Wednesday, February 21, 2024

GAMBIA National Ensemble of The Gambia – Traditional Music – Melodiya - S80 – 14951-54

THE GAMBIA

National Ensemble of The Gambia – Traditional Music – Melodiya - S80 – 14951-54, recorded in the former Soviet Union in 1976 (2 LPs)

#Gambia #Gambie #Gambian #National #Ensemble #kora #cora #lute #balaphon #xalam #mandingue #mandingo #Mandinka #Malinke #Serer # Wolof #Peul #traditional music #world music #vinyl #double LP # Melodiya #African music #musique africaine #MusicRepublic
#Gambia #Gambie #Gambian #National #Ensemble #kora #cora #lute #balaphon #xalam #mandingue #mandingo #Mandinka #Malinke #Serer # Wolof #Peul #traditional music #world music #vinyl #double LP # Melodiya #African music #musique africaine #MusicRepublic
#Gambia #Gambie #Gambian #National #Ensemble #kora #cora #lute #balaphon #xalam #mandingue #mandingo #Mandinka #Malinke #Serer # Wolof #Peul #traditional music #world music #vinyl #double LP # Melodiya #African music #musique africaine #MusicRepublic
#Gambia #Gambie #Gambian #National #Ensemble #kora #cora #lute #balaphon #xalam #mandingue #mandingo #Mandinka #Malinke #Serer # Wolof #Peul #traditional music #world music #vinyl #double LP # Melodiya #African music #musique africaine #MusicRepublic
#Gambia #Gambie #Gambian #National #Ensemble #kora #cora #lute #balaphon #xalam #mandingue #mandingo #Mandinka #Malinke #Serer # Wolof #Peul #traditional music #world music #vinyl #double LP # Melodiya #African music #musique africaine #MusicRepublic
#Gambia #Gambie #Gambian #National #Ensemble #kora #cora #lute #balaphon #xalam #mandingue #mandingo #Mandinka #Malinke #Serer # Wolof #Peul #traditional music #world music #vinyl #double LP # Melodiya #African music #musique africaine #MusicRepublic
#Gambia #Gambie #Gambian #National #Ensemble #kora #cora #lute #balaphon #xalam #mandingue #mandingo #Mandinka #Malinke #Serer # Wolof #Peul #traditional music #world music #vinyl #double LP # Melodiya #African music #musique africaine #MusicRepublic

The Soviet label Melodiya recorded the National Ensemble of The Gambia during their tour of the Soviet Union in 1976, and in 1980 released this excellent double album underscoring the richness of the Gambian musical heritage.

 

The music here is performed by griots—called jalis in Mandinka, gewel in Wolof and gawlo in Fula—masters and keepers of time-honored knowledge and artistry at the heart of the cultural identity of many Gambian and West African ethnic/cultural groups. These outstanding singers and virtuoso musicians, who played long-necked 21-string kora lutes, balaphons with wooden bars and calabash resonators and drums, were also storytellers and important transmitters of history, culture and tradition, who played a vital role in collective events such as ceremonies and marriages.

 

The 20 tracks on this precious double LP feature 12 different male and female lead singers with backing vocals, kora lutes, balaphons and drums to weave a sensual, majestic music that radiates fire, serenity and lofty dignity. This is the only recording of the National Ensemble that I know of.

 

Le label soviétique Melodiya enregistra l'Ensemble national de Gambie lors de leur tournée en Union soviétique en 1976 et en 1980 publia cet excellent double album présentant la richesse du patrimoine musical Gambien. 

 

Ces musiques sont interprétées par des griots – appelés jalis en mandingue, gewelen wolof et gawlo en peul – les maîtres et gardiens d'un savoir et d'un art ancestral au cœur de l'identité culturelle de nombreux groupes ethniques/culturels en Gambie et en Afrique de l'Ouest. Ces chanteurs et musiciens virtuoses, qui jouaient du luth cora à 21 cordes, du balafon et des tambours, fûrent également des conteurs et d'importants passeurs d'histoire, de culture et de tradition, qui jouaient un rôle essentiel dans les événements collectifs (cérémonies, mariages, etc.).

 

Les 20 titres sur ce précieux double album sont interprétés par 12 chanteurs et chanteuses différents, accompagnés de chœurs, de coras, de balafons et de tambours, qui tissent des sonorités sensuelles et majestueuses qui rayonnent de feu, de sérénité et de noble plénitude. Il s'agit du seul enregistrement du National Ensemble que je connaisse.


A1 – Segu Turu

Keni Soumamou, vocals;

 

A2 – Lammanon

Sukari Seko, vocals;

 

A3 – Traditional Chant I

Keni Kanteh, vocals;


B1 – Traditional Chant II

Bajamme Sekiliba, vocals;

 

B2 – Yamam Samalay

Kombeh M'Bai, vocals;

 

B3 – The Legend of Keva Sana

Baba Sousou, vocals;

 

B4 – Cheddo

Momoudu Sousou, kora harp & vocals;

 

C1 – Jau Joina

Maisan Mbaimbu, vocals;

 

C2 – Massane Sisse

Keba Sousou, vocals;

 

C3 – Song Kula Balong Kula

 

C4 – Traditional Song "Vahled Jenny Niuhes Al N'Diubai"

Ibrahim M'Bai Chao, vocals;

 

D1 – Bamba Boujang

Malamini Jovate, kora & vocals; 

 

D2 – African Unity

Banna Kanuteh, balafon & vocals;

 

D3 – Nyi Bara Nya

Keni Soumamou, vocals;

 

D4 – Galamba

Keni Kanteh, vocals;

 

D5 – Lammanon

Sukari Seko, vocals;

 

D6 – A Traditional Tune in the nature of vocalise;

 

D7 – Sesnala Deganala

Kombeh M'Bai, vocals;

 

D8 – Improvisations for Balafons I

Banna Kanuteh, balafon;

 

D9 – Improvisations for Balafons II

Banna Kanuteh, balafon.


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Our other Gambian music posts:

African Journey – A Search for the Roots of the Blues Volume 1 – Sonet SNTF 666 here

 

African Journey – A Search for the Roots of the Blues Volume 2  – Sonet SNTF 667 here



Vintage postcard of Jola drummers, The Gambia:


MusicRepublic – GAMBIA National Ensemble of The Gambia – Traditional Music – Melodiya - S80 – 14951-54

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Monday, February 5, 2024

CHINA – TAIWAN Professor Liang Tsai-Ping and His Group – China's Instrumental Heritage – Lyrichord - LLST 792

CHINA – TAIWAN 

Professor Liang Tsai-Ping and His Group – China's Instrumental Heritage – Lyrichord - LLST 792, recorded in Taiwan c. 1960 (LP)

#China #Chine #Taiwan #Instrumental heritage #Lyrichord # cheng zither #hsia bamboo flute #sheng mouth pipe-organ #nan-hu fiddle #hsun ocarina #Professor Liang Tsai-Ping #Wong Chen-Hwa #Liang Ming-Yueh #Liang Min-Shih (Miriam Liang) #Lin Pei #traditional music #world music #folk music #vinyl #MusicRepublic
#China #Chine #Taiwan #Instrumental heritage #Lyrichord # cheng zither #hsia bamboo flute #sheng mouth pipe-organ #nan-hu fiddle #hsun ocarina #Professor Liang Tsai-Ping #Wong Chen-Hwa #Liang Ming-Yueh #Liang Min-Shih (Miriam Liang) #Lin Pei #traditional music #world music #folk music #vinyl #MusicRepublic
#China #Chine #Taiwan #Instrumental heritage #Lyrichord # cheng zither #hsia bamboo flute #sheng mouth pipe-organ #nan-hu fiddle #hsun ocarina #Professor Liang Tsai-Ping #Wong Chen-Hwa #Liang Ming-Yueh #Liang Min-Shih (Miriam Liang) #Lin Pei #traditional music #world music #folk music #vinyl #MusicRepublic
#China #Chine #Taiwan #Instrumental heritage #Lyrichord # cheng zither #hsia bamboo flute #sheng mouth pipe-organ #nan-hu fiddle #hsun ocarina #Professor Liang Tsai-Ping #Wong Chen-Hwa #Liang Ming-Yueh #Liang Min-Shih (Miriam Liang) #Lin Pei #traditional music #world music #folk music #vinyl #MusicRepublic

The great Lyrichord label has released a unique collection of precious recordings of authentic Chinese classical music, including this delicate, contemplative gem of 11 traditional songs from northern China composed between the 7th and the 20th centuries and performed by Professor Liang Tsai-Ping (1911-2000) and his group. The instruments used here are the 16-string cheng zither, hsia bamboo flute, sheng mouth pipe-organ, nan-hu fiddle, and hsun ocarina.

 

Le grand label Lyrichord a publié une collection unique de précieux enregistrements de musique classique chinoise authentique, dont ce joyau délicat et contemplatif de 11 chansons traditionnelles du nord de la Chine composées entre le VIIe et le XXe siècle et interprétées par le professeur Liang Tsai-Ping (1911-2000) et son groupe. Les instruments utilisés ici sont la cithare cheng à 16 cordes, la flûte hsia en bambou, l'orgue à bouche sheng, la vièle nan-hu et l'ocarina hsun.


A1 – Wild Geese Alighting on the Sandy Shore ("P'ing Sha Lo Yen")

17th century North China folksong;

Professor Liang Tsai-Ping, cheng zither, & Wong Chen-Hwa, hsia bamboo flute.

 

A2 – Old Monk Sweeping the Buddhist Temple ("Lao Sen Saqo Tien")

14th century North China (Shantung) folk song;

Liang Ming-Yueh, sheng mouth pipe-organ.

 

A3 – Ascending to the Top of a Tower ("Teng Lou")

18th century North China (Hopei) folk song;

Liang Min-Shih (Miriam Liang), cheng zither.

 

A4 – Hundred Birds Courting the Phoenix ("Pai Niao Chao Feng")

17th century North China (Honan) folk song;

Professor Liang Tsai-Ping, cheng zither, & Lin Pei, nan-hu fiddle.

 

A5 – The Farewell ("Yang-kuan San Tieh")

8th century North China (Shensi) folk song;

Liang Ming-Yueh, hsun ocarina.

 

A6 – Freedom March ("Tsu-yu Hsing")

Composed by Professor Liang Tsai-Ping in 1952;

Liang Min-Shih (Miriam Liang), cheng zither.

 

A7 – Flowers on Brocade ("Chin Shang Hua")

16th century North China (Hopei) folk song;

Professor Liang Tsai-Ping, cheng zither, & Wong Chen-Hwa, hsia flute.

 

B1 – Remembering an Old, Old Friend ("I Ku-jen")

Composed by Professor Liang Tsai-Ping in 1951;

Professor Liang Tsai-Ping, cheng zither.

 

B2 – Relieving My Heart ("Shu-hua Ch'u")

Composed by Professor Liang Tsai-Ping in 1951;

Professor Liang Tsai-Ping, cheng zither, Miriam Liang, sheng mouth pipe-organ.

 

B3 – Winter Ravens Sporting Over the Water ("Han Ya Hsi Sui")

10th century North China (Shensi) folk song;

Professor Liang Tsai-Ping, cheng zither, & Wong Chen-Hwa, hsia bamboo flute.

 

B4 – The Spring River in the Flowery Moonlight ("Ch'un Chiang Hua Yueh Yeh")

7th century North China (Shensi) folk song;

Professor Liang Tsai-Ping, cheng zither, Liang Ming-Yueh, sheng mouth pipe-organ, Wong Chen-Hwa, hsia bamboo flute & Lin Pei, nan-hu fiddle.


Download:

Our other Chinese classical music posts:

The Music of China Vol. 1 – Chinese Instruments – Anthology AST 4000 here

China– A Musical Anthology of the Orient – BM 30 SL 2032 here

Musik in Asien II – Südost- & Ostasien – BM 30 SL 5107 here



Photograph below is from The Art of East Asia by Gabrielle Fahr-Becker, Sabine Hesemann & Michael Dunn, published by Konemann, 1999:

 

Study of wonderful Birds and Other Living Creatures by 

Huang Quan (903-965), handscroll, ink and color on silk:


MusicRepublic CHINA – TAIWAN  Professor Liang Tsai-Ping and His Group – China's Instrumental Heritage – Lyrichord - LLST 792


 

The photograph below is from my visit last summer to the Cleveland Museum of Art's remarkable collections and museography here:

 

Architectural brick with dancer in relief, molded terracotta with slip coating, from the exterior wall of the Pagoda at the Xiudingsi Buddhist monastery near Anyang, Henan province, China, Tang Dynasty (618-907):



MusicRepublic CHINA – TAIWAN  Professor Liang Tsai-Ping and His Group – China's Instrumental Heritage – Lyrichord - LLST 792


Please help me purchase important traditional records 

to pursue my global curation project and share the 

best finds with you on this blog:





Saturday, January 27, 2024

INDIA – INDE Pannalal Ghosh – His Master’s Voice - EALP 1354

INDIA – INDE

Pannalal Ghosh – His Master’s Voice - EALP 1354, released in 1970 (LP)

#India #Inde #Hindustani #Bansuri #flute #Pannalal Ghosh #Indian music #traditional music #world music #Allaudin Khan #vinyl #78 RPM #shellac #MusicRepublic
#India #Inde #Hindustani #Bansuri #flute #Pannalal Ghosh #Indian music #traditional music #world music #Allaudin Khan #vinyl #78 RPM #shellac #MusicRepublic
#India #Inde #Hindustani #Bansuri #flute #Pannalal Ghosh #Indian music #traditional music #world music #Allaudin Khan #vinyl #78 RPM #shellac #MusicRepublic
#India #Inde #Hindustani #Bansuri #flute #Pannalal Ghosh #Indian music #traditional music #world music #Allaudin Khan #vinyl #78 RPM #shellac #MusicRepublic


Pannalal Ghosh (1911-1960), born into a musical family in Barisal, in present day Bangladesh, was a major 20th-century Hindustani musician and pioneer, who transformed the bamboo bansuri flute—an instrument played mostly in folk and light classical music—into a deeper-toned solo concert instrument. 

 

Ghosh started out playing the sitar, taught by his father Akshay Kumar Ghosh, and received musical training from his mother Sukumari Ghosh and maternal uncle Bhavaranjan Mazumdar, both accomplished classical vocalists. He also began playing the bansuri flute at a young age, showing tremendous talent.

Ghosh was also a gifted athlete in martial arts and boxing. In 1928, he moved to Kolkata, where he won the All Bengal Boxing Competition and worked as a trainer in an athletic club. All the while continuing to hone his musical skills and writing music for silent films.

Traditional Indian classical flutes tended to be small and high-pitched, but Ghosh wanted a lower-pitched flute with greater resonance for performing on the concert stage. To achieve the sound he wanted, he extended the instrument's length to more than 32 inches (80 cm) and also designed a 40-in (1-m) long bass bansuri flute.

Ghosh's groundbreaking flute playing technique was made even more versatile and expressive by his addition of a seventh hole, as well as the use of vibrato borrowed from Western classical music. This trailblazing modernist's many innovations were quickly adopted by other musicians and soon became the norm.

Ghosh was tutored by harmonium maestro Khushi Mohammed Khan in the early 1930s until Khan's death, and by vocalist and musicologist Girija Shankar Chakrabarty (1885-1948). Despite being an established artist, Ghosh convinced the legendary Allaudin Khan (1881-1972) to accept him as his disciple in 1947. He participated in many music festivals and was asked by such luminaries as vocalist Faiyaz Khan (1886-1950) to accompany them on his flute.

Ghosh's life was cut tragically short in 1960 by a heart attack at the age of 49 at the height of his powers.

This 12-track compilation of shellac 78 RPM records showcases Pannalal Ghosh's utterly brilliant lyricism, his fluid creativity and his unprecedented mastery of the flute. 


Pannalal Ghosh (1911-1960), né dans une famille de musiciens à Barisal, dans l'actuel Bangladesh, fut un musicien Hindustani majeur du XXe siècle et un pionnier qui transforma la flûte bansuri en bambou – un instrument jusque-là limité aux musiques folkloriques et classiques légères – en un instrument de concert soliste aux sonorités plus profondes.  

 

Ghosh commença par jouer du sitar, enseigné par son père Akshay Kumar Ghosh, et reçu une formation musicale de sa mère Sukumari Ghosh et de son oncle maternel Bhavaranjan Mazumdar, tous deux des chanteurs classiques. Il commença également à jouer de la flûte bansuri à un jeune âge, faisant preuve d'un immense talent.

 

Ghosh fut également un athlète doué pour les arts martiaux et la boxe. En 1928, il s'installe à Kolkata, où il remporte la compétition de boxe All Bengal Boxing Competition et travaille comme entraîneur dans un club d'athlétisme. Tout en continuant à perfectionner ses talents musicaux et à écrire des musiques pour des films muets.

 

Comme les flûtes classiques indiennes traditionnelles avaient tendance à être petites et aiguës, Pannalal Ghosh souhaitait une flûte plus grave avec une plus grande résonance. Il étendit considérablement la longueur de l’instrument. Pour obtenir le son qu'il souhaitait, il allongea l'instrument à plus de 80 cm et conçu également une flûte bansuri basse d’un mètre de long.

 

La technique de jeu totalement novatrice de Ghosh gagna encore en polyvalence et en expressivité par l'ajout novateur d'un septième trou, ainsi que par l'utilisation de vibrato emprunté à la musique classique occidentale. Les nombreuses innovations de ce moderniste avant-gardiste sont rapidement adoptées par d'autres musiciens et deviennent la norme.

 

Ghosh reçu l'enseignement du maître de l'harmonium Khushi Mohammed Khan au début des années 1930 et jusqu'à la mort de ce dernier, ainsi que du chanteur et musicologue Girija Shankar Chakrabarty (1885-1948). Bien qu'il soit déjà à l’époque un artiste confirmé, Ghosh convainc le légendaire guru Allaudin Khan (1881-1972) de l'accepter comme disciple en 1947. Il participe à de nombreux festivals de musique et est invité par des grands maîtres, notamment le chanteur Faiyaz Khan (1886-1950), à les accompagner à la flûte.

 

Pannalal Ghosh meurt brutalement d’une crise cardiaque en 1960, à l'âge de 49 ans, alors qu'il était au sommet de son art.

 

Cette compilation de 12 faces de 78 tours, publiée en 1970, présente son extraordinaire maîtrise de la flûte, comprenant un jeu fluide et lyrique et des envolées exaltées.


Download:

Flac

MP3



Our other Indian flute posts:

Vijay Raghav Rao (Hindustani) – Flute – ECLP 2357 here

N. Ramani (Carnatic) – Flute – EASD 1390 here

Flûtes du Rajasthan (Regional) – Le Chant Du Monde LDX 74645 here



MusicRepublic – INDIA – INDE Pannalal Ghosh – His Master’s Voice - EALP 1354


Photograph below is from The Sun Symbol of Power and Life by Madanjeet Singh, Published by Abrams, Inc., 1993:

 

Madhavi Mudgal (b. 1951) and her companions performing a sun dance 

in front of the solar deity Sûrya, a 13th-century sculpture from 

the Temple of the Sun, Konarak, Odisha, India:


MusicRepublic – INDIA – INDE Pannalal Ghosh – His Master’s Voice - EALP 1354

Please help me purchase important traditional records 

to pursue my global curation project and share the 

best finds with you on this blog:







Sunday, January 14, 2024

UNITED STATES Instrumental Music of the Southern Appalachians – Tradition Records - TLP 1007

UNITED STATES

Instrumental Music of the Southern Appalachians – Tradition Records - TLP 1007, recorded by Diane Hamilton, Liam Clancy & Paul Clayton in Virginia & North Carolina in 1956, released in 1957 (LP)

#Appalachians #Appalachia #instrumental music # Hobart Smith #fiddle #violin #Etta Baker #guitar #Boone Reid #banjo # Edd Presnell #dulcimer # Richard Chase # harmonica #Lacey Phillips #Paul Clayton #country music#Bluegrass #Paul Clayton #American folk music revival #traditional music #vinyl #MusicRepublic
#Appalachians #Appalachia #instrumental music # Hobart Smith #fiddle #violin #Etta Baker #guitar #Boone Reid #banjo # Edd Presnell #dulcimer # Richard Chase # harmonica #Lacey Phillips #Paul Clayton #country music#Bluegrass #Paul Clayton #American folk music revival #traditional music #vinyl #MusicRepublic
#Appalachians #Appalachia #instrumental music # Hobart Smith #fiddle #violin #Etta Baker #guitar #Boone Reid #banjo # Edd Presnell #dulcimer # Richard Chase # harmonica #Lacey Phillips #Paul Clayton #country music#Bluegrass #Paul Clayton #American folk music revival #traditional music #vinyl #MusicRepublic
#Appalachians #Appalachia #instrumental music # Hobart Smith #fiddle #violin #Etta Baker #guitar #Boone Reid #banjo # Edd Presnell #dulcimer # Richard Chase # harmonica #Lacey Phillips #Paul Clayton #country music#Bluegrass #Paul Clayton #American folk music revival #traditional music #vinyl #MusicRepublic

The spirited musical tradition of the eastern United States’ Appalachian Mountains reveals a fascinating hybridization of the many musical cultures brought by immigrant settlers—Anglo-Scottish-Irish ballads and fiddle dance music, the African-style banjo by African Americans introduced after the Civil War, European influences and the introduction of the dulcimer from Northern Europe.

 

Often associated with poor, rural American communities, Appalachian folk music played a seminal role in the development of old-time music and folk dances, such as square dancing, as well as country music, which emerged in the 1920s. Early icons like the Carter family and Loretta Lynn (1932-1922) remained true to the values and music of their native communities in the Appalachian Mountains in Virginia and eastern Kentucky. Bluegrass, born in the 1940s, brought a faster-paced version of old-time music with more sophisticated solos. Appalachian folk music also played an important role in the American folk music revival outside of mainstream culture that peaked in the 1960s driven by the remarkable popularity of the music of folk-rock artist Bob Dylan (b. 1941).

 

On this landmark LP of instrumental music, recorded in 1956 in Virginia and North Carolina in the Southern Appalachian Mountains, we hear the masterful, inspired playing of Hobart Smith (1897-1965) on the fiddle (A1, A9, B4, B7) and five-string fretless banjo (A2), Etta Baker (1913-2006) on the guitar (A3, A5, B1, B6, B9), Boone Reid (1876-1964) on the five-string banjo (A4, B5), Edd Presnell (1916-1994) on the dulcimer (A6, A10, B8), Richard Chase (1904-1988) on the harmonica (A7, B3, B10) and Lacey Phillips on the five-string banjo (A8, B2).

 

La grande tradition musicale des Appalaches, dans l'est des États-Unis, est le fruit d’une fascinante hybridation de nombreux apports culturels et musicaux des colons-immigrants, notamment les ballades anglo-écossaises et irlandaises et la musique de danse au violon, l’introduction du banjo d’origine africaine par les Afro-Américains après la guerre de Sécession, et les influences européennes et l’introduction du dulcimer en provenance d'Europe du Nord.

 

Souvent associée aux communautés rurales pauvres des États-Unis, la musique folklorique des Appalaches joua un rôle déterminant dans le développement de la musique old-time et des danses folkloriques, telles que le square dance, ainsi que de la musique country, qui apparait dans les années 1920. Des grandes icônes de la country comme The Carter Family et Loretta Lynn (1932-1922) resteront d’ailleurs fidèles aux valeurs et à la musique de leurs communautés d'origine en Virginie et dans l'est du Kentucky dans les montagnes des Appalaches. Le style bluegrass, né dans les années 1940, proposa une version plus rapide de la musique old-time avec des solos instrumentaux plus sophistiqués. La musique folklorique des Appalaches joua également un rôle essentiel dans le renouveau de la musique folklorique américaine (American folk music revival), qui atteint son apogée dans les années 1960, notamment sous l'impulsion de la popularité remarquable de la musique de l'artiste folk-rock Bob Dylan (né en 1941).

 

Ce disque historique de musique instrumentale, enregistré en 1956 en Virginie et en Caroline du Nord dans les Appalaches du Sud, présente le jeu magistral et inspiré de Hobart Smith (1897-1965) au violon (A1, A9, B4, B7) et au banjo fretless à cinq cordes (A2), d’Etta Baker (1913-2006) à la guitare (A3, A5, B1, B6, B9), de Boone Reid (1876-1964) au banjo à cinq cordes (A4, B5), d’Edd Presnell (1916-1994) au dulcimer (A6, A10, B8), de Richard Chase (1904-1988) à l'harmonica (A7, B3, B10) et de Lacey Phillips au banjo à cinq cordes (A8, B2).


Download:
MP3 


Vintage postcard of an Appalachian or mountain dulcimer, a fiddle and a fretless banjo:


MusicRepublic – UNITED STATES Instrumental Music of the Southern Appalachians – Tradition Records - TLP 1007

Please help me purchase important traditional records 

to pursue my global curation project and share the 

best finds with you on this blog: