Friday, January 29, 2021

COLOMBIA – COLOMBIE The Indians of Colombia – Lyrichord - LLST 7365

COLOMBIA – COLOMBIE 
The Indians of Colombia – Lyrichord - LLST 7365, recorded by Lars Persson, 1963-1972 (LP
)#Colombia #Colombie #Indigenous #Native Americans #South America #Amérique du sud #Indians #peuples indigènes #traditional music #world music #primal cultures #flutes #maracas #shamanism #harvest #ceremonies #healing #ritual #magic #tobacco #vinyl #MusicRepublic #music heritage #Tucano #Arhuaco #Yuko-Motilon # Cuiva # Cuna #musique traditionnelle#Colombia #Colombie #Indigenous #Native Americans #South America #Amérique du sud #Indians #peuples indigènes #traditional music #world music #primal cultures #flutes #maracas #shamanism #harvest #ceremonies #healing #ritual #magic #tobacco #vinyl #MusicRepublic #music heritage #Tucano #Arhuaco #Yuko-Motilon # Cuiva # Cuna #musique traditionnelle

#Colombia #Colombie #Indigenous #Native Americans #South America #Amérique du sud #Indians #peuples indigènes #traditional music #world music #primal cultures #flutes #maracas #shamanism #harvest #ceremonies #healing #ritual #magic #tobacco #vinyl #MusicRepublic #music heritage #Tucano #Arhuaco #Yuko-Motilon # Cuiva # Cuna #musique traditionnelle
#Colombia #Colombie #Indigenous #Native Americans #South America #Amérique du sud #Indians #peuples indigènes #traditional music #world music #primal cultures #flutes #maracas #shamanism #harvest #ceremonies #healing #ritual #magic #tobacco #vinyl #MusicRepublic #music heritage #Tucano #Arhuaco #Yuko-Motilon # Cuiva # Cuna #musique traditionnelle


We now present this fascinating anthology of Colombian indigenous music from the Cuna, CuivaYuko-MotilonArhuaco, and Tucano peoples. The musics featured here include abstract and otherworldly flutes, pan pipes, whistling, voices, bows, rattles, drums and maracas.


Nous présentons maintenant cette fascinante anthologie de musique indigène colombienne d’antan. Ces musiques abstraites et éthérées des peuples CunaCuiva, Yuko-Motilon, Arhuaco et Tukano comprennent diverses flûtes, des sifflements, des voix, un instrument à archet, des hochets, des tambours et des maracas.


Cuna People

Cuna medicine men, called kantules, safeguard the transmission of both their spiritual traditions and knowledge of medicine. These Cuna musics presented here was connected with religious festivals, initiation rites, and shamanic healing. Recorded in Caiman Nuevo, on the Gulf of Uraba, in 1966.

 

A1 – Flutes to accompany a kantule medicine man while he blows tobacco smoke on a patient.

 

A2 – A kantule medicine man plays an eagle-bone flute.

 

A3-A6 – Initiation rite, featuring bamboo flutes and maracas.

 

Cuiva People

The Cuiva people were one of the last surviving nomadic cultures in South America. The Cuiva lived in forests bordering the rivers that snake through the broad savannas of eastern Columbia. Recorded in 1970.

 

A7 – Dialog song accompanied by maracas.

 

A8 – Dialog song between a man and a woman.

A9 – Deer-horn flute.

 

A10 – Dopa Celebration. At the beginning of this track we hear the pounding of a plant used to make the hallucinogenic vision-inducing snuff used exclusively during semi-annual dance celebrations. 


Yuko-Motilon People

In the 1960s, the Yuko-Motilon people lived in small villages in Colombia’s northeast mountains. They used a wide variety of flutes, including bone flutes, pan flutes, and bamboo flutes played in pairs, and the large atunsa axe flute. Music played an important role in their burial ceremony (Yowari). Recorded in 1963 and 1968.

 

B1 & B2– Childrens' songs. B2 was recorded during a thunderstorm.

 

B3 – Softly played bow.

 

B4 – A family singing inside their hut in the evening.

 

B5 – Long Atunsa bamboo flute played during the corn harvest.

 

B6 & B7 – Funeral Rites with singing, flutes and stomping.


Bogota 

B8 – A blind indigenous musician plays drum with his foot, and maracas and pan pipes with his left and right hands in the midst of Bogota’s heavy traffic. The music is rooted in 16th-century Muisca culture. Recorded in 1966.


Tucano People

The Tucano (or Tukano) people (see photograph below) are one of many indigenous cultures living in the jungles of the southeastern Vaupes-Caqueta regions. Once a year, the entire community participates in the harvest celebration, with painted bodies, facial bark and wooden masks, and striking feathered ornaments. Recorded in 1966 (B9-B10) and 1972 (B11).

B9 – Deer dance. Deer-skull flute and a turtle shell rubbed on its waxed edges.

 

B10 – Wooden flute

 

B11 – Music at harvest festival. Nocturnal dance. Two 160-cm- (5.3-ft) long bamboo flutes are blown in pairs at the entrance of the maloka (communal house) with the sound of the Vaupés River heard in the background.


Arhuaco People

The Arhuaco live in the Sierra Nevada de Santa Marta, a high mountain range in northernmost Colombia. Recorded in 1968.

 

B12 – Wooden flutes with maracas.


Download:
MP3 


Many thanks to Nuno for his help with the visuals.

Our other South American Indigenous music posts:

Wayapi music from French Guiana – Selaf-Orstom Ceto, 1977-1979 here

Indians and Animals from Brazil and Paraguay – Unidisc, mid-1970s here



Photograph below is from Desana : Le Symbolisme Universel des Indiens Tukano du Vaupés by Gérard Reichel-Dalmatov, Galimard, 1973:

Tucano gentleman (see tracks B9-B11) wearing a polished quartz cylinder and jaguar-tooth necklace, along the Vaupés River, southeastern Colombia:

MusicRepublic COLOMBIA – COLOMBIE  The Indians of Colombia – Lyrichord - LLST 7365

Please help me purchase important traditional records to pursue my global 

curation project and share the best finds with you on this blog:






Wednesday, January 20, 2021

MOROCCO – MAROC Cheikha Donna / الموكي – Khaldiphone - KH 2066

MOROCCO – MAROC

Cheikha Donna / الموكي – Khaldiphone - KH 2066 (Vinyl 7 inch, 45 RPM)

#Maroc #Morocco #Cheikha Donna #Aita #folklore #Cheikhate #Aïta Hasbaouia #Safi #folklore #traditional music #world music #musique marocaine #vinyl #7 inch #45 rpm #MusicRepublic
#Maroc #Morocco #Cheikha Donna #Aita #folklore #Cheikhate #Aïta Hasbaouia #Safi #folklore #traditional music #world music #musique marocaine #vinyl #7 inch #45 rpm #MusicRepublic
#Maroc #Morocco #Cheikha Donna #Aita #folklore #Cheikhate #Aïta Hasbaouia #Safi #folklore #traditional music #world music #musique marocaine #vinyl #7 inch #45 rpm #MusicRepublic

Aïta is a popular, time-honored Moroccan folk music transmitted orally from generation to generation that narrates Moroccan regional history and culture. Sheikhates and chioukhs (female and male Aïta artists) were relied upon to perform at ceremonies and celebrations, but also to act as whistleblowers, who could publicly denounce an injustice in song; for instance, exposing the tyrannical acts of a caïd (leader) during the time of the caïd system in Morocco.  


We are thrilled to present Cheikha Donna, an eminent Aïta singer from the coastal region of Safi, northwest of Marrakech. The Aïta Hasbaouia style from Safi, formerly Hasba, is the oldest Aïta style and gave birth to other sub-genres.  


“Moroccan Sheikhates are dedicated female performers of song and dance. In a society where women are expected to be wives and mothers, this gives them a questionable status that is not always viewed as respectable,” said Mohammed Habib Smarakandi*.


Cheikha Donna rose to fame in the early 1970s after recording a dozen 7-inch records on the Kadriphone label and its sub-label Khaldiphone, as well as cassettes, all of which have fallen into obscurity and are extremely hard to find. This is the magic of Moroccan music: the recordings we know of, or have access to online, are but a fraction of what has actually been issued. The best has yet to be discovered!


Despite the mockery and criticism she endured, Cheika Donna devoted her life to music and expressed a fiery and unbridled desire to make her mark on the history of Aïta in Morocco. Her deep, powerful and intense voice is accompanied here by Abdel Kader on gasba flute and Almucy on bendir drum. 


Now in her 70s, Cheikha Donna continues to perform today, and recently performed a duet with Nassim Haddad, a luminary of the new generation of Morrocan Aïta artists here

La Aïta est cet art populaire marocain qui perdure encore aujourd'hui, c'est-à-dire qui est transmis oralement de générations en générations et qui révèle bien plus qu'un style de musique mais véritablement des bribes de l'Histoire du Maroc dans des régions généralement périphériques. Dans ces régions, les artistes ont un rôle particulier dans les tribus (قبائل). En plus d'être appelés pour les cérémonies et célébrations, les Cheikhates et Chioukhs de la Aïta sont de véritables lanceurs d'alertes susceptibles de dénoncer publiquement une situation injuste, tel un caïd tyrannique... lorsque le système caïdale prévalait autrefois au Maroc.   

 

Nous présentons maintenant Cheikha Donna une figure emblématique de la Aïta  originaire de la région côtière de Safi au nord-ouest de Marrakech. La Aïta Hasbaouia de Safi, anciennement appelé Hasba, est d’ailleurs la plus ancienne des Aïta qui donna naissance à d'autres sous-genres.

 

« Les Cheikhates au Maroc sont ces femmes qui se consacrent aux chants et à la danse pour gagner leur vie. De là, découle la mauvaise réputation qui leur est collée dans une société où la femme doit avoir un statut de mère ou d'épouse, en dehors duquel elle a encore du mal à imposer le respect, » selon Mohammed Habib Smarakandi*. 

 

Cheikha Donna sera révélée par le label Kadriphone, et son sous-label Khaldiphone, à travers une dizaine de disques au début des années 70, ainsi que sur support cassette rendu en vogue à l'époque par Philips. Ces documents sont actuellement peu connus et des plus difficiles à trouver. C'est d'ailleurs ce qui fait la magie de la musique marocaine. Ce qui est dévoilé n'est qu'une partie infime de ce qui a été produit. Le meilleur reste à découvrir…

 

Cheika Donna consacra sa vie à la musique, qui en dépit des moqueries et des critiques sur son statut de Cheikha, exprima toute sa fougue et son envie effrénée de marquer l'histoire de la Aïta au Maroc. Sa voix étonnamment grave, puissante et intense est accompagnée ici par Abdel Kader à la flute gasba et Almucy au tambour bendir.

 

Elle continue aujourd’hui de chanter dès que l'occasion se présente. Elle a récemment chanté aux côtés de Nassim Haddad, un flambeau pour la nouvelle génération des artistes de la Aïta au Maroc ici
Download:

* * *

Enormous thanks to Hakim of Amal Records in Marrakech for this presentation, and for his passion, knowledge and generosity of spirit. Hakim will be interviewing Cheikha Donna, and hopes to add to our understanding of her song lyrics, performed in a traditional dialect from the Safi region and now difficult to decipher. 


Beginning in February, we will collaborate regularly with Hakim & Amal Records, featuring superb 7-inch records in posts dedicated to the various Moroccan labels (Khaldiphone, Koutoubiaphone, etc.).

Grand merci a Hakim d’Amal Records à Marrakech pour le texte, sa passion, ses connaissances et son esprit de partage. Il va par ailleurs interviewer Cheikha Donna en personne très prochainement et nous éclairer sur le sens des paroles de ses chansons dans un dialecte de la région de Safi avec un jargon d’antan difficilement déchiffrable. 

Hakim & Amal Records vont également collaborer régulièrement sur des posts dédiés à différents labels marocains (Khaldiphone, Koutoubiaphone, etc..) avec des présentations d'autres superbes 45 tours dès le mois de février. 


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:

The tabl drum used by Gnawa groups performing on the Jemaa el-Fnaa Square, Marrakesh:

MusicRepublic MOROCCO – MAROC  Cheikha Donna / الموكي – Khaldiphone - KH 2066


The renowned luthier Ben Harbit crafting a classical rabab bowed lute, Fez:

MusicRepublic MOROCCO – MAROC  Cheikha Donna / الموكي – Khaldiphone - KH 2066


Ghaita oboe players use circular breathing techniques with the player's cheeks 
acting as a wind reservoir, Marrakesh:

MusicRepublic MOROCCO – MAROC  Cheikha Donna / الموكي – Khaldiphone - KH 2066

Please help me purchase important traditional records to pursue my global 

curation project and share the best finds with you on this blog:






Wednesday, January 6, 2021

NIGERIA – NIGÉRIA Yusufu Olatunji & His Group – Vol. 20 - Zareco ORSL 1708

NIGERIA – NIGÉRIA

Yusufu Olatunji & His Group – Vol. 20 - Zareco ORSL 1708, released 1974 (LP)

#Nigeria # Sakara #Yoruba #Yusufu Olatunji #traditional music #African Music #musique traditionnelle #musique Africaine #goje #sakara drum #Islamic music #world music #vinyl #MusicRepublic #world music
#Nigeria # Sakara #Yoruba #Yusufu Olatunji #traditional music #African Music #musique traditionnelle #musique Africaine #goje #sakara drum #Islamic music #world music #vinyl #MusicRepublic #world music
#Nigeria # Sakara #Yoruba #Yusufu Olatunji #traditional music #African Music #musique traditionnelle #musique Africaine #goje #sakara drum #Islamic music #world music #vinyl #MusicRepublic #world music
#Nigeria # Sakara #Yoruba #Yusufu Olatunji #traditional music #African Music #musique traditionnelle #musique Africaine #goje #sakara drum #Islamic music #world music #vinyl #MusicRepublic #world music

Best wishes for 2021! / Meilleurs Vœux pour 2021 !

 

We kick off the year with this magnificent album by Sakara singer and goje violin player Yusufu Olatunji (1909-1978), one of the finest African traditional artists ever recorded. Sakara music is a deep Yoruba traditional genre tinged with Arab-Islamic influences here featuring male voices, percussion accompanying the great master’s singing and goje playing. This brilliant slow-moving flow of delicate, complex and majestic music radiates peace, fire and lofty dignity.


Nous commençons la nouvelle année avec ce magnifique album du chanteur et joueur de violon goje Yusufu Olatunji (1909-1978), un artiste traditionnel africain essentiel. La musique Sakara est un genre traditionnel yoruba teinté d’influences arabo-islamiques, ici avec des voix d’hommes et des percussions accompagnant la voix et le jeu de violon goje du grand maître. Ce flux sonore complexe, brillant et délicat rayonne de paix, de feu et de noble plénitude.


Download:

Our other Yoruba Sakara shares:

Yusufu Olatunji & His Group - Vol. 17  Philips PL 636 1050 here

Yusufu Olatunji & His Group - Vol. 18  ORSL 1706 here 

 

Our Yoruba Apala shares:

Haruna Ishola & His Apala Group – Star Records SRPS 31 here
Haruna Ishola & His Apala Group 
 Star Records SRPS 32 here
Haruna Ishola & His Apala Group 
 RPS 16 here

Ayinla Owomura & His Apala Group –  25 x 40 – Africa Song Ltd NEMI 0515 here

Ayinla Omowura & His Apala Group – His Master's Voice Vol. 2 – HNLX 5085 here

Moufa Laif – Yoruba Apala Music from Porto Novo, Benin here


Our Yoruba Fuji shares:

Sikiru Ayinde Barrister – Vol. 6 – Africa Song - AS 33-L, 1975 here

Sikiru Ayinde Barrister  Fuji Exponent Vol. 8 - AS 46-L, 1976 here
Dr. Wasiu Ayinde Barrister – Jo Fun Mi (Dance for Me) – OLPS 1361, 1990
 here


Following our presentation of Apala, Sakara, and Fuji music, here’s a memorable Waka track, Ileke Awo, Okiki Ki Posu (excerpt), by singer Madam Mujidat Ogunfalu from the now forgotten Yoruba Women of the Drum - OMCD 036 release on John Storm Roberts’ essential Original Music label:



Vintage postcards:

Assembly of Yoruba chiefs:



Ibedji (twins) central in Yoruba traditional esoteric lore:


Please help me purchase important traditional records to pursue my global 

curation project and share the best finds with you on this blog: