Ali Akbar Khan - Sarod
Swapan Chowdhury - Tabla
Side 1:
Raga Alamgiri (19:29)
Side 2:
Raga Jogiya-Kalengra (19:28)
Sunday, 11 September 2011
Friday, 9 September 2011
Abdul Halim Jaffar Khan - Sitar - LP ECLP 2351 (1967) - The Gramophone Company of India
Abdul Halim Jaffar Khan - Sitar
Sadashiv Pawar - Tabla
Side 1:
1. Raga Champakali (12:03)
2. Raga Chhaya-Nat (7:10)
Side 2:
Raga Mishra Piloo (18:48)
Wednesday, 7 September 2011
3ème festival de musique Andalouse Alger 1972 - Vol. 9
LP Mahrajan 72598 (Réalisation: Club du Disque Arabe)
Side 1:
L'orchestre national de la Radiodiffusion Télévision Marocaine
sous la direction du maitre Mouley Ahmed Loukili (18:18)
Side 2:
Société Nadi Elhilal de Mostaghanem:
Noubat El Maya (20:36)
Monday, 5 September 2011
3ème festival de musique Andalouse - Alger 1972 - Vol. 6
LP Mahrajan 72595 (Réalisation: Club du Disque Arabe)
On side 1 we have a modern version of the Arabo-Andalusian music (Malouf) of Tunisia, with a far too big orchestra and a mixed female and male chorus. We will post soon - insha'Allah - an LP with a more traditional form of the Malouf of Tunisia.
On side 2 we have a beautful version of the Arabo-Andalusian music of Algiers (Cana'a).
Side 1:
Orchestre National Tunisien
sous la direction du Professeur Salah El Mahdi (21:21)
Side 2:
Noubat Raml Maya
chanté par Zerrouk Mokdad (23:03)
Sunday, 4 September 2011
3ème festival de musique Andalouse - Alger 1972 - Vol. 2
LP Mahrajan 72591 (Réalisation: Club du Disque Arabe)
On side 1 is a rather awful modern version of classical Arab music with a far too big orchestra inspired by western symphonic orchestras with a huge mixed female and male chorus. Traditionally this music used to be performed by a solo singer and a small ensemble, the so-called Takht, with just an 'Ud, a Qanun, a Nay, maybe a violin, and one or two percussionists on the Riqq and Darbouka.
Side 2 has a very beautiful and traditional example of the Arabo-Andalusian music of Tlemcen, in the so-called Gharnati (coming from Granada) style.
Side 1:
Société Egytienne du Conservatoire de Musique Arabe
sous la direction du Professeur Abdelhalim Nouira (24:00)
Side 2:
Orchestre Mustapha Belkhodja de Tlemcen:
Btaihi Ghrib: Fad Elhaoua
Darj Ghrib: Allah Allah Ach Dani Naachaq
Khlas Ghrib: Emchi Ya Rassoul
Touchiat El Kamal (22:20)
Our dear friend Bolingo had already uploaded a while ago Vol. 7:
We will upload the Volumes 6 & 9
Bolingo also uploaded the first 6 LPs of Volume 1 of the 2ème Festival Algerien de la Musique Andalouse 1969
Saturday, 3 September 2011
Bismillah Khan and Party - Shehnai - LP EASD 1424 (1984) - The Gramophone Company of India
Side 1:
Raga Madhmat Sarang (27:58)
Side 2:
1. Raga Bhairavi: Dhun (19:28)
2. Ramdhun (8:34)
Thanks to Zwan for sharing this LP.
Friday, 2 September 2011
Lalgudi G. Jayaraman & Party - Violin Venu Veena - LP ECSD 2338 (1967) - The Gramophone Company of India
Lalgudi G. Jayaraman - Violin
N. Ramani - Venu
R. Venkataraman - Veena
Umayalpuram Sivaraman & T. K. Murthy - Mridangam
Side 1:
Mohana Rama (Mohanam - Adi) - Part 1 (17:36)
Side 2:
Mohana Rama (Mohanam - Adi) - Part 2 (18:24)
Thursday, 1 September 2011
M.D. Ramanathan (1923-1984) - LP ECSD 3272 (1976) - The Gramophone Company of India
M.D. Ramanathan - Vocal
T.N. Krishnan - Violin
Vellore Ramabhadran - Mridangam
Side 1:
1. Maha Ganaphatim (Nattai - Adi) (6:57)
2 Samaja Varagamana (Hindolam - Adi) (9:48)
3 Hariyum Haranaum (Attana - Rupakam) (4:10)
Side 2:
1. Giripai (Sahana - Adi) (17:08)
2. Kapi-Thillana (Tisragathi - Adi) (3:43)
Thanks to Zwan and Arvind for sharing this LP.
Wednesday, 31 August 2011
G.N. Balasubramaniam (1910-1965) - Great Master Great Music - An All India Radio Recording - LP ECLP 3274 (1976) - The Gramophone Company of India
Side 1:
"Thamathamen" (Tamil) (22:58)
Raga: Todi, Tala: Adi
Composer: Sri Papanasam Sivan
Side 2:
"Sivakameshwarim" (Sanskrit) (18:20)
Raga: Kalyani, Tala: Adi
Composer: Sri Muthuswami Dikshitar
Thanks to Zwan and Arvind for sharing this LP.
Tuesday, 30 August 2011
Munir Sarhadi (1922-1980) - Sarinda - Music from Peshawar - Cassette from Pakistan
Recorded and published by National Institute of Folk and Traditional Heritage, Islamabad, Pakistan. Originally published on LP as "Sarinda - Sound of Khyber Valley" by EMI Pakistan (LKDE-20009). Later republished as this cassette with two additional tracks (not mentioned in the list of tracks).
Side 1:
1. Dance Tune (5:37)
2. Sakhni (6:12)
3. Khyber Laugari (6:16)
4. Dance Tune (6:06)
5. extra track (5:01)
Side 2:
1. Khattak Dance on Sarinda (6:25)
2. Sandra (5:19)
3. Qizilbashi (5:35)
4. Nimkaee (5:03)
5. Loba (4:09)
6. extra track (4:04)
Here the covers of the original LP version, unfortunately not in the best condition as the cover is made of very thin cardboard.
By Shaikh Aziz
A music concert is on, continuing till the wee hours of the morning. Many vocalists and instrumentalists are showing their skills. Every performer thinks that his was the best performance on the stage. One girl in the audience is overwhelmed by the performance of an instrumentalist and becomes such an admirer that she falls in love with him. Cupid’s arrow has done it’s work and one fine day they tie the nuptial knot.
Incidentally, this happened in Delhi, a little before Independence. The artist was Munir Sarhadi, the sarinda virtuoso who won laurels in the country and abroad, and the girl was Banu Begum, who attended a concert in Delhi, filled with a galaxy of vocalists and instrumentalists from all over the subcontinent. A young Munir had gone there with his illustrious father, Ustad Pazeer Khan, who was employed by the All India Radio at that time.
Munir Sarhadi, the Peshawar-born musician, later rose to fame not only in Pakistan but also won laurels abroad. A winner of the Pride of Performance, the legendary instrumentalist was perhaps the only artist after his father who achieved that recognition in playing the traditional instrument. Paradoxically, his death in 1980, was marked by utter poverty and neglect — an end most of our artists often meet.
Munir was born in 1922. His father was the great scion of sarinda players of Pushto music. In his childhood he showed no interest in learning the instrument which was not liked by some of his family elders. His father left for Delhi where he had gotten a job at the All India Radio. His uncle and custodian, Khushmir Khan tried to persuade him to learn the music but all in vain. One day, a dejected Munir left Peshawar and travelled to his father’s city. His father did not want to teach him and took him to Ustad Afzal Hussain, one of his colleagues at the radio. There Munir began learning vocal music.
It is then that the young boy developed interest in sarinda. When his father left for work everyday, he would pick up the sarinda and start practising it. This continued for quite some time. One day his father came a bit earlier than his scheduled time and was stunned to see that Munir was playing the instrument with great skill. Ustad Pazeer Khan was so overjoyed that he gave his own sarinda to Munir and then began teaching him the intricacies of music and sarinda playing. With the skill he saw in his son, Ustad Pazeer Khan knew what lay ahead for Munir.
Soon after, the father and son decided to visit Peshawar for a vacation. It was also a family reunion and obviously in a family of musicians there had to be music. Munir’s family was astonished to see him pick up the sarinda and play it. The masterly handling of the bow and strings produced such scintillating compositions that everybody was enthralled. To see the young lad, who was not interested in music, playing like a wizard, was no less than a miracle.
After a short stay at Peshawar, both the father and son went back to Delhi where they played the instruments and also sang thumries and ghazals at various concerts, to supplement the earning. At one concert when Munir began playing the sarinda everybody in the audience was taken over by its magic. One veiled girl was simply mesmerised. She began attending every concert of Munir and ultimately both tied the knot.
When Independence took place Delhi became a hotbed of violence, and with the help of a friend in the army the family managed to reach Pakistan safely and decided to settle in Lahore. Finding no place at Radio Pakistan, Lahore and roaming jobless for quite some time, they finally moved to Peshawar in very poor conditions.
Here the father and son were able to get jobs in Radio Pakistan. In 1949 Ustad Pazeer Khan died of respiratory disorder and it was now Munir Sarhadi who had to advance the tradition of sarinda playing. Munir, through his strenuous riyaz and able guidance of the father, had become a master of sarinda and was in great demand all over Pakistan. He attended almost all the concerts and music festivals that used to be held at various centres. The PIA Academy, which was established to promote art and culture of the country, took him to various parts of the world including China as member of the troupe where his performance was highly applauded.
Munir Sarhadi’s technique was very imaginative. He played every raga and folk composition with masterly ease. Sarinda, the fretless stringed instrument, is comparatively a difficult instrument in the string family as it has little space between the bridge and knobs, and requires extra ability to produce the three octaves. Munir, through his extra effort, easily acquired this skill and played classical taans to folk lehra as an accomplished performer. He had the ability to sing, play and also compose music. He was so engrossed in the music and sarinda that he hardly passed a day without playing it after he decided to learn it and make it a living. While his father excelled in folk tunes and classical music, Munir created a fusion of the two. This is evident from the films Dara-i-Khyber, Baghi and some other films of which he composed the music. He blended classical music with some variations from Pushto music and vice versa. For his services towards the promotion of music, he was awarded the Pride of Performance.
Personally he was a simple, hard working and dedicated person. He had no greed for money and worldly comforts. Throughout his life his main concern was music. He longed for the company of the learned. Perhaps this was the reason that in the last days of his life he lived a miserable life. As usual, our bureaucratic clique, societies and the so-called organizations meant for the promotion of art remained unmoved, while the maestro was on his deathbed. His only source of living, the radio salary was not enough to provide him the medicines and on May 23, 1980 he died in abject poverty, yet with honour and dignity, leaving behind an invaluable contribution towards music. After his death only one of his sons, Aijaz Sarhadi has kept up the family tradition of sarinda playing and is known well in the Pakistani music world.—DAWN
See about the instrument:
http://de.wikipedia.org/wiki/Sarinda (in German)
Monday, 29 August 2011
Al-Haj 'Abd al-Karim al-Rais - Vol. 3 - Classical Arabo-Andalusian Music from Fes, Morocco - Cassette (Fassi Disque) from Morrocco
Al-Haj 'Abd al-Karim al-Rais & the Brihi Ensemble from Fes, the most famous ensemble of Arabo-Andalusian music, which is the classical music of Morocco. Here you can read more about this tradition and 'Abd al-Karim al-Rais (in French).
Side 1:
Nouba 'Iraq Al-'Ajam, Inshad (Solo vocal improvisation) by Abdel Fattah Bennis (30:32)
Side 2:
Nouba Al-Isbihan, Mawwal (Solo vocal improvisation) by Abdel Majid Bouzwadah (?) (30:21)
Thursday, 25 August 2011
Ustad Amir Muhammad (1931-1997) - Vol. 1 - HMC 375 - Cassette from Afghanistan
Legendary Ghazal singer from Kabul
For more information about the singer see the excellent recent book with CD:
John Baily – Songs from Kabul: The Spiritual Music of Ustad Amir Mohammad,
SOAS Musicology Series
The book can be obtained from:
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