Saturday, May 25, 2019

IRAN 
Musique Persane Vol. 2 – Vogue EXTP 1034, recorded by Noël Ballif in 1955 (Vinyl 7 inch, 45 RPM)
Iran Persian Traditional music World music tar lute zurkaneh vinyl 45 rpm

Iran Persian Traditional music World music tar lute zurkaneh vinyl 45 rpm

Iran Persian Traditional music World music tar lute zurkaneh vinyl 45 rpm

Iran Persian Traditional music World music tar lute zurkaneh vinyl 45 rpm

Iran Persian Traditional music World music tar lute zurkaneh vinyl 45 rpm

This 45 rpm, recorded in Iran in 1955, features a delicate solo on the long-necked tar lute (A1), an instrument used to convey intimate, reflective and meditative states. The lute, which arrived at its modern form in the 18th century, is central to Persian culture and identity. (B1) features a solemn and inspired prayer sung by a morshed (guide) during an ancient traditional ritual held in a Zurkaneh (“house of force”), where athletes train in collective physical exercises and are encouraged to develop moral and spiritual values like modesty and purity of heart; and (B2) an Azan call to prayer.

Ce disque 45 tours, enregistré en Iran en 1955, présente un solo délicat sur le luth tar (A1) qui mène à des états contemplatifs et méditatifs. Le tar, qui prit sa forme actuelle au 18ème siècle, tient une place de choix dans la culture et l'identité persane ; un guide morshed chantant une prière inspirée et solennelle à l'occasion d'un rituel traditionnel zourkaneh (« maison de la force ») (B1)  les athlètes s'entraînent à des exercices physiques collectifs tout en développant des valeurs morales et spirituelles, telles que la modestie et la pureté de cœur; suivi d'un appel à la prière Azan (B2). 


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Our other Persian/Iranian music posts:
Iran Musique Traditionnelle – Disques Alvarès EX 1514 here
Music of Iran – Santur Recital – Nasser Raster-Nejad – Lyrichord LLST 7135 here
Traditional Persian Music 
– Ahang Rooz Record Company here

Photograph below is from L'Etrange et le Merveilleux en Terre d'Islam catalogue for the April-July 2001 exhibition held at the Louvre Museum, Paris:

Imam Rida (Reza) freeing souls held captive by a demon, Iran, c.1550:

MusicRepublic IRAN  Musique Persane Vol. 2 – Vogue EXTP 1034

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

Thursday, May 16, 2019

MADAGASCAR
Valiha Madagascar – ORTF / Ocora OCR 18, recorded by Charles Duvelle and Michel Razakandraina, 1963 (LP)
Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

Madagascar vanilla zither Merina Sakalava Bara Antanosy malagasy malgache ritual trance ancestors Betsimisaraka world music traditional music African music vinyl

This LP was ORTF/Ocora’s first release of Malagasy music “that bears witness to the presence of Indonesian, African, European, Islamic and Indian cultural influences,” emphasized Charles Duvelle (1937-2017) in the liner notes.

The album showcases the tubular valiha zither found throughout the island of Madagascar off of Africa’s southeastern coast. This 10- to 20-string instrument, originating from Indonesia, was initially played to invoke the ancestors, and was subsequently adopted by many ethnic groups, including the central-highland Merina aristocracy in the 19th century. The valiha comes in many different materials (bamboo, wood, raffia, metal, bamboo fiber strings, metal strings), shapes (tubular, rectangular) and sizes (60 cm-to-130 cm/24 in-50 in), and players sometimes use resonators to amplify its mellifluous sound. Either played as a lead instrument or used as a drone (A6-A7), valiha music runs the gamut from trance music to virtuoso playing and light music.

Side A features the valiha played by the Merina people from the central highlands (A1-A3), the Sakalava people from the western and northwest coastal regions (A4-A5), the Bara people from the southern highlands (here freeing someone possessed by a spirit entity) (A6), the Antanosy people from the west (A7), and the Betsimisaraka people from the northwestern coast (A8).

Side B presents more urban styles performed by skilled musicians that combine traditional Malagasy music with western harmonies. Artists include Rakotozafy (B1-B2), Sylvestre Randa-fison (B3-B5), and Maurice Halison (B6-B9), all of whom earned fame nationwide through National Radio broadcasts.

“Le matériel instrumental et la musique proprement dite à Madagascar témoignent actuellement de la présence d'éléments Indonésiens (au sens large, Océaniens), Africains, Européens, Islamiques et Indiens,” souligne Charles Duvelle (1937-2017).
 
Cet album présente la cithare tubulaire valiha que l’on retrouve dans l’ensemble de l’île située au large de la côte sud-est de l’Afrique. L’instrument originaire d’Indonésie, composé de 10 à 20 cordes, était au départ joué pour invoquer les ancêtres et fut par la suite adopté par de nombreuses ethnies, notamment l’aristocratie Mérina au XIXe siècle dans la région des hauts plateaux. Les valihas utilisent des matériaux très différents (bambou, bois, raphia, métal, cordes en fibre de bambou, cordes métalliques), ont des aspects (tubulaires, rectangulaires) et des tailles (60 à 130 cm) différents, et certains musiciens utilisent des résonateurs pour amplifier le son. Le valiha, qui peut être un instrument principal, d'accompagnement ou jouer le rôle de bourdon (A6-A7), exprime la transe, le lyrisme virtuose ou même la musique légère.  

La face A présente le valiha des Mérinas des hauts plateaux (A1-A3), des Sakalavas des régions côtières ouest et nord-ouest (A4-A5), des Baras des hauts plateaux du sud (libérant ici une personne possédée par une entité spirituelle) (A6), des Antanosy de l'ouest (A7) et des Betsimisaraka de la côte nord-ouest (A8).  

La face B présente des styles plus modernes et urbains interprétés par d’excellents musiciens qui associent la musique malgache traditionnelle avec l’harmonie occidentale : Rakotozafy (B1-B2), Sylvestre Randa-fison (B3-B5) et Maurice Halison (B6-B9) qui étaient connus dans tout le pays grâce aux émissions de la Radiodiffusion Nationale Malgache.
 

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Thursday, May 9, 2019

INDIA – INDE
Enayat Khan – Vairobi Gat / Gat Pilu / Bageshri Alap / Khambaj – Megaphone EJNG 1003 – recorded 1930-1935 (Vinyl 7 inch, 45 RPM)
(1894-1938)
MusicRepublic INDIA – INDE  Enayat Khan – Megaphone EJNG 1003

India Hindustani Enayat Khan sitar surbahar raga Indian music World music vinyl 45 rpm

India Hindustani Enayat Khan sitar surbahar raga Indian music World music vinyl 45 rpm

India Hindustani Enayat Khan sitar surbahar raga Indian music World music vinyl 45 rpm

Born in Uttar Pradesh into an illustrious musical family – his grandfather, Sahabdad Khan, actually invented the surbahar (the bass sitar) and his father, Imdad Khan (1848-1920), gave the sitar a more khyal-vocal playing style – Prof. Enayat Khan (sometimes spelled Eneyat or Inayat) was one of the most brilliant and innovative sitar and surbahar player in the first half of the 20th century.

He became very popular by performing outside the circle of courts and aficionados in the many festivals organized during this period of cultural effervescence and affirmation of Indian identity.

Although Enayat Khan died at an early age, his distinguished relatives, notably his brother Wahid Khan, his maternal grandfather Bande Hussain Khan and maternal uncle Zinda Hussain Khan, ensured that his sons Vilayat (1928-2004) and Imrat (1935-2018) received the best possible training to brilliantly carry on the Imdadkhani Gharana-style family heritage.

This rare 45 RPM of music originally recorded on shellac 78 RPMs, featuring Kahn on the sitar (A1, A2), the surbahar (B1) and the seldom heard sursaptak (B2), is a perfect introduction to the maestro’s sheer power, velocity, reflective lyricism, and luminous mastery

Né dans l’Uttar Pradesh dans une illustre famille de musiciens – son grand-père Sahabdad Khan fut l’inventeur du surbahar (le sitar basse) et son père Imdad Khan (1848-1920), joua du sitar dans un style influencé par le phrasé du chant khyal – Prof. Enayat Khan (parfois orthographié Eneyat ou Inayat) fut l’un des joueurs de sitar et de surbahar les plus brillants et les plus novateurs de la première moitié du XXe siècle. 

Il rencontra un franc succès populaire en se produisant dans de nombreux festivals organisés au cours de cette période d'effervescence culturelle et d'affirmation de l'identité indienne. 

Bien qu'Enayat Khan soit décédé à peine agé de 43 ans, ses proches parents éminents, notamment son frère Wahid Khan, son grand-père maternel Bande Hussain Khan et son oncle maternel Zinda Hussain Khan s'assurèrent que ses jeunes fils Vilayat (1928-2004) et Imrat (1935-2018) reçoivent la meilleure formation possible afin qu’ils perpétuent avec brio l'héritage familial du Imdadkhani Gharana.

Ce disque 45 tours rare de musiques enregistrées à l'origine sur disques 78 tours – qui présente Kahn sur le sitar (A1, A2), le surbahar (B1) et le sursaptak, proche du sarod, (B2) – permet de découvrir l’impression de force, de vélocité, de lyrisme introspectif et de maîtrise lumineuse qui se dégage de la musique du maestro.


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Our posts of Enayat Khan's sons:
Vilayat Khan – Raag Tilak, Raag Bhairavi – HMV EALP 1259, 1961 here
Imrat Khan – Raag Jog, Raag Asawari – HMV EASD 1345, 1969 here

Photographs are from Gloire des Princes, Louange des Dieux - catalogue for the March-June 2003 Musée de la Musique exhibition in Paris, and Les Instruments de Musique Populaires by Alexandre Buchner, Gründ, 1969. 


Enayat Khan (above) and his son Imrat (below) on the surbahar.

MusicRepublic INDIA – INDE  Enayat Khan – Megaphone EJNG 1003

Wednesday, May 1, 2019

MALI
Ensemble Instrumental National du Mali – Syllart Production SYL 8379, 1977 (LP)
Mali Ensemble Instrumental Kora Balafon Djembe Bambara Mandingo Wassoulou African Music Traditional music world music vinyl

Mali Ensemble Instrumental Kora Balafon Djembe Bambara Mandingo Wassoulou African Music Traditional music world music vinyl

Mali Ensemble Instrumental Kora Balafon Djembe Bambara Mandingo Wassoulou African Music Traditional music world music vinyl

Mali Ensemble Instrumental Kora Balafon Djembe Bambara Mandingo Wassoulou African Music Traditional music world music vinyl

Ensemble Instrumental National du Mali was founded in 1961, after the country gained its independence, to preserve and promote the rich Malian traditional musical heritage through an assemblage of renowned artists from different regions.

This innovative large-scale ensemble – featuring 35 singers and musicians from different ethnic/cultural groups playing koras, n’goni lutes, balafons, flutes, soku fiddles, dun dun and djembé drums – produces a balanced program of powerful, stately music that emphasizes the beauty, depth and unity of Mali’s traditional cultures.

Tracks*:
A1 Zazuru (Awa Drame) Song praising a legendary army captain who showed great bravery and generosity (Bambara Folk) 

A2 Sama (Maimouna Damba) Sama means elephant and here also refers to the Malian people "who have accomplished many great things." 

A3 Laidu (Djeli Madi Sisoko) "Like the messenger holds himself steady by the bridle, a 
person stands true to his word," Malian proverb. 
 
B1 Diva Ye Hanna (Coumba Sidibe) Everything ends in this world, even the most delicious things. (Wassoulou)

B2 Nakana (Wande Kouyate) All men and women are created equal, all mothers experience the same pain. People practicing racial discrimination bring shame unto themselves.
*Translated from the French

L’Ensemble Instrumental National du Mali a été fondé en 1961, au lendemain de l’indépendance du pays, dans le but de préserver et de promouvoir le riche patrimoine musical traditionnel malien à travers un assemblage d’artistes de grande renommée en provenance de différentes régions.   

Cet grand ensemble innovant  composé de 35 chanteurs et musiciens de différents groupes ethniques/culturels jouant des coras, des luths n'goni, des balafons, des flûtes, des violons soku, des percussions dundun et djembés – nous propose un programme équilibré de musiques imposantes et majestueuses qui reflète la beauté et l'unité profonde des cultures traditionnelles maliennes.


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Our other Mali posts:
Sékou Batourou Kouyaté et sa Cora here
Sali Sidibé – L'enfant Chéri du Wassolon here

Photographs below are from Danses d'Afrique by Michel Huet and Claude Savary, Chêne, 2008; Mémoire Noire by Jacques Lamalle, Les Arènes, 2016; and African Tribal Images by William Fagg, The Cleveland Museum of Art publishing, 1972:


Musician at the Court of Gao, Mali, playing the inzad bowed violin.

MusicRepublic MALI Ensemble Instrumental National du Mali – Syllart Production SYL 8379


Virtuoso kora player, Mali, 1903.

MusicRepublic MALI Ensemble Instrumental National du Mali – Syllart Production SYL 8379


This Bambara harvest ritual summons the invisible world through 
music and dance to re-enact agriculture's mythological birth in 
which the male and female antelope spirits play a major role.

MusicRepublic MALI Ensemble Instrumental National du Mali – Syllart Production SYL 8379