Friday, January 31, 2020

Songs of the Muskogee Creek part 2 -- an LP recorded in the US in 1969 and released in 1970

This is a recording of songs by the Muscogee Creek tribe featuring in dances recorded in the state of Oklahoma in 1969. Another vinyl transfer uploaded to the Internet Archive by the Boston Public Library and repaired and restored by me.

The fact that any Native Americans at all have survived decades of genocide by White settlers followed by many more decades of willful neglect and cultural genocide by the US Government is almost a miracle. 

At some point I will be uploading my own transfers of about 20 LPs of field recordings of Native Americans. We'll see when I have the time to start that!

A1 Stomp Dance
Leader – Tema Tiger 

A2 Friendship Dance
Leader – Netche Gray 

A3 Stomp Dance
Leader – Netche Gray 

B1 Gar Dance
Leader – Netche Gray 

B2 Guinea Dance
Leader – Harry Bell (2), Netche Gray 

B3 Stomp Dance
Leader – Tema Tiger 

B4 Morning Dance
Leader – Netche Gray

Recorded at Seminole, Oklahoma, May 2, 1969.


higher-than-standard-CD resolution files

after decoding to WAV files, these can be burned to CDR

highest quality mp3 files possible

Exotic Music for the Oud -- an LP released in the US in 1972

Another vinyl transfer I obtained through the Boston Public Library via Significant work was done to improve the sound. This LP was released by Lyrichord in 1972, apparently, and reissued on compact disc in 1999 by Rounder Records, but is now out of print.

Oud, Sultania, Sarod – H. Aram Gulezyan
Drums – Juma Dreeha
Guitar – Vance H. Koenig
Oboe – Jack Doyle
Engineer – John Diana
Producer – John Israelson


higher-than-standard-CD resolution files

after decoding to WAV files, these can be burned to CDR

highest quality mp3 files possible

Japanese Treasures - Koto, Shamisen, Shakuhachi - an LP released in the US in 1971

Here is another LP transfer released by the Boston Public Library and repaired/restored by me. For a before-and-after comparison, you can check out the original here.


higher-than-standard-CD resolution files

after decoding to WAV files, these can be burned to CDR

highest quality mp3 files possible 

Thursday, January 30, 2020

Ethiopian Urban and Tribal Music vol 2 - an LP released in the US in 1971

Yet another transfer from the Boston Library Collection. These library LPs have been used and at times (apparently) abused, but I believe all the transfers available on this blog are worth downloading. 

Some of the publicly available LPs were too far gone to be rescued. These can still be either streamed, sampled or downloaded from here.

Track information:
A1 - Eyo: Dorze song.
A2 - Kofu: Kraar and Masenko. The words were improvised around a typical refrain.
A3 - Anche-Lej-A-Male: Recorded in a teij-beit (bar). Drum, masenkos.
A4 - Bagana: Performed on the "Harp of David" by Deftene Belete Mengesh. Monophyte Christian hymn.
A5 - Galla Song: Washint and masenkos.
A6 - Konso Song: Performed by Jigsaw.
A7 - Msgana: Praise song to God.

B1 - Fanno: Song played on the Kraar by Mary Armede.
B2 - Harambe Africa: African Unity drum song performed by Jigsaw.
B3 - Fila Flute Dance: A religious dance recorded at Gidole-Touch. A number of men dance around in a circle, each one playing a flute of different note.
B4 - Nuer wire-strung Harp: One hand plucks the strings, the other beats time on the soundbox.
B5 - Jung Nai: Sung by Nuer men and women.
B6 - Anouak Toum: Finger Piano played by Philip Agowa.
B7 - Walla-Lam: Afar Divining Chant.
B8 - Afar Flute: Often used in story telling to produce sound effects.


higher-than-standard-CD resolution files

after decoding to WAV files, these can be burned to CDR

highest quality mp3 files possible

Wednesday, January 29, 2020

Chinese Masterpieces for the Cheng - an LP released in the US in 1965

Another vinyl transfer offered publicly by the Boston Public Library and restored by me. 

The Wikipedia provides the following information about the artist on this release:

Liang Tsai-Ping (Chinese: 梁在平; pinyin: Liáng Zàipíng, b. Gaoyang County (高阳县), Hebei, China, February 23, 1910 or 1911; d. Taipei, Taiwan, June 28, 2000) was a master of the guzheng, a Chinese traditional zither. He is considered one of the 20th century's most important players and scholars of the instrument.

Early career

At age 14, Liang moved to Beijing, where he began his studies with Professors Ying-mei Shih (Shi Yingmei) and Tze-you Wei (Wei Ziyou). After printing his first work, Ni Cheng Pu (Ni Zheng Pu), a guzheng teaching manual in 1938, he brought his instruments and conferred with several masters and companies. He graduated from Beijing Jiaotong University, majoring in applied science.

He moved to Taiwan in 1949, where he lived for the rest of his life. He worked in the Ministry of Commerce while continuing his musical activities. Liang had much to do with the revival of the guzheng in the 20th century, helping to establish the instrument as one of the major Chinese traditional solo instruments, as well as a component of the Chinese orchestra. Throughout his life, he preferred the older steel string version of the instrument. For 25 years, he served as the president of the Chinese Classical Music Association, which was organized in Taipei in 1951.

In addition to performing on the guzheng, he researched the instrument's history and repertoire, studying the playing of elder guzheng masters from various parts of China, learning and comparing their styles.

He also created new works for the instrument. In 1951, following the release of his first composition, Longing for an Old Friend, he composed more than forty pieces for the guzheng. His book,
Music of the Cheng, has been published in six editions.

International tours

Liang performed widely throughout the world. He first performed in India while on his way to the United States. While at Yale University in 1945-46, he introduced a performance on the "China Program" with the American writer Emily Hahn, on DuMont Television. A colorful sound film called Melody of Ancient China was produced for him by the Harmon Foundation in 1946. Under the sponsorship of Pearl S. Buck, Liang gave solo performances in several major U.S. cities.

He traveled to Japan in 1952, where he was greeted by the renowned koto player Michio Miyagi, and also traveled to Seoul, Korea, performing at Sarabul Art College and The National Center for Korean Traditional Performing Arts.

Liang introduced the guzheng at the First Southeast Asia Music Conference in Manila, Philippines in 1955. He performed in ten European nations in 1958, participated in the International Music Symposium in Manila, and served as the Chief Delegate of the Republic of China in April 1966. Under the sponsorship of the Honolulu Academy of Arts, he performed and lectured on seven U.S. college campuses in May 1967.

For the Asia Society in New York, he directed the Shantung Music Ensemble in 50 recitals in the United States in the spring of 1972. Invited by the overseas Chinese Teachers Federation, Liang performed in Singapore and in four cities of Malaysia, Bangkok, and Hong Kong in 1973.

Invited by the Performing Arts Programs, Asia Society, Liang conducted a three-month recital (including Carnegie Hall) and lecture tour to Japan, Canada, and the United States in the spring of 1974.

Among Liang's students was the American composer Lou Harrison (1917-2003), who became the first American to become a proficient guzheng performer, and also a composer of idiomatic music for the instrument. In 1962, Harrison went on to form (with two other American musicians: his student Richard Dee, b. 1936, and William Colvig; along with the singer Lily Chin) an ensemble that toured California playing traditional Chinese music, the first American group of its type.

Liang's son is the scholar and composer David Mingyue Liang.
Books by Liang Tsai-Ping
Liang, Tsai-Ping (1962).
On Chinese Music. Taipei, Taiwan.
Liang, Tsai-Ping, ed. (1970). Chinese Musical Instruments & Pictures. Taipei, Taiwan: Chinese Classical Music Association.
Liang, Tsai-Ping (1971). Music of Cheng, Chinese 16-Stringed Zither. [Taipei, Taiwan]: Chinese Classical Music Association.
Liang, Tsai-Ping. Chinese Masterpieces for the Cheng. LP. Lyrichord.
China's Instrumental Heritage. CD. Lyrichord Discs. Recorded c. 1960.
Liang, Tsai-ping. The Chinese Cheng: Ancient and Modern. CD. Lyrichord Discs.


higher-than-standard-CD resolution files

after decoding to WAV files, these can be burned to CDR

highest quality mp3 files possible 

Tuesday, January 28, 2020

Traditional Music of Thailand -- an LP recorded in Thailand in 1959-60 and released in the US in 1968

For this post (transferred by the Boston Public Library - restored by me) we have a release from the official record label of the UCLA Department of Ethnomusicology.

Discogs has this to say about the label:

The Institute of Ethnomusicology was established in 1961 at the University Of California-Los Angeles and existed until 1974. This organization hosted numerous musicians and instructors from different world traditions, purchased a vast collection of world music instruments, and supported one of the largest traditional sound archives in the USA. The Institute conducted research in systematic musicology, particularly the development and use of the automatic music writer Melograph. The Institute released some records with I. E. Records in the late sixties and early seventies.

These recordings were made by David Morton and some notes about the recordings (again from Discogs) are as follows:

The monophonic original recordings of the compositions on these records were done with a single Electro-Voice 666 microphone feeding an Ampex 601 full-track recorder. The concert at the Erawan Hotel was recorded on 1 mil polyester Sctoch tape No. 150. Most of the other recordings were made on 1 1/2 mil acetate, Audiotape No. 1251.

Re-recording employed Amphex 300 recording equipment. The material was electronically reprocessed to stereo through equalization tailored specifically to each recording. In general, the low frequencies were placed on the right and the high frequencies on the left, with care being taken to maintain the original balance between high and low frequencies.

Issued in a gatefold jacket, and accompanied by a separate 47 page booklet of scholarly commentary and analysis.

Track notes:

A1 - Mā Ram ("Dancing Horse"), followed immediately by solo versions of Choet Nai on the pī, ranāt ēk, and ranāt thum. Overture: sām chan. Pī phāt ensemble. Recorded July, 1960; performed by the musicians of the Phakavali Institute at the Erawan Hotel in Bangkok.

A2 - Chanting Prelude to Sēphá Program. Vocal solo with krap sēphā. Recorded in July, 1960. Performed by a musician of the Phakavali Institute at the Erawan Hotel in Bangkok.

A3 - Thao. Pī phāt ensemble with vocal soul. Recorded in July, 1960. Performed by the musicians of the Phakavali Institute at the Erawan Hotel in Bangkok.

B1 - Suite. Pī phāt ensemble. Recorded on August 2, 1959. Performed by young male students of the Department of Fine Arts at the Phakavali Institute, Bangkok.

B2 - Instrumental solos on the khǭng wong yai and khǭng wong lek. Recorded on August 1, 1960. Performed by the musicians of the PHakavali Institute during one of the weekly ceremonies on Monday night which were observed during the three-month mourning period following the death of Luang Pradit's wife.

C1 - Special form. Pī phāt ensemble. Recorded on August 1, 1959. Performed by young male students of the Department of Fine Arts at the Phakavali Institute.

C2 - Sām chan. Mahōri ensemble with vocal solo. Recorded on July 26, 1960. Performed by musicians of the Phakavali Institute, at the Institute.

D1 - Overture; sām chan (a preceding short section in free rhythm, not actually part of the composition, is included on the recording for interest). Pī phāt ensemble. Recorded on August 2, 1959. Performed by the musicians of the Phakavali Institute, at the Institute, during the annual wai khru celebration.

D2 - Sǭng chan. Khrų̄ang sāi ensemble with vocal solo. Copied in July, 1960, from a tape of the Publicity Department, Bangkok.

higher-than-standard-CD resolution files

after decoding to WAV files, these can be burned to CDR

highest quality mp3 files possible 

Welcome to the world music village!

This is a place for me to share my transfers of analog world music (LPs and cassettes).

However, I will also be sharing transfers of analog "world music" which I have been collecting from various parts of the web. As always, I will share the music in the highest resolution available and also share lower resolution and mp3 versions for people who are into that sort of thing. 

When an original transfer from my collection is presented, I will document the equipment used and what I did to the transfer. When a publicly-available transfer is used, not much time will be devoted to documenting the actual, received condition of the original signal -- I will just do whatever is necessary to make the transfers sound as good as I can. This might include "declicking" software, EQ, noise reduction, channel re-balancing, and so forth. 

There will also sometimes be instances when I share a compact disc of musical material which is very difficult or impossible to obtain through commercial channels. With the ubiquity of music streaming services, some music labels are allowing all legacy releases of all physical media to fall out of print, jeopardizing the music's future availability.

There is always the question of what constitutes world music. As I define it, world music represents both popular and indigenous traditional music from anywhere on Earth, including English-speaking countries. 

Please note -- the only reason for the existence of this blog is to assist in the study of music as well to assist in cultural preservation. If we do not actively preserve our culture, we will lose it.

There is not now, there has never been, and there never will be any commercial aspect of this blog, including advertisements, sponsored links, or acceptance of donations.

Thank you for visiting this blog. Please enjoy and study the music!