accessibles que l'on trouve les spécimens les plus authentiques d'un art musical qui occupe une place à part dans la musique du Proche-Orient, » affirme le violoniste Blaise Calame dans le livret accompagnant ce disque écrit en 1957.

A1 – Horon. An intense fast-paced Black Sea fishermen’s dance performed on a three-stringed kemençe violin near Rize, in the Eastern Black Sea region.

A2 – Dag Havasi / Mountain Air. A funeral oration from the mountainous region of Kars, in Eastern Anatolia, performed on the ancient double-reed mey, which, at the time, was still being played in certain mountainous areas.

A3 – Süpürgesi Yoncadan. Dance from the Bolu region, in Central Anatolia; the saz player sings a love song entitled The Clover Broom.

A4 – Avsar Beyleri / The Lords of the Avsar (name of a people from ancient Turkey). Dance from the Burdur region, in southern Anatolia, performed on the saz.

A5 – Köçeri. Dance from Erzurum, in Eastern Anatolia, played on the quircky oboe-like zurna.

B1 – Sinsin. Dance around a fire from Kayseri, Central Anatolia. The orchestra composed includes two saz, a cura saz, a meydan sazi, and the darbuka drum.

B2 – Koroglu. Epic folk song from the region of Kars and Erzurum. An asik (wandering minstrel) plays the meydan saz and sings about the bravery of Koroglu, a legendary 16th-century hero and bard.

B3 – Hemsin Horonu. Three dances from the mountainous region south of Rize, in the Eastern Black Sea region, performed around a tulum bagpipe player.

B4 – Kol Basti / The Police Have Come. A dance from the western coast of the Black Sea, performed on the saz lute and darbuka drum. The song refers to a former regime which banned popular entertainment. As the police approach, the music is subdued until they leave.

B5 – Halay. A dance from Diyar Bakir, "the land of copper," in Eastern Anatolia, played on the double-reed mey and darbuka drum.

#Turkey #Turquie #Turkei #traditional music #folk music #world music #kemençe violin #mey #saz #zurna oboe #cura #tulum bagpipe #darbuka drum #dance music # Blaise Calame #Anatolia #Black Sea # Halil Can #vinyl

Map showing where the album's musics were recorded


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Our other Turkish music posts:
Nuit Précieuse au Serail – ARION 30 U 097 here
Musique de Turquie – ALPHA 5018 here

Photographs below are from The Illustrated Guide to Islam: History, Philosophy, Traditions, Teachings, Art and Architecture by Raana Bokhari, Lorenz Books, 2012, and Musique de Turquie - Les Traditions Musicales by Ursula Reinhard, Buchet-Chastel, 1997:


Miniature Ottoman astrological zodiac chart, which illustrates mankind's divine predestination, 1583:

MusicRepublic TURKEY – TURQUIE  Rythmes et Mélodies de Turquie – Le Club Français du Disque 92



Epic-story singer Kir Ismail, aka Ismail the Grey, playing the cura saz
Haruniye, Adana Province:

MusicRepublic TURKEY – TURQUIE  Rythmes et Mélodies de Turquie – Le Club Français du Disque 92

Halil Can (1905-1973) playing the ney flute:

MusicRepublic TURKEY – TURQUIE  Rythmes et Mélodies de Turquie – Le Club Français du Disque 92



Davul drum player:

MusicRepublic TURKEY – TURQUIE  Rythmes et Mélodies de Turquie – Le Club Français du Disque 92

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



Friday, November 15, 2019

CENTRAL AFRICAN REPUBLIC – REPUBLIQUE CENTRAFRICAINE
Centre-Afrique – Danses de la Forêt – Harmonia Mundi – HM 733, recorded by Simha Arom, 1967 (LP)
#Central African Republic #République Centrafricaine #CAR #Simha Arom #African music #Musique Africaine #traditional music #world music #Ba-Benzele Pygmies #trance #ceremony #ritual #ceremony #magic #Dakpa #Banda #Gbannou Langba #Dendi #Lito #Mandja #Ngkaba #Rounga #Sabanga
#Central African Republic #République Centrafricaine #CAR #Simha Arom #African music #Musique Africaine #traditional music #world music #Ba-Benzele Pygmies #trance #ceremony #ritual #ceremony #magic #Dakpa #Banda #Gbannou Langba #Dendi #Lito #Mandja #Ngkaba #Rounga #Sabanga
#Central African Republic #République Centrafricaine #CAR #Simha Arom #African music #Musique Africaine #traditional music #world music #Ba-Benzele Pygmies #trance #ceremony #ritual #ceremony #magic #Dakpa #Banda #Gbannou Langba #Dendi #Lito #Mandja #Ngkaba #Rounga #Sabanga
#Central African Republic #République Centrafricaine #CAR #Simha Arom #African music #Musique Africaine #traditional music #world music #Ba-Benzele Pygmies #trance #ceremony #ritual #ceremony #magic #Dakpa #Banda #Gbannou Langba #Dendi #Lito #Mandja #Ngkaba #Rounga #Sabanga

This thrilling anthology of traditional music from the Central African Republic of a bygone era, includes vocal and flute polyphony of the Ba-Benzele Pygmies (A3, A12, A8), Dakpa horn music (A6, A8, A10), and music from the Ngkaba (A1, B2, B11) Lito (B4, B5, B7) Langba (A5, A11, B6), Sabanga (A2, A13, B3), Mandjia (B1,B9), Dendi (A4) and Rounga (B10) people.

Cette anthologie palpitante de musiques traditionnelles centrafricaines d’antan présente la polyphonie vocale des pygmées Ba-Benzélé (A3, A12, A8), la musique de trompes Dakpa (A6, A8, A10), ainsi que les musiques Ngkaba (A1, B2, B11), Lito (B4, B5, B7), Langba (A5, A11, B6), Sabanga (A2, A13, B3), Mandjia (B1, B9), Dendi (A4) et Rounga (B10).

A1 Ngkaba Lament - Siti Oh (South-West)
A2 Sabanga Men's Dance – Angwora (Centre)
A3 Music Of Rejoicing of the Ba-Benzele (South-West)
A4 Dendi Lament (South)
A5 Langba Lullaby - Di Koukou Sya Liya (South)
A6 Dakpa Horn Music (Centre)
A7 Gbannou Initiation Song - Yakoyo (South-West)
A8 Dakpa Horn Music 2 (Centre)
A9 Ngkaba Satirical Song - Kouda-e (South-West)
A10 Dakpa Horn Music 3 (Centre)
A11 Langba Song Of Fear - Ya, Ya, Timiki (South)
A12 Ba-Benzele Pygmy Hunting Song - Hindewhou Whistle (South-West)
A13 Sabanga Mourning Song - Nawe (Centre)
B1 Mandjia Lullaby - Yokolo Be (West)
B2 Ngbaka Sanza Solo (South-West)
B3 Sabanga Lullaby - Egbole Ne Ma (Centre)
B4 Lito Children's Games - Malanga Ti Yourou (Centre)
B5 Lito Song Of Initiation - E Malangao (Centre)
B6 Langba Song of Rejoicing - Amokondzi Nzapa La Pa (South)
B7 Patri Burial Song - Mi Yola Mona Ndeyo (South)
B8 Ba-Benzele Pygmies' Lament - Yimbo (South-West)
B9 Mandja Fetishistic Song - Seto (West)
B10 Rounga Funeral Song - Ya Yao (North)
B11 Ngkaba Musical-Bow Solo (South-West)

For half a century the eminent Franco-Israeli ethnomusicologist Simha Arom (b. 1930) explored and recorded the music of many Central African peoples, notably the fascinating Pygmy polyphony, as well as music from Benin, Ethiopia, Greece and Georgia.

"I believe that the heart of the work in the strange field called ethnomusicology consists of collecting different types of orally-transmitted musics before they disappear and decipher them like a linguist would with a newly discovered language," said Arom.


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Our other Central African music share:
Musique Centrafricaine - Ocora 43, 1962 here

Our many thanks to Nuno for always making the visuals look fabulous!


Photograph below is from Le Corps Africain by Alain-Michel Boyer, Hazan, 2007:

Ganza ceremony with Banda boys, covered in white and holding symbolic whips, 
dancing to the sound of a wooden-horn orchestra, Bambari, 1925:

MusicRepublic CENTRAL AFRICAN REPUBLIC – REPUBLIQUE CENTRAFRICAINE  Centre-Afrique – Danses de la Forêt – Harmonia Mundi – HM 733

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