EGYPT – Taqasim and Layali - Cairo Tradition – Unesco Musical Sources – GREM - DSM 010

EGYPT – ÉGYPTE

Taqasim and Layali - Cairo Tradition – Unesco Musical Sources – GREM - DSM 010, 1984 reissue of a 1971 release, recorded by Jacques Cloarec in Cairo (LP)

This classic 1971 album from the essential UNESCO Musical Sources series showcases the art of taqâsîm melodic improvisation and layâlî vocal improvisation. It features prominent Egyptian musicians from the The Takht Ensemble of Cairo performing here in various formats: Ibrahim El-Haggar (1922-2000) on vocals (A1, A3), Sami Nussair on the qanun zither (A1, A3, B2), Gomâa Muhammad Ali (1924-1975) on the oud lute (A3, B1), Wahbi Labib on the ney flute (A2, A3) and Muhammad El-Arabi on the darbuka goblet drum and req tambourine (A2, A3, B2, B3).

Similar to Indian ragas, Arabic maqams are melodic systems that provide a framework for improvisations intended to evoke specific moods and emotions. The various forms of Egyptian maqam are closely related to Turkish makam, Azeri mugam, and Persian dastgah. These complex musical forms are traditionally passed down orally from teacher to student.

Cet album classique de 1971, issu de la série incontournable UNESCO Musical Sources, présente l'art de l'improvisation mélodique taqâsîm et de l'improvisation vocale layâlî. Il met en avant les éminents musiciens de l'ensemble Takht du Caire, qui jouent ici sous différents formats musicaux: Ibrahim El-Haggar (1922-2000) au chant (A1, A3), Sami Nussair au cithare qanûn (A1, A3, B2), Gomâa Muhammad Ali (1924-1975) au luth oud (A3, B1), Wahbi Labib à la flûte ney (A2, A3) et Muhammad El-Arabi au tambour darbouka et au tambourin req (A2, A3, B2, B3).

 

Semblables aux ragas indiens, les maqams arabes sont des systèmes mélodiques qui fournissent un cadre pour des improvisations destinées à évoquer des ambiances et des émotions spécifiques. Les différentes formes de maqam égyptien sont étroitement liées au makam turc, au mugam azéri et au dastgah perse. Ces formes musicales complexes sont traditionnellement transmises oralement, de maître à élève.

A1 – Layâlî and Mawwâl (Maqâm Bayâtî)

Qanun by Sami Nussair & vocals by Ibrahim El-Haggar;

 

A2 – Taqsîm Bayâtî

Ney flute by Wahbi Labib & req tambourine by Muhammad El-Arabi;

 

A3 – Samâ'î El-'Aryan

The Takht Ensemble of Cairo with vocals by Ibrahim El-Haggar, ud lute by Gomâa Muhammad Ali, qanun zither by Sami Nussair, ney flute by Wahbi Labib and req & darbuka by Muhammad El-Arabi;

 

B1 – Taqsîm Bayâtî

Ud lute by Gomâa Muhammad Ali; 

 

B2 – Taqsîm Farah-Faza

Qanun by Sami Nussair & req tambourine by Muhammad El-Arabi; 

 

B3 – Darbuka solo

Darbuka goblet drum by Muhammad El-Arabi.

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My other Egyptian and Arabian, Turkish, Azeri, and Yemeni maqam posts:

Egypt – Music of the Arabian Orient & North Africa – Supraphon here

Arabian Music – Maqam – UNESCO Musical Sources here
Iraq – Music of the Arabian Orient & North Africa – Supraphon here
Music of Iraq – Seven seas GXC-5013 here
Jordan, Lebanon & Syria – Music of the Arabian Orient & North Africa – Supraphon here

Nuit Précieuse au Serail – ARION 30 U 097 here

Azerbaijan – A Musical Anthology of the Orient – BM 30 SL 2024 here

Jamil Ghanim – Luth au Yemen – Ud classique – Arabesques 6 here

Bahrain & U.A.E. – Pêcheurs de Perles et Musiciens du Golfe Persique

OCORA 42 here

Listen to the excellent 'Taqsim-e Nahavand' virtuoso oud solo by Riad el-Sunbati (1906–1981). This renowned Egyptian musician was highly influential during the 'Golden Age' of Egyptian music, composing 

many songs for legendary artists such as Umm Kulthum (1904–1975) 

and Abdel Halim Hafez (1929–1977):

Ibn Qalawun (1285–1341) and his courtly entourage. He ruled Egypt 

as the ninth Mamluk Sultan of the Bahri dynasty for over 40 years; 

frontispiece from a 1334 manuscript of the Maqamat of al-Hariri 

(The Assemblies of al-Hariri):

Wikimedia Commons

Please help me purchase important traditional records to 

pursue my global curation project and share the 

best finds with you on this blog here below:

INDIA Rajab Ali Khan – Raga Jaunpuri / Raga Bageshree – EMI - ECLP 2618

INDIA – INDE
Rajab Ali Khan – Raga Jaunpuri & Raga Bageshree – EMI – ECLP 2618, recorded in 1954, released in 1980 (LP)

I am thrilled to present this rare LP showcasing the towering Hindustani vocalist Rajab Ali Khan (1874–1959). As mentioned in previous posts, this flamboyant 20th-century figure had a profound influence on the renowned Khayal vocalists Amir Khan (1912–1974) and Salamat Ali Khan (1934–2001). 

 

Born in Narsingarh, Madhya Pradesh, Khan received his initial training from his father, Manglu Khan, and later studied under the legendary rudra veena (or been) player Bande Ali Khan (1830–1896) (see photograph below), as well as with Bade Mohammad Khan. In addition to singing, he mastered the rudra veena, sitar, tabla and jaltarang —a set of struck ceramic or metal bowls filled with water.

Khan served as a court musician for the princely states of Dewas and Kolhapur. Known for his technical brilliance and uncompromising artistic standards, this musician’s musician created a sophisticated modern fusion of the Kirana, Jaipur and Gwalior gharanas. Khan was particularly famous for his vibrant, complex, and incredibly speedy taans (melodic phrases) delivered with precision, clarity and tonal purity.

Unfortunately, like many court musicians of that era, Khan left behind very few recordings. Apart from some 78 RPM shellac discs recorded in the 1930s and ‘40s, this precious historical All India Radio recording, featuring two side-long tracks, is the best way to experience Khan’s voice. Remarkably, the Ustad was 80 years old when these tracks were recorded, in 1954, underscoring his staggering command of speed and precision, demonstrating why he influenced artists like Amir Khan.

Je suis ravi de vous présenter ce disque rare du grand chanteur hindustani Rajab Ali Khan (1874-1959). Comme je l’ai mentionné dans des posts précédents, cette figure flamboyante du XXe siècle a profondément influencé les célèbres chanteurs khayal Amir Khan (1912-1974) et Salamat Ali Khan (1934-2001). 

 

Né à Narsingarh, dans l'État du Madhya Pradesh, il commence son apprentissage auprès de son père, Manglu Khan, puis devient le disciple du légendaire joueur de rudra veena (ou been), Bande Ali Khan (1830-1896) (voir photo ci-dessous), ainsi qu'auprès de Bade Mohammad Khan. Outre le chant, il maîtrisait la rudra veena, le sitar, le tabla et le jaltarang, un ensemble de bols en céramique ou en métal remplis d'eau et frappés.

 

Il était musicien à la cour des États princiers de Dewas et de Kolhapur. Reconnu pour son génie technique et ses exigences artistiques sans compromis, il était particulièrement célèbre pour ses taans (phrases mélodiques) pleines de vitalité, complexes et d'une rapidité incroyable, qu'il exécutait avec précision, clarté et pureté tonale.

 

Malheureusement, comme beaucoup de musiciens de cour de cette époque, il a laissé très peu d'enregistrements. Outre quelques disques 78 tours enregistrés dans les années 1930 et 1940, cet enregistrement historique de la All India Radio, qui comprend deux morceaux d'une face entière, est le meilleur moyen de découvrir sa voix. Il faut souligner que lors de l’enregistrement de ces morceaux en 1954, Rajab Ali Khan, qui fait étalage ici de sa remarquable maîtrise de la vélocité et de la précision, avait déjà 80 ans. Ces enregistrements montrent pourquoi il a tant influencé des chanteurs comme Amir Khan.

 

A1 – Raga Jaunpuri (Man Ki Lagan Kaun Jane) – Jhaptal

B1 – Raga Bageshree (Kaun Karata Tori Binati) – Trital

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My other Khayal male vocalist posts:
Amir Khan – Memorable Evenings HMV STC here
Amir Khan – His Master's Voice – EASD 1331 here
Amir Khan – Rare Creations of Ustad Amir Khan – Inreco here
Nazakat & Salamat Ali Khan – HMV – 7 EPE 1356 here
Nazakat & Salamat Ali Khan – Hannibal Records – HNBL 1332 here
Faiyaz Khan – Hindusthan Record – LH 5 here
Faiyaz Khan – His Master’s Voice – EALP 1292 here
D. V. Paluskar – His Master’s Voice – EALP 1295 here
Bade Ghulam Ali Khan –  Odeon MOAE 5004 here

Bhimsen Joshi – HMV – 7 EPE 1246 here
Bhimsen Joshi – HMV– ECLP 2264 here
Mallikarjun Mansur – Sings Rare and Complex Ragas – Inreco here
Kumar Gandharva – HMV– ECLP 2360 here
Omkarnath Thakur – SEDE 3302 COLUMBIA here
The Great Tradition – Masters of Music – HMV– EALP 1453/1452 here
Raag Rang Berang – Thumriyan-Light Classical Vocal here

Ustad Bande Ali Khan (1830–1896) of the Kirana Gharana, trained Rajab Ali Khan and was one of the most famous bin (rudra veena) players of the 19th century. He adapted Khyal to the bin, which until then was primarily used with Dhrupad, a style characterized by its rigor, spiritual austerity, 

and a lack of intricate embellishments. Khan made the instrument "sing" like a Khyal vocalist, requiring greater technical dexterity because Khyal is 

more ornamental and fluid than Dhrupad. 

Please help me purchase important traditional records to 

pursue my global curation project and share the 

best finds with you on this blog here below: