AFGHANISTAN Afghanistan – Unesco Collection – A Musical Anthology of the Orient – Bärenreiter-Musicaphon – BM 30 L 2003

AFGHANISTAN
Afghanistan – Unesco Collection – A Musical Anthology of the Orient – Bärenreiter-Musicaphon – BM 30 L 2003, recorded by Alain Daniélou, published in 1968 (LP)

The birthplace of the Zoroastrian religion and the site of countless invasions, Afghanistan was a Buddhist stronghold before becoming a Muslim nation. Unsurprisingly, its rich musical heritage shows traces of many cultures, including Turkish, Iranian, Indian, Old Russian and even ancient Greek influences.

Paradoxically, the Afghan people have remained isolated from the outside world, and even among themselves, shielded by impenetrable mountains and deserts, which until recently allowed ancient local traditions and cultures to thrive unimpeded. 

 

Today, the rich, time-honored traditional and folk musics at the heart of the identity of the various ethnic/cultural groups living in Afghanistan – already severely affected by decades of political turmoil, foreign invasions, violence and rapid social change – are now sadly subject to a strict music ban imposed under Taliban rule.

 

This excellent LP of traditional Afghan music, recorded in more peaceful times in the late 1960s on the essential Bärenreiter-Musicaphon label, features long-necked plucked dombras (A1, A5, B4), rabab lutes (A1, A2, B1, B3), tumbur lutes (A7, B3, B5, B6), a dutar (B9), bowed sarindas (B6, B8), double-reed zurnas (A4) an Afghan tula flute (A3), a cheng Jew’s harp (B9), large dohol drums with two skin heads (A1, A2, A4, B1, B3, B6, B8), zerbaghali goblet drums (A3, A5, A7, B5, B9) and a doira frame drum (B7).

  

Berceau de la religion zoroastrienne, en proie à de nombreuses invasions au cours de son histoire, l'Afghanistan était un bastion bouddhiste avant de devenir une nation musulmane. Ce qui explique que son riche patrimoine musical porte les traces de nombreuses cultures, notamment des influences turques, iraniennes, indiennes, russes et même de la Grèce antique.

Paradoxalement, l'Afghanistan est également resté isolé du monde extérieur – vrai aussi pour les ethnies entre elles à l’intérieur du pays  – protégée par des montagnes impénétrables et des déserts infranchissable, laissant ainsi aux anciennes traditions et cultures locales la possibilité de s’exprimer sans entrave jusqu'à une période récente.

Déjà gravement affectées par des décennies de troubles politiques, d'invasions étrangères, de violence et de changements sociaux rapides, les riches musiques traditionnelles et folkloriques, au cœur de l'identité des différents groupes ethniques et culturels vivant en Afghanistan, sont à présent tristement soumises à une stricte interdiction de la musique imposée par le régime taliban.

 

Cet excellent disque de musique afghane, enregistré à une époque plus pacifique à la fin des années 1960 sur le formidable label Bärenreiter-Musicaphon, présente des dombras (A1, A5, B4), des luths rabab (A1, A2, B1, B3), des luths tumbur (A7, B3, B5, B6), un dutar (B9), des sarindas à archet (B6, B8), des zurnas à double anche (A4), une flûte afghane tula (A3), une guimbarde cheng (B9), des grands tambours dohol à deux peaux (A1, A2, A4, B1, B3, B6, B8), des tambours zerbaghali (A3, A5, A7, B5, B9) et un tambour sur cadre doira (B7).

A1 – Song of Kataran (Turkestan)

Dohol drum – Abdul Masjid 

Dombra – Abdul Udud

Vocals and rabab lute – Mohammad Naïm Mazari.

 

A2 – Song of Badarshan

Dohol drum – Abdul Masjid 

Rabab lute – Mohammad Naïm Mazari.

 

A3 – Melody for flute (Turkestan)

Afghan tula flute – Ghulam Haïdar

Zerbaghali goblet drum – Abdul Udud.

 

A4 – Festive Music from Chardi (Kabul region)

Dohol drums – Majeti & Gholam Dastagir

Zurnas – Mohammad Hassan & Rahmat Khan.

 

A5 – Chant from Azarejot (Central Afghanistan)

Zerbaghali goblet drum – Abdul Udud

Vocals & dombra – Anuar Shah Azaregi.

 

A6 – National Afghan dance (Shah Mast)

National Orchestra of Radio Kabul.

 

A7 – Chant from Farkhar

Zerbaghali goblet drum – Abdul Udud

Vocals & tumbur lute – Niyaz Mohammad.

 

B1 – Village dance melody (Kabul region)

Dohol drum – Abdul Masjid

Rabab lute – Tawakhal Shah.

 

B2 – Pashto quatrain (Charbait)

Vocals – Faqir Mohammad & Thella Mohammad.

 

B3 – Ancient chant of Kabul

Dohol drum – Faiyaz Mohammad

Rabab lute – Tawakhal Shah

Vocals & tumbur lute – Beltun.

 

B4 – Ancient chant of Khodaman

Vocals & dombra – Fedoh Mohammad Khodamani.

 

B5 – Tumbur lute solo

Tumbur lute – Hakim Mazori 

Zerbaghali goblet drum – Abdul Udud.

 

B6 – Ghazni chant

Dohol drum – Rausuddin

Rabab lute – Ustad Mohammad Omar

Bowed sarinda – Mohshin

Vocals & tumbur lute – Sher Mohammad Ghaznavi

 

B7 – Chorus from Panshir

Vocals & doira frame drum – Pordel.

 

B8 – Sarinda solo

Dohol drum – Faiyaz Mohammad

Bowed sarinda – Gholam Hassan.

 

B9 – The short dutar lute of Herat

Dutar – Abdul Karim Herati

Zerbaghali goblet drum – Abdul Udud

Cheng Jew's harp – Mohammad Naïm Mazari.

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My other Afghan music posts:

Afghanistan – CBS 65 954 here

Musiques d'Orient – Les Mariés du Bout du Monde – LDX 74478-79 here

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ALBANIA – ALBANIE Folk Music of Albania – Topic Records – 12T154

ALBANIA – ALBANIE

Folk Music of Albania – Topic Records – 12T154, recorded by A.L. Lloyd in 1965 (LP)

Albania is a small country located about 50 miles (80 km) across the Adriatic Sea from the southern tip of Italy and bordering Montenegro, Kosovo, Macedonia and Greece. Despite its turbulent history – including five centuries of Ottoman rule – Albanians have shown great resilience in defending their identity, language, culture and distinctive music, which often had to be nurtured in secluded rural and mountainous areas.

 

I first discovered traditional Albanian music in the mid-1980s when I came across this brilliant album recorded by A. L. Lloyd* in 1965 and published on the British folk music label Topic Records. This anthology presents a comprehensive collection of northern Albanian music on Side A and southern Albanian music on Side B, and includes dances (A2, A4, B1, B9), instrumental improvisations (B5, B7, B10), ballads (A7, A8), shepherd’s melodies (A6, B3), a mountain signal (A1), a pastoral melody (A9), a lullaby (A3), a funeral lament (A5), a ritual song (B4) and a political song (B6). 

 

These pastoral and rural sounds – with voices (A1, A3, A4, A5, A7, A8), fascinating southern Albanian polyphonic vocal ensembles (B2, B6, B8), flutes (A2, A4), violins (A1, A5, B1, B2), cifteli lutes (B4, B6, B7), clarinets (A1, A5), a zurna oboe (A9) and bagpipes (B3) – create a rich palette of intense, fluid, abstract and quirky sound textures that testify to Albania’s vibrant musical traditions, brimming with vitality and emotion.

 

L'Albanie est un petit pays limitrophe du Monténégro, du Kosovo, de la Macédoine et de la Grèce, situé à environ 80 kilomètres de la pointe sud de l'Italie de l’autre côté de la mer Adriatique. Malgré une histoire mouvementée – avec notamment cinq siècles de domination ottomane – les Albanais ont toujours vaillamment défendu leur identité, leur langue, leur culture et leur musique, souvent en cachette dans des zones rurales ou montagneuses isolées. 

J'ai découvert la musique traditionnelle albanaise au milieu des années 1980, lorsque je suis tombé sur ce brillant album enregistré par A. L. Lloyd en 1965 et publié sur le label de musique folklorique britannique Topic Records. Cette anthologie présente des exemples pertinents de musique albanaise du nord sur la face A et de musique albanaise du sud sur la face B, avec notamment des danses (A2, A4, B1, B9), des improvisations instrumentales (B5, B7, B10), des ballades (A7, A8), des mélodies de bergers (A6, B3), un signal de montagne (A1), une mélodie pastorale (A9), une berceuse (A3), une complainte funèbre (A5), un chant rituel (B4) et un chant politique (B6). 

Ces sonorités pastorales et rurales, avec des voix (A1, A3, A4, A5, A7, A8), de fascinants ensembles vocaux polyphoniques du sud de l'Albanie (B2, B6, B8), des flûtes (A2, A4), des violons (A1, A5, B1, B2), des luths cifteli (B4, B6, B7), des clarinettes (A1, A5), des hautbois zurna (A9) et des cornemuses (B3), forment une riche palette de textures sonores intenses, fluides, abstraites et sinueuses, qui témoignent de la richesse et de la vitalité des traditions musicales albanaises.

 

NORTHERN ALBANIA

 

A1 – Këngë Majekrahi (mountain signal)

Vocals by Zef Deda;

Nikaj-Shalë, Shkodër region.

 

A2 – Valle E Lezhës (dance)

Çifteli lute by Mark Pashku;

Lezhë, Lezhë region.

 

A3 – Këngë Djepi (lullaby)

Vocals by Mri Jaku;

Gjadër, Lezhë region.

 

A4 – Ti Në Kodër, Un Në Kodër (dance song)

Vocals and çifteli lute by Tom Nikola;

Iballe, Püke region.

 

A5 – Vajtim (funeral lament)

Vocals by Dila Gjoni;

Gjadër, Lezhë region.

 

A6 – Dhent Në Mrizë (shepherd’s melody)

Fyell flute by Martin Vata;

Ishulli i Lezhës, Lezhë region.

 

A7 – Kenga E Çun Mulës (ballad)

Vocals by Tom Marashi & Zef Deda;

Nikaj-Shalë, Shkodër region.

 

A8 – Zenel Kadrija (ballad)

Vocals & çifteli lute by Mark Pashku;

Lezhë, Lezhë region.

 

A9 – Melodi Baritore (pastoral melody)

Zumare clarinet by Gjon Shahini;

Merq, Lezhë region.

 

SOUTHERN ALBANIA

 

B1 – Valle E Gajdës (dance)

Gajdë bagpipes by Sadik Diko & daÎre tambourine by Reshit Shehu

Përmet, Përmet region.

 

B2 – O Bilbil Sakat, Sakat (lyrical song)

Vocals by Kili Dano, Kristo Dano, Nikollaq Dano & Vangjel Dano;

Sheq i Madh, Fier region.

 

B3 – Vajtim (shepherd tune)

Cyledyjare flute by Sadik Diko;

Përmet, Përmet region.

 

B4 – Llazore (ritual song)

Vocals by Kili Dano;

Sheq i Madh, Fier region.

 

B5 – Avazi I Dy Motrave (instrumental improvisation)

Llaute lutes by Riza Muhaxhiri & Qerim Baki;

Korçë, Korçë region.

 

B6 – Do Dalim Nga Myzeqeja (political song)

Vocals by Kili Dano, Kristo Dano, Nikollaq Dano & Vangjel Dano;

Sheq i Madh, Fier region.

 

B7 – Kaba Vençe (instrumental improvisation)

Accordion by Hysen Zizolli, clarinet by Refki Taho &

drum by Ahmet Metolli;

Vranisht, Korçë region.

 

B8 – Fuat Bahani (historical song)

Vocals by Ali Kondi, Nevruz Kondi & a group of farmers; 

Vranisht, Korçë region.

 

B9 – Valle Kolonjarçe (dance)

Gajdë bagpipes by Feim Feizo & daire tambourine by Riza Muhaxhiri;

Kolonjë, Korçë region.

 

B10 – Kaba Me Gërnetë (instrumental improvisation)

Accordion by Qerim Hajre, clarinet by Rakip Muhaxhiri,

llaute lute by Qerim Baki & violin by Festim Përmeti.

Korçë, Korçë region.

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*Albert Lancaster Lloyd (1908–1982) was an English folk singer and collector of folk songs who played a pivotal role in the British folk revival of the 1950s and 1960s. While Lloyd is best known for his contributions to British folk music, he also had a keen interest in the music of Spain, Latin America, Australia and Southeastern Europe, where he made field recordings in Albania and Bulgaria.

More Albanian music posts:

L'Albanie Folklorique – Disques Cellier N° 010 here

Folklore Instrumental Albanais – Disques Vendémiaire - VDE/PAL 114 here

Vintage postcard of flute player, Northern Albania: 

Vintage postcard of a woman from Shkodra, Northern Albania:

Vintage postcard of two farmers from Dibra, northeastern Albania:

Albanian wedding ensemble, wool, cotton, silk, metal c. 1900:

(www.metmuseum.org)

Help me purchase important traditional records 

to pursue my global curation project and share the 

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GHANA Musica Cerimoniale e Celebrativa / Ceremonial and Commemorative Music – Albatros – VPA 8400

GHANA

Musica Cerimoniale e Celebrativa / Ceremonial and Commemorative Music – Albatros – VPA 8400, recorded by John Tanson, 1978 reissue of Folkways FW 8858 (LP)

This excellent panorama of traditional drumming music from various regions of Ghana includes examples from the Ashanti and other Akan ethnic/cultural groups in southern and central Ghana (A2-A7 & B2-B3), the Ewe and Krobo in southeastern Ghana (A1 & B5), and music from northern Ghanaian ethnic/cultural groups including the Lobi (A8), Bayama (B1) and Gonji (B4).

 

Cet excellent panorama des tambours traditionnels de diverses régions du Ghana comprend des exemples des Ashanti et d'autres groupes ethniques/culturels Akan (A2-A7 & B2-B3) du sud et du centre du Ghana, des Ewe et des Krobo du sud-est du Ghana (A1 & B5), et  de la musique des groupes du nord du Ghana, notamment les Lobi (A8), les Bayama (B1) et les Gonji (B4).

A1 – Borbobor music played at durbars and festivals by the Ewe people of the southeastern Volta region;

A2 – Asafo – a traditional Akan warrior group – drumming from the southeastern Volta region;

A3 – Apitim drumming for Ashanti chiefs;

A4 – Fontomfrom drumming for Ashanti chiefs;

A5 – Kete dance drumming from the Ashanti Akan clan;

A6 – Adowa Nyamkoro women’s music from the Ashanti region;

A7 – Adowa drumming from the Ashanti region;

A8 – Lobi dances from northwestern Ghana;

B1 – Bayama drumming from northern Ghana;

B2 – Adenkum dance music from central Ghana;

B3 – Kpanlongo music from the greater Accra region;

B4 – Gonji drumming from northern Ghana;

B5 – Krama dance of the Krobo people of southeastern Ghana;

B6 – Talking drums.

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Eric Agyeman's I Don't Care (modern Highlife which 

incorporates traditional Akan rhythms), 1978:

Photographs below are from The Metropolitan Museum of Art's Open Access initiative, which gives access to more than 400,000 images of public-domain artworks (www.metmuseum.org) and L'Art Africain by Jaques Kerchache, Jean-Louis Paudrat and Lucien Stephan, Mazenod, 1988:

 

Memorial head, Akan people, Ghana, 18th century:

Buffalo Head, Ewe people, Kpandu, Eastern Ghana, 

19th-20th century:

Golden Ashanti head, treasury of King 

Kofi Karikari (1837-1884),

 Ghana:

Help me purchase important traditional records 

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