TAHITI: LITTERATURE, MUSIQUE ET...




http://tahitilitterature.blogspot.com/

[krastian]

Wow, thanks for those, krop!!!

Sufi Music Part 1
http://www.youtube.com/watch?v=q9_RzdUfaWs

Sufi Music Part 2
http://www.youtube.com/watch?v=Bqpg2...elated&search=

[Glice]

It's banal to say, but "You must [etc etc]"

Thanks!

Ustad Nusrat Fateh Ali Khan Live in Pakistan! "Javed Nama" qawwali
http://video.google.co.uk/videoplay?docid=-3749437580626161213&q=type%3Amusic_video+OR+genre% 3Amusic+duration%3Along

[hat and beard]

don't know if this has already been posted, but...
http://www.asianclassicalmp3.org/

[Bicorn Halfelven]

Can anyone recommend a blog featuring traditional japanese music?

Oh, btw, the asianclassicalmp3 site seems to be down.

 

http://matsuli.blogspot.com/

[hat and beard]

I've been thinking for a long while that this is the greatest song in the history of the universe: http://rapidshare.com/files/37663185/15_Mu_Nohn_Taan.wma.html

what do you think?
stolen from:

 

Sorry about the wma format. I suck at computers.

[hat and beard]

Pandit Pran Nath - Ragas of Morning and Night

(Todi, Darbari) Gramavision 18-7018-7 (1986)

This is a rare recording from 1968 India of Pandit PranNath singing Rags Todi and Darbari.

Pran Nath's Ragas of Morning & Night has nothing to do with entertainment, everything to do with meditation and everything to do with New Age music, so much of which is profoundly influenced by traditional Indian music. As we listen, we are drawn in, captivated and eventually transported to psycho-spiritual clarity. Ragas is an intense album for serious listeners who regard listening as a process of inner development.

http://www.ubu.com/sound/nath.html

http://www.raghasmusic.com/
Welcome to Raghasmusic.com!

Dr. Krishna Raghavendra is an international performing artist, composer, and producer of both traditional and contemporary Indian music. He is a virtuoso on the Veena, a traditional plucked stringed instrument from South India. His veena is custom made to be detachable.
Dr. Raghavendra has developed novel playing techniques, which involve a combination of soft nuances, swift fingering and imaginative uses of melodic and drone strings to produce harmonizing and vamping sounds that mimic different instruments. He is the founder of the Ragha School of Music, an institution primarily devoted to promoting and integrating Indian music with western and other forms of music. He has released several original recordings and leads the "Raga and Rhythm Ensemble" (RARE). He has composed and played music for several theatre productions.

 

Originally Posted by hat and beard

I've been thinking for a long while that this is the greatest song in the history of the universe: http://rapidshare.com/files/37663185/15_Mu_Nohn_Taan.wma.html

what do you think?
stolen from:

 

Sorry about the wma format. I suck at computers.

Awesomism.

[Пятхъдесят Шест]

I've been neglecting this thread lately, that is, I haven't contributed anything. But I have been mooching off the great stuff you guys have been posting, which has been, as always, outstanding.

This is not exactly sharing as much as showing, but PRI (Public Radio International)has an enjoyable program called Afropop Worldwide that plays some bizarre and strange music, and sometimes profiles a particular artist or country. Always nice to listen to, especially when you're online, and doing nothing (which I assume the case may be for many around here).

Podcasts can be downloaded from here: Public Radio International Podcasts

[Пятхъдесят Шест]

One hand can't clap.

Benn Loxo Du Taccu

[hat and beard]

Pekos/Yoro Diallo

Yaala Yaala is a new imprint on the Drag City label dedicated to releasing unheard world music of the local, non-commercial, do-it-yourself quality. Still in its infancy, the series has produced three records since the beginning of 2007: Pekos/Yoro Diallo (YY001), va - Bougoni Yaalali (YY002), and Daouda Dembele (YY003). Founder and manager Jack Carneal has written the following in his Yaala Yaala mission statement:

I learned very quickly that there was a huge gulf between what many people out in Bougouni listened to and what was being exported to the West; many local Malians made dismissive sounds with their mouths when I mentioned the above musicians [Oumou Sangare, Ali Farka Toure, Salif Keita, Toumani Diabate, Habib Koite]. Many of the cassette vendors I got to know stared blankly when I asked about certain artists. …

The name Yaala Yaala was taken directly from what many a Bougounian musician would answer when asked “Ca va?” (how’s it going?); “Yaala yaala,” they’d answer. Just wandering. Yaala Yaala Records’ goal is to release this music, in addition to similar music from parts of the world, particularly Mali and West Africa, that you might hear if you were wandering yourself among the cassette stalls in Bougouni, Bamako, Kolondieba, Sikasso, Segou, Fez, Marrakesh, Cairo, Dakar. We’re releasing this music for no other reason than we like it!

 

Perhaps that last line is part of the problem; much like the Sublime Frequencies label, which releases obscure pop and folk music from neglected areas like Iraq, Sumatra, and Cambodia, Yaala Yaala offers the listener little to no context with which to appreciate these strange and distant sounds packaged for us in nice jewel cases. It betrays an almost childish fascination with the Other; not interpreting, but allowing it to speak for itself in all its strangeness. The records are untitled aside from the performers' names, and the tracks are simply numbered. While unsatisfying to the historicists, the unadorned presentation of this music has its advantages. In some ways, an academic approach would rob this music of its aura, and while I haven't listened to the other releases yet, the Pekos/Yoro Diallo recording contains some of the rawest and most powerful Malian sounds I've ever heard. According to Carneal's liner notes, the two performers were recorded straight to cassette in the nearby village of Kolondieba; Carneal stumbled upon it by chance while walking through Bougouni's premier tape market. Carneal's tone in relating all of this information to us is a refreshing change from the dry descriptions that normally accompany world music made for export. One gets the sense that the label impresario is as clueless as we are, receiving all of his knowledge secondhand from his trusted cassette vendors. "Abdoulaye was able to tell me..."

As for the music, this is truly fascinating stuff. Pekos and Yoro Diallo stretch out over four lengthy duets, performing on electrified ngonis with others adding minimal percussion. Think Toumani Diabate's albums but much less polished, musically and technically. The two players supposedly rigged mics directly to the insides of their ngonis -- hollowed out gourds -- and connected them to a preamp from which this music was put to tape. Thankfully there aren't many instruments in the mix, because the sound is distorted with hisses, fuzz, and screeches. But unless you're a dedicated audiophile, you'll find yourself overlooking the production values as Pekos and Yoro Diallo duel on their African lutes and trade rough vocal yells; as Carneal remarks, the two are most likely "reciting litanies of names... [like] how great Coulibaly is, Sidibe is, what a strong man Traore is, etc."

Generally, one ngoni takes the place of rhythm guitar, creating a simple vamp off of which the second ngoni can create various harmonies and improvisations, plucking furiously to create an abrupt, staccato effect. One can hear this clearly on track two, as a first lute produces a delicate melody carried along by the second's terse bass line. The clattery, metallic percussion -- sounding like some kind of shekere or cabasa -- causes the music to speed up significantly, to the great joy of the audience. On track three, one of the singers urges on his partner, cajoling him to play cascades of notes, arpeggios and frantic two-chord patterns on the ngoni. The instruments on track four sound out of tune, deliberately or not, and play a bluesy riff that would make John Fahey proud. At times the notes fall like repetitive hammer blows, at others the two relish in making their sounds bend and waver. Sprawling out for twenty minutes, the final selection ends with Pekos' and Yoro Diallo's harsh yelps, the music becoming dirge-like -- perhaps aiming to put the listener into a trance. Just beginning to reach its apex, however, the music ends abruptly, as if the infectious rhythms would continue long after the stereo goes off.

[demonrail666]

Originally Posted by hat and beard

I've been thinking for a long while that this is the greatest song in the history of the universe: http://rapidshare.com/files/37663185/15_Mu_Nohn_Taan.wma.html

what do you think?
stolen from:

 

Sorry about the wma format. I suck at computers.

Wow, what a little gem. Thanks

Originally Posted by hat and beard

Pekos/Yoro Diallo


Yaala Yaala is a new imprint on the Drag City label dedicated to releasing unheard world music of the local, non-commercial, do-it-yourself quality. Still in its infancy, the series has produced three records since the beginning of 2007: Pekos/Yoro Diallo (YY001), va - Bougoni Yaalali (YY002), and Daouda Dembele (YY003). Founder and manager Jack Carneal has written the following in his Yaala Yaala mission statement:

I learned very quickly that there was a huge gulf between what many people out in Bougouni listened to and what was being exported to the West; many local Malians made dismissive sounds with their mouths when I mentioned the above musicians [Oumou Sangare, Ali Farka Toure, Salif Keita, Toumani Diabate, Habib Koite]. Many of the cassette vendors I got to know stared blankly when I asked about certain artists. …

The name Yaala Yaala was taken directly from what many a Bougounian musician would answer when asked “Ca va?” (how’s it going?); “Yaala yaala,” they’d answer. Just wandering. Yaala Yaala Records’ goal is to release this music, in addition to similar music from parts of the world, particularly Mali and West Africa, that you might hear if you were wandering yourself among the cassette stalls in Bougouni, Bamako, Kolondieba, Sikasso, Segou, Fez, Marrakesh, Cairo, Dakar. We’re releasing this music for no other reason than we like it!

 

Perhaps that last line is part of the problem; much like the Sublime Frequencies label, which releases obscure pop and folk music from neglected areas like Iraq, Sumatra, and Cambodia, Yaala Yaala offers the listener little to no context with which to appreciate these strange and distant sounds packaged for us in nice jewel cases. It betrays an almost childish fascination with the Other; not interpreting, but allowing it to speak for itself in all its strangeness. The records are untitled aside from the performers' names, and the tracks are simply numbered. While unsatisfying to the historicists, the unadorned presentation of this music has its advantages. In some ways, an academic approach would rob this music of its aura, and while I haven't listened to the other releases yet, the Pekos/Yoro Diallo recording contains some of the rawest and most powerful Malian sounds I've ever heard. According to Carneal's liner notes, the two performers were recorded straight to cassette in the nearby village of Kolondieba; Carneal stumbled upon it by chance while walking through Bougouni's premier tape market. Carneal's tone in relating all of this information to us is a refreshing change from the dry descriptions that normally accompany world music made for export. One gets the sense that the label impresario is as clueless as we are, receiving all of his knowledge secondhand from his trusted cassette vendors. "Abdoulaye was able to tell me..."

As for the music, this is truly fascinating stuff. Pekos and Yoro Diallo stretch out over four lengthy duets, performing on electrified ngonis with others adding minimal percussion. Think Toumani Diabate's albums but much less polished, musically and technically. The two players supposedly rigged mics directly to the insides of their ngonis -- hollowed out gourds -- and connected them to a preamp from which this music was put to tape. Thankfully there aren't many instruments in the mix, because the sound is distorted with hisses, fuzz, and screeches. But unless you're a dedicated audiophile, you'll find yourself overlooking the production values as Pekos and Yoro Diallo duel on their African lutes and trade rough vocal yells; as Carneal remarks, the two are most likely "reciting litanies of names... [like] how great Coulibaly is, Sidibe is, what a strong man Traore is, etc."

Generally, one ngoni takes the place of rhythm guitar, creating a simple vamp off of which the second ngoni can create various harmonies and improvisations, plucking furiously to create an abrupt, staccato effect. One can hear this clearly on track two, as a first lute produces a delicate melody carried along by the second's terse bass line. The clattery, metallic percussion -- sounding like some kind of shekere or cabasa -- causes the music to speed up significantly, to the great joy of the audience. On track three, one of the singers urges on his partner, cajoling him to play cascades of notes, arpeggios and frantic two-chord patterns on the ngoni. The instruments on track four sound out of tune, deliberately or not, and play a bluesy riff that would make John Fahey proud. At times the notes fall like repetitive hammer blows, at others the two relish in making their sounds bend and waver. Sprawling out for twenty minutes, the final selection ends with Pekos' and Yoro Diallo's harsh yelps, the music becoming dirge-like -- perhaps aiming to put the listener into a trance. Just beginning to reach its apex, however, the music ends abruptly, as if the infectious rhythms would continue long after the stereo goes off.

Ace. Thanks.

[Cardinal Rob]

I love this thread. You are all beautiful.

[Tokolosh]

 

Some great recordings (ca. 1974) of local music from Gudacanal and Savo.
Recorded by Hugo Zemp

http://rapidshare.com/files/4733092/PDISall.zip

[Tokolosh]

 

Chidambaram-bangbang-boom-chk-boom

"Recordings from 2000-1 and affiliated to the temple of
Chidambaram (dedicated to Shiva but also to Vishnu), the ritual music
ensemble Periya Mêlam sounds vibrant and penetrating with its
nagasvaram oboes, tavil drums and talam castanets, the voice of the
gods."

http://www.megaupload.com/?d=LXJSQWK4