Saturday, August 8, 2020

NIGERIA Sikiru Ayinde Barrister – Vol. 6 – Africa Song - AS 33-L

NIGERIA – NIGÉRIA
Sikiru Ayinde Barrister & His Fuji Group – Vol. 6 – Africa Song - AS 33-L, 1975 (Cassette)
#Nigeria #Yoruba #Lagos #Fuji music #Sikiru Ayinde Barrister #Yorouba #Iyalu talking drum #shekere #akuba drums #agidigbo thumb piano #traditional music #world music #African music #musique africaine #cassette #MusicRepublic #musique traditionnelle
#Nigeria #Yoruba #Lagos #Fuji music #Sikiru Ayinde Barrister #Yorouba #Iyalu talking drum #shekere #akuba drums #agidigbo thumb piano #traditional music #world music #African music #musique africaine #cassette #MusicRepublic #musique traditionnelle
#Nigeria #Yoruba #Lagos #Fuji music #Sikiru Ayinde Barrister #Yorouba #Iyalu talking drum #shekere #akuba drums #agidigbo thumb piano #traditional music #world music #African music #musique africaine #cassette #MusicRepublic #musique traditionnelle

When I visited Lagos on several occasions in the early 1990s, Alhaji Sikiru Ayinde Barrister's (1948-2010) Yoruba "Fuji" music, both modern and steeped in tradition, was all the rage (the name was inspired by Japan’s Mount Fuji, the mountain of love and peace!). Barrister's Yoruba Islamic "Were" style of music evolved over time and became increasingly secular, with Barrister later incorporating Juju-style guitars and electronic instruments for a modern touch. But the core of his music always remained his 15- to 25-member band of superb percussionists playing traditional Yoruba instruments accompanied by the singer's beautiful voice.

Barrister was a highly sought after MC, conveying great prestige to lavish marriage celebrations which drew distinguished guests along with crowds of the uninvited hoping to hear the music or even catch a glimpse of the "Balaa of Lagos." Barrister's singing accompanied by frenetic drumming created a feeling of excitement and was absolutely the ultimate for dancing. I had the great privilege of seeing him perform twice in the 1990s. Most regrettably, he is largely unknown outside the Yoruba community.

We now share a second excellent traditional-sounding early Barrister album from 1975 featuring his commanding voice, gorgeous backing vocals and wonderful multilayered percussion.

Lors de mes voyages à Lagos au début des années 1990, la musique « Fuji » (dont le nom vient du Mont Fuji au Japon, la montagne de l'amour et de la paix !) inventée par Sikiru Ayinde Barrister (1948-2010) faisait fureur. Les Lagosiens Yoruba adoraient ce musicien à la fois moderne et ancré dans la tradition. Le style musical de Barrister s'est progressivement modernisé au fil du temps, incorporant même des jeux de guitares de style Juju et des instruments électroniques. Mais le coeur de sa musique est toujours resté son groupe de 15 à 20 percussionnistes jouant des instruments traditionnels yoruba et sa voix impériale.

Barrister était un MC très recherché, qui conférait un grand prestige aux célébrations de mariage somptueuses. Sa présence attirait de nombreux invités de marque, sans compter la foule de badauds à l’extérieur venue pour écouter la musique et peut être même apercevoir le « Balaa of Lagos ». La voix majestueuse de Barrister accompagnée de percussions frénétiques créaient une grande excitation et étaient le summum pour danser. J'ai eu le grand privilège de le voir deux fois en concert dans les années 1990. Barrister est malheureusement resté quasi inconnu en dehors de la communauté Yoruba.

Nous partageons maintenant un deuxième album de 1975 avec une texture sonore traditionnelle comprenant la voix magnifique du maître, des chœurs sublimes et des percussions polyrythmiques inspirées.


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Many thanks to Nuno for his help with the visuals.


Our other Yoruba Fuji music shares:

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


Photograph below is from Yoruba (Visions of Africa) by Babatunde Lawal, 5 Continents, 2012:


Priest wearing a sculpted representation of the female divinity from the Lájomi River during the Òsun annual festival, Òsogbo, Osun State, Nigeria, 1972:

MusicRepublic NIGERIA – NIGÉRIA Sikiru Ayinde Barrister & His Fuji Group – Vol. 6 – Africa Song - AS 33-L
Please help me purchase important traditional records to pursue my global 
curation project and share the best finds with you on this blog:

Saturday, August 1, 2020

INDIA Vijay Raghav Rao – Flute – HMV – ECLP 2357

INDIA – INDE
Vijay Raghav Rao – Flute – His Master's Voice – ECLP 2357, recorded 1968 (LP)
#Vijay Raghav Rao #Hindustani #bamboo #Flute #Bansuri #raga #tabla #tanpura #Indian Music #traditional music #musique indienne #world music #Pannalal Gosh #musique traditionnelle #vinyl #MusicRepublic #meditative #atmospheric
#Vijay Raghav Rao #Hindustani #bamboo #Flute #Bansuri #raga #tabla #tanpura #Indian Music #traditional music #musique indienne #world music #Pannalal Gosh #musique traditionnelle #vinyl #MusicRepublic #meditative #atmospheric

#Vijay Raghav Rao #Hindustani #bamboo #Flute #Bansuri #raga #tabla #tanpura #Indian Music #traditional music #musique indienne #world music #Pannalal Gosh #musique traditionnelle #vinyl #MusicRepublic #meditative #atmospheric
#Vijay Raghav Rao #Hindustani #bamboo #Flute #Bansuri #raga #tabla #tanpura #Indian Music #traditional music #musique indienne #world music #Pannalal Gosh #musique traditionnelle #vinyl #MusicRepublic #meditative #atmospheric


Vijay Raghav Rao (1925-2011) was one of the most distinguished North Indian Bansuri flute players to emerge in the footsteps of the great Pannalal Gosh (1911-1960), who transformed the Bansuri, an instrument played mostly in folk and light classical music, into a deeper-toned concert solo instrument by significantly extending the instrument's length to over 30 inches (75 cm) and devising innovative playing techniques.

Born in Chennai (Madras) in the State of Tamil Nadu, Rao initially studied Bharatanatyam South Indian dance, and ultimately took up the bass bamboo transverse flute after meeting his guru Pandit Ravi Shankar (1920-2012) in the 1940s. He toured widely, wrote many ragas and had a successful career at All India Radio as a soloist and film music composer. He was also a dedicated teacher who trained the likes of G. S. Sachdev (1935-2018) and Ronu Majumbar (b. 1963). 

This 1968 release showcases the maestro’s delicate, reflective and fluid lyricism complemented by D. K. Thakar on the second Bansuri flute, Manikrao Popatkar’s understated tabla and the tonal drone of the tanpura

Vijay Raghav Rao (1925-2011) fut l'un des flûtistes Bansuri les plus distingués de l'Inde du Nord à suivre les traces du grand Pannalal Gosh (1911-1960) qui transforma le Bansuri, jusque-là limité aux musiques folkloriques et classiques légères, en un instrument solo de concert aux tonalités plus profondes. Il étendit considérablement la longueur de l'instrument à plus de 75 cm et créa des techniques de jeu novatrices.

Né à Chennai (Madras) dans l'État du Tamil Nadu, Rao commença par étudier la danse classique Bharatanatyam, et se consacre finalement à la flûte traversière Bansuri en bambou après avoir rencontré son maître Pandit Ravi Shankar (1920-2012) dans les années 1940. Il effectua de nombreuses tournées, écrit de nombreux ragas et mena une brillante carrière à All India Radio en tant que soliste et compositeur de musique de film. Il fut également un maître dévoué qui forma notamment G. S. Sachdev (1935-2018) et Ronu Majumbar (né en 1963).

Ce disque de 1968 présente le lyrisme fluide, délicat et méditatif du maestro, accompagné de D. K. Thakar à la deuxième flûte Bansuri, Manikrao Popatkar aux tablas et le bourdon du tanpura.


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Flac

Photograph below is from Treasures of Asia - Paintings of India, by Douglas Barrett and Basil Gray, Skira, 1963.

Lord Krishna playing the Bansuri flute – believed to have had magical powers over all living beings – to tame the serpent Kaliya (Bundi School c. 1640):

MusicRepublic INDIA – INDE Vijay Raghav Rao – Flute – His Master's Voice – ECLP 2357

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





Saturday, July 25, 2020

KENYA – TANZANIA – UGANDA Musical Gems from Lake Victoria – Sapra Ltd - CMIL 102

KENYA – TANZANIA – UGANDA
Musical Gems from Lake Victoria – Heartbeat of Africa – Sapra Ltd - CMIL 102, recorded by David Fanshawe (7 in, 33 RPM)
#Kenya #Tanzania #Uganda #Lake Victoria #traditional music #fishermen #Nyatiti harp #thumb piano #Madinda box-resonated xylophones #drums #percussion #rattles #singing #horns #African music #musique africaine #traditional music #world music #David Fanshawe #MusicRepublic #vinyl #7 inch #Sapra label ##Luo #Yongo Wao #Busoga #Nyamwezy  #Samia Bugwe #Abaluya  #Bunyoro #Abaluya #Sukuti  #trance #ritual #magic #ceremony
#Kenya #Tanzania #Uganda #Lake Victoria #traditional music #fishermen #Nyatiti harp #thumb piano #Madinda box-resonated xylophones #drums #percussion #rattles #singing #horns #African music #musique africaine #traditional music #world music #David Fanshawe #MusicRepublic #vinyl #7 inch #Sapra label ##Luo #Yongo Wao #Busoga #Nyamwezy  #Samia Bugwe #Abaluya  #Bunyoro #Abaluya #Sukuti  #trance #ritual #magic #ceremony
#Kenya #Tanzania #Uganda #Lake Victoria #traditional music #fishermen #Nyatiti harp #thumb piano #Madinda box-resonated xylophones #drums #percussion #rattles #singing #horns #African music #musique africaine #traditional music #world music #David Fanshawe #MusicRepublic #vinyl #7 inch #Sapra label ##Luo #Yongo Wao #Busoga #Nyamwezy  #Samia Bugwe #Abaluya  #Bunyoro #Abaluya #Sukuti  #trance #ritual #magic #ceremony
#Kenya #Tanzania #Uganda #Lake Victoria #traditional music #fishermen #Nyatiti harp #thumb piano #Madinda box-resonated xylophones #drums #percussion #rattles #singing #horns #African music #musique africaine #traditional music #world music #David Fanshawe #MusicRepublic #vinyl #7 inch #Sapra label ##Luo #Yongo Wao #Busoga #Nyamwezy  #Samia Bugwe #Abaluya  #Bunyoro #Abaluya #Sukuti  #trance #ritual #magic #ceremony

This rare album recorded by David Fanshawe on Sapra, a Nairobi-based label, features inspired traditional music performed by various ethnic groups living on the shores of Lake Victoria in Uganda, Kenya, and Tanzania. Lake Victoria is Africa's largest lakes (69,000 sq km/26,500 sq mi) and the world's second largest freshwater lake after Lake Superior in North America.


Cet album rare enregistré par David Fanshawe sur le label Sapra basé à Nairobi présente des musiques traditionnelles inspirées interprétées par divers groupes ethniques vivant sur les rives du Lac Victoria en Ouganda, au Kenya, et en Tanzanie. Le Lac Victoria est le plus grand lac d'Afrique (69 000 kilomètres carrés) et le deuxième plus grand lac d'eau douce du monde après Lac Supérieur en Amérique du Nord.

A1 – Yongo Wao fishermen (Kenya) singing the praises of Luo chiefs with Nyatiti harp accompaniment;
A2 – Busoga fishermen (Uganda) singing that fish here are bigger than in any other lake with voices, thumb piano, and clapping;
A3 – Nyamwezy (Tanzania) playing intoxicating drums to the Monster of the Lake to obtain his blessings and good luck;
A4 – Samia Bugwe fishermen (Uganda) sounds of nature / singing and rhythmic rowing;
B1 – Sounds of the lakeshore at night with singing and harp;
B2 – Abaluya song (Kenya) with singer, harp, and percussion;
B3 – Bunyoro fishermen (Uganda) with Madinda box-resonated xylophones;
B4 – Abaluya (Kenya) Sukuti funeral dance with voices, three drums, horns and dancers.

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David Fanshawe (1942-2010) was an English composer whose most famous work was the album African Sanctus (1972), which combines Western choral harmony with his recordings of traditional African music. Fanshawe passionately explored the great diversity of our dying global traditional musical heritage and painstakingly recorded thousands of hours of indigenous music in Europe, Egypt, Sudan, Uganda, Kenya, Tanzania, Afghanistan, Iraq, Bahrain, and the Pacific islands.

Our other shares of
 East-African recordings by David Fanshawe:
Tanzania Fabulous Gogo Music from Tanzania  Sapra Ltd here
Kenya  Sounds of Masailand  Sapra Ltd here

Photographs below from vintage postcards:

Fishermen on Lake Victoria:


MusicRepublic KENYA – TANZANIA – UGANDA Musical Gems from Lake Victoria – Heartbeat of Africa – Sapra Ltd - CMIL 102

Bunyoro, Empago Drum Ceremony, 
Uganda (see B3)

MusicRepublic KENYA – TANZANIA – UGANDA Musical Gems from Lake Victoria – Heartbeat of Africa – Sapra Ltd - CMIL 102

Kikuyu Chiefs, Kenya

MusicRepublic KENYA – TANZANIA – UGANDA Musical Gems from Lake Victoria – Heartbeat of Africa – Sapra Ltd - CMIL 102

Samburu gentleman, Kenya

MusicRepublic KENYA – TANZANIA – UGANDA Musical Gems from Lake Victoria – Heartbeat of Africa – Sapra Ltd - CMIL 102

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




Sunday, July 19, 2020

TURKEY Gazeller II – Ottoman-Turkish Vocal Improvisations in 78 RPM Records – Kalan Müsik 18872

TURKEY – TURQUIE
Gazeller II – Ottoman-Turkish Vocal Improvisations in 78 RPM Records  Kalan Müsik 18872, (Cassette)
#Turkey #Turquie #Ottoman #Gazel #Ghazal #poetry #vocal improvisation #poetry #ney flute #ud lute #violin #Hafiz Kemal #Münir Nurettin Selçuk #Hafiz Sadettin Kaynak #Udi Marko #Hafız Osman #Hoca Izak Algazi #Hafiz Burhan #Nevzat Akay #N. Bey #Hafiz Memduh #A. Celal #Hafız Sami #Hafız Aşir #Hamiyet Yüceses #cassette #shellac 78 RPM #Turkish music #musique turque #traditional music #World music #MusicRepublic
#Turkey #Turquie #Ottoman #Gazel #Ghazal #poetry #vocal improvisation #poetry #ney flute #ud lute #violin #Hafiz Kemal #Münir Nurettin Selçuk #Hafiz Sadettin Kaynak #Udi Marko #Hafız Osman #Hoca Izak Algazi #Hafiz Burhan #Nevzat Akay #N. Bey #Hafiz Memduh #A. Celal #Hafız Sami #Hafız Aşir #Hamiyet Yüceses #cassette #shellac 78 RPM #Turkish music #musique turque #traditional music #World music #MusicRepublic
#Turkey #Turquie #Ottoman #Gazel #Ghazal #poetry #vocal improvisation #poetry #ney flute #ud lute #violin #Hafiz Kemal #Münir Nurettin Selçuk #Hafiz Sadettin Kaynak #Udi Marko #Hafız Osman #Hoca Izak Algazi #Hafiz Burhan #Nevzat Akay #N. Bey #Hafiz Memduh #A. Celal #Hafız Sami #Hafız Aşir #Hamiyet Yüceses #cassette #shellac 78 RPM #Turkish music #musique turque #traditional music #World music #MusicRepublic
#Turkey #Turquie #Ottoman #Gazel #Ghazal #poetry #vocal improvisation #poetry #ney flute #ud lute #violin #Hafiz Kemal #Münir Nurettin Selçuk #Hafiz Sadettin Kaynak #Udi Marko #Hafız Osman #Hoca Izak Algazi #Hafiz Burhan #Nevzat Akay #N. Bey #Hafiz Memduh #A. Celal #Hafız Sami #Hafız Aşir #Hamiyet Yüceses #cassette #shellac 78 RPM #Turkish music #musique turque #traditional music #World music #MusicRepublic


This cassette on the Turkish Kalan label presents a choice selection of traditional Gazel vocal improvisations recorded on shellac 78 RPMs between the early 1910s and the 1930s. The Turkish/Ottoman version of Ghazal poetry, which originated in Arabia in the 7th century, was a spiritual and metaphorical art form connected to Sufism that expressed “Divine Love.”

The early 20th century also marked the end of the Ottoman Empire and the advent of Mustapha Kemal Atatürk’s Turkish Republic in 1923 which sought to modernize the country and reform the old order and aesthetics. The burgeoning recording industry initially revived this dying art, but driven by changing tastes and commercialism, Gazel music became increasingly sentimental and about “earthly love.”

The music here features great Gezal masters, accompanied by ud lute, violin or ney flute, including Hafiz Kemal (A3, B1, B5, B6), Münir Nurettin Selçuk (A1) Hafiz Sadettin Kaynak (A2, A4), Udi Marko (A6), Hafız Osman (A5), Hoca Izak Algazi (A9), Hafiz Burhan (B2), Nevzat Akay (B9), N. Bey (B7), Hafiz Memduh (B3), A. Celal (B4), Hafız Sami (A7), Hafız Aşir (A8) and female Gazel singer Hamiyet Yüceses (B8).

Cette cassette sur le label turc Kalan présente une sélection pertinente d'improvisations vocales traditionnelles de Gazel enregistrées sur disques 78 tours entre le début des années 1910 et les années 1930. La version turque/ottomane de la poésie Ghazal, née en Arabie au 7ème siècle, était une forme d'art spirituelle et métaphorique liée au soufisme qui exprimait « l'amour divin ».

Le début du XXe siècle fut également marqué par la fin de l'Empire ottoman et l'avènement de la République turque de Mustapha Kemal Atatürk en 1923 qui s’efforça de moderniser le pays et de réformer l'ancien monde et son esthétique. L'industrie du disque en plein essor relança dans un premier temps cet art mourant, mais poussé par l'évolution des goûts et le mercantilisme, le gazel devint plus sentimental et s’éloigna peu à peu de ses racines religieuses.

La musique ici présente des grands maîtres du Gezal, accompagnés par un luth ud, un violon ou une flûte ney, notamment Hafiz Kemal (A3, B1, B5, B6), Münir Nurettin Selçuk (A1) Hafiz Sadettin Kaynak (A2, A4), Udi Marko (A6), Hafız Osman (A5), Hoca Izak Algazi (A9), Hafiz Burhan (B2), Nevzat Akay (B9), N. Bey (B7), Hafiz Memduh (B3), A. Celal (B4), Hafız Sami (A7), Hafız Aşir (A8) et la chanteuse Hamiyet Yüceses (B8).

Further reading:
*The Life and Death of the Turkish Gazel by ethnomusicologist John Morgan O'Connell here

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Many thanks to João for sharing his cassette collection!

Our other Turkish music shares:
Nuit Précieuse au Sérail - ARION 30 U 97, 1970 here
Musique de Turquie - ALFA 5018, 1973 here
Rythmes et Mélodies de Turquie - Le Club Français du Disque 92, 1957 here
Orient-Okzident - Musik Aus Südost-Europa - Museum Collection Berlin, 1968-1980 here


Photographs below are from Treasures of Turkey, by Akurgal, Ekrem, Cyril and Ettinghausen, Skira, 1966, and The World of Islam by Ernst J. Grube, McGraw-Hill, 1967:

Portrait of Sultan Mehmet II the Conqueror (1451-1481) by Sinan Bey:

MusicRepublic TURKEY – TURQUIE Gazeller II – Ottoman-Turkish Vocal Improvisations in 78 RPM Records – Kalan


Painting from a copy of Siyar-i Nabi (Life of the Prophet), 1594. 
The Prophet Muhammad, Abu Bakr, and Ali on the Way to Mecca.
"All in the Ottoman court school style, a mixture of hieratic abstraction and almost popular realism in detail, the Siyar-i Nabi paintings are unique in Islamic art in the way their intensity of religious feeling transcends the historical events depicted."

MusicRepublic TURKEY – TURQUIE Gazeller II – Ottoman-Turkish from The World of Islam by Ernst J. Grube, McGraw-Hill, 1967 Vocal Improvisations in 78 RPM Records – Kalan

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