Thank you for archiving this here - I noticed the Mixcloud version is no longer available & the d14 version was taken down a while ago. So important to be able to listen as we continue to (un)learn from d14 x

An immersive and head-spinning collage of radio broadcasts and field recordings made on location in Syria in 2007 by Jahmorinz. You’ll hear street and market sounds, muezzins, local radio transmissions, local dabke bangers, cats and frogs, a killer Omar Souleyman recording, the eerie groans of a noria or hydropowered wheel, and more.

Suonds from Sourya (RIAFC099)

On today's Cosmic Surf, we're joined by the ghost of Leonard Bernstein on a genre-hopping spacewalk.  

Kliche  ✰  Patrulje 
Mdou Moctar  ✰  Wiwasharnine
Throwing Muses  ✰  Counting Backwards
IDLES   ✰  The Beachland Ballroom
Nana Mouskouri  ✰  L'amour c'est comme l'été
Silver Apples  ✰  Program
The English Beat  ✰  The Limits We Set
Hideki Matsutake  ✰  Scarlet Scarf
Sublime Frequencies  ✰  Rao Rao
Chet Baker  ✰  I Get Along Without You Very Well
Esperanza Spalding  ✰  I Know You Know
江利チエミ (Eri Chiemi)  ✰  Tennessee Waltz
John Cale  ✰  Big White Cloud
Miles Davis   ✰  Peaceful
El Gran Combo de Puerto Rico  ✰  Brujeria
Marc Bolan with Cilla Black  ✰  Life's A Gas

Episode 17 — What Does Music Mean?

A tribute to Minang singer Melati from West Sumatra focusing on her early recordings with the musician Asben. Together, they pioneered an innovative genre of Minangkabau pop music based called kalason, which incorporated the horn melodies heard in the streets from passing autobuses using synthesizers.

Melati - Queen Of Kalason

PR SOUND SPECIAL: THAI-KHMER BORDER MUSIC (MONRAKPLENGTHAI) (RIAFC131)

A set of more (fairly recent) experiments. These were compiled  in August of 23.

noizvendr.labresearchtapes.2023.08.14.firstmix

Lalita Ubhayakar/voice; Girin Das/tabla; Sharad Gadre/harmonium. Recorded at the University of Washington's HUB Auditorium on December 3, 1978.

Collection Number: 1978026

Tape 1 - Introduction of artist; Applause and Tuning; Selection #1: alap; (tabla enters)

Tape 2 - Selection #1 (continued); Tuning; Artist's introduction; Sugrai Kannada: Chota Khyal (#2); Artist's introduction; Selection #3: slokas.

Tape 3 - Selection #4: bhajan; Applause and announcement; Tuning; Artist's introduction; Shankara: chota Khyal (#5); Artist's introduction, also explanation; Selection #6: bhajan; Concluding remarks.

From www.facebook.com/HCMAEOFFICIAL
About Vidushi Lalita Ubhayaker (15 January 1928 - 23 February 2012): A well known Hindustani Classical vocalist from the Agra Gharana. She belonged to a family distinguished for its cultural accomplishments. She was the daughter of Smt. Paravati Bai Ullal and Shri Sundar Rao Ullal. In the year 1946, she married Shri Shivaram Devarao Ubhayaker from the distinguished family of Dharmaprakash Shri Devarao Shivaram Ubhayaker and Smt. Shantabai Devarao Ubhayaker who were noted for their social, religious and philanthropic activities.

She had her early training at home from her mother and was taught by Shri Chidanand Nagarkar for a year. With assiduous and systematic training by Shri Rama Rao Nayak, the masterly pupil of Ustad Ata Hussain Khan and Swamy Vallabhadas, her innate musical talents blossomed into a shape resplendent with color and artistry. Constantly, she was a votary of the majestic Agra Gharana. She had the good fortune of learning under the Dagar brothers, the late Ustad Moinuddin Dagar and Ustad Aminuddin Dagar.

Vidushi Lalita had a voice that was melodious and delicate, especially in the handling of the subtle nuances, and in line with the traditions of the above School, her leanings are naturally towards spacious and leisurely expositions of Ragas. With this colorful backdrop, her acceleration into a faster tempo done with ease and elegance stood in bold relief. Bhajans were her speciality, wherein she identified herself with their spirit, moved with the moods of the melody and portrayed them with warmth and feeling.

Vidushi Lalita had the distinction of being a member of the Cultural Delegation that visited Russia and other Eastern European countries in 1954. As a regular participant in the programs of All India Radio since 1951, she had the distinction of having performed since 1968 in the National Programmes, Radio Sangeet Sammelans and also in many important music festivals of the country. Her concert tours included recitals in West Germany, Denmark, Holland, England, France, Switzerland, Italy and U.S.A.

--
Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

72-26-01WT

This mix of Indian 78rpm records isn't the result of curating a vast collection of discs, rather of recording the ones I liked and picked up over the years, often coming across them serendipitously and in the real world. So expect, like in the typical Bollywood movie, a lot of variety; there are classical dancers who bring their own orchestra, like the world famous Ram Gopal, there's the cherished onscreen dancer Sadhona Bose with two dance scenes from the film Rajnartaki, there is comedic interlude like N. Dutta's song from Black Cat (serving here as the perfect curtain closer) and an enchanting love song from that same movie. There's mystery, like in the opening instrumental Oriental Dance by S.J. Mani Bardhan's Orchestra, there's western dance hall styles like in S.D. Burman's filmtunes (here credited as S.D. Varman), there are devotional bits (Hindi Stooti) and spectacular displays of Indian percussion in Sri Gopinath Party's Kathakali Keli Kottu. In the Telugu classical song by M.S. Subbulakshmi you can imagine George Harrison sitting there taking notes for Revolver.  All in all a Variety Show you can lean back for in your chair to enjoy sweet moments of a bygone era.
It was carefully recorded on a Lenco L76, using the high-filter of the 1960s Armstrong 521 amp to suppress some of the hiss without losing the format's vibrancy.

00:00 - sj. mani bardhan - oriental dance with orchestra #1
02:48 - snehal bhatkar - film song chhabili
05:45 - m.s. subbulakshmi - enneganu rama bhajana part 2 - telugu classical
08:56 - sadhona bose's dance part 1 - film hit rajnartaki
11:59 - n.c. vasanthakokilam - ananda natanam part 2 - tamil classical
14:44 - s.d. varman - ae meri zindagi - urdu film - taxi driver
18:02 - ram gopal's orchestra - dance allaripu
20:50 - n. dutta - film song black cat 2
24:05 - sri gopinath's party - kathakali keli kottu
26:25 - sj. mani bardhan - oriental dance with orchestra 2
29:39 - sadhona bose's dance part 2 - film hit rajnartaki
32:46 - s.d. varman - dekho mane nahin - urdu film - taxi driver
35:49 - baksh, roy, gupto - hindi stooti part 2
38:47 - n. dutta - film song black cat 1


Indian Record Center

MIMINOIMI podcast #30
- Ethnic / Folk Music Mix -
by hofli / Takashi Tsuda   

This selection features some of my favorite pieces from the ethnic and folk music I enjoy listening to regularly. With the exception of one track, I deliberately avoided recordings by well-known performers, focusing instead on field recordings and street music. The tracks were arranged improvisationally, guided by a kind of geological imagination. Interestingly, the result leans heavily toward music featuring flutes and voices — an unexpected outcome. I'm fascinated by how music from distant regions and diverse cultures can reveal surprising similarities. To encourage listening beyond regional or ethnic boundaries, I've chosen not to include a detailed tracklist.

普段好んで聴いている民族／民俗音楽の中からフェイヴァリットなものをピックアップ。著名な奏者の録音は（1曲除いて）避け、いわゆる現地録音もの、ストリート・ミュージックを意識して、地質学的想像力の赴くまま即興的に配置した。結果的に笛や声の音楽が多くなったのは不思議だ。遠く離れた地域の異なる民族の音楽が思いがけない類似性を見せることに興味がある。地域性や民族に捉われずに聴いてもらいたいため、詳細なトラックリストは省略してある。

- Tracklits -
-VIETNAM musiques des montagnards
-ILES SALOMON musiques intimes et rituelles 'are'are
-SACRED FLUTE MUSIC FROM NEW GUINEA 
-MADAGASCAR pays bara
-T.R.MAHALINGAM / PORTRAIT OF A PRODIGY
-POLYPHONIES VOCALES DESERVE ABORIGENES DE TAIWAN
-SOOTHING SONGS FOR BABIES
-MADAGASCAR accordions et esprits ancestraux

-Selector-
hofli / Takashi Tsuda
@https://soundcloud.com/tsuda-takashi
https://www.instagram.com/hofli_takashitsuda/

Bio:
Born in 1971, hofli / Takashi Tsuda is a sound artist who continues to perform and write along the “shoreline between listening and playing.” Since the 1990s, he has developed a wide range of musical activities based on field recordings and improvisation, both as a solo artist and in various groups such as Yuon, Radiosonde, Still Life, and Hoshigata no Niwa.

His practice spans improvised performance sessions, sound installations, and the ongoing workshop series Mimi wo Sumasu (“Attuning the Ear”). He also co-hosts the listening event series Shōrai Yawa (“Nocturnal Sound Dialogues”) with Keiichi Fukushima.

Major CD releases include Shitsudokei ,Mizu no Kioku , Zōkirin to Ryūseigun, Jūnikagetsu no Fragile, and Komorebi no Shōsoku. He is the editor and author of two books published by Company Inc.: Kaze no Hito, Kodachi no Hito (People of the Wind, People of the Grove) and From the Field Recording Sites.

In 2024, he released RECOMPOSTELLA, his first solo album in eight years. A co-authored book with Keiichi Fukushima titled Sound, Environment, Improvisation: The Auditory Adventures of Shōrai Yawa will be published soon.

1971年「耳の日」生まれ。サウンドアーティスト。「聴くことと奏でることの汀」で演奏および執筆活動を続けている。
90年代より、ソロ名義hofliのほか、游音、ラジオゾンデ、スティルライフ、星形の庭など、様々なユニットでフィールドレコーディングや即興性に基づいた音楽活動を展開してきた。即興演奏のセッション、サウンド・インスタレーション制作、ワークショップ「みみをすます」シリーズを継続するほか、福島恵一とともにリスニングイベント「松籟夜話」ナビゲーターを務める。
主なCD作品は『湿度計』『水の記憶』『雑木林と流星群』『十二ヶ月のフラジャイル』『木漏れ日の消息』など。編著書『風の人、木立の人』『フィールドレコーディングの現場から』（ともにカンパニー社刊）。
2024年、8年ぶりとなるソロアルバム『RECOMPOSTELLA』をリリース。『音響・環境・即興　〜松籟夜話 〈耳〉の冒険』(福島恵一との共著）刊行予定。

- Artwork -
www.instagram.com/loid0001/

#30 -Ethnic / Folk Music Mix - by hofli / TakashiTsuda

THE ROOTS OF CONGO MUSIC
with special guest John Storm Roberts

Arsenio Rodríguez "Para bailar el montuno" Viva Arsenio

John Storm Roberts: AFRO-CUBAN COMES HOME: THE BIRTH & GROWTH OF CONGO MUSIC

Papa Wemba "Annah" Siku ya Mungu

please donate via paypal to snaporaz@ymail.com
to keep these podcasts going

cover art: Tam Tam, Congo 1930, postcard from the collection of Alan Brain
courtesy Rumba Kings Archive



roots of congo music

Composed in collaboration with Gilles Aubry for Documenta 14's radio series. Premiered in April 2017, on various radio stations around the world (http://www.documenta14.de/en/public-radio/). Based on historical accounts by recording pioneers such as Theobald Noble and Fred Gaisberg—who made the earliest sound recordings in India and other parts of the world c. 1902—The Gramophone Effect is a sound essay on recording and listening. Coined by Jacques Derrida and described as the tension between the desire for memory and the impossibility of preserving living voices, “the gramophone effect” refers here both to the estranging presence of recorded voices and the potential of the unheard. Further analysis of the piece, Radio Artist as Ethnographer" can be read here: http://soundimplant.com/gilles_divers/Thesis_Anna_Vermeulen_2020(new).pdf

Participants: Gitanjali Dang, Usha Deshpande, Renee Lulam, Farah Mulla, Travelling Archive (Moushumi Bhowmik and Sukanta Majumdar)

Gramophone Effect

...sound artist, producer, guitarist, composer, Climax Golden Twins, Victrola Favorites, Indian Talking Machine, Sublime Frequencies, Idol KoSi, AFCGT, 78rpm records, Fulbright researcher, Men and Music on the Desert Road, The Lonesome High…

I have a golden childhood memory of an attic in a very old house, owned by an aunt, where my family spent summers. Crawling through the dark, creaking, front part of the attic I found another room, bathed in sunlight, with a pile of forgotten books. On top of this pile, as if the books were a throne, sat an old windup gramophone. This memory has informed a lot of my work: the sense of exploration, mystery, the secrets old books and 78rpm records seem to hold in their designs, the scars of their age, their receding sounds and stories.

“Some people can sum up their lives on a business card; Robert Millis needs a whole deck, full sized, both faces of each playing card, and you’re still liable to miss something while he shuffles. Filmmaker, photographer, guerrilla ethnographer, collector and sharer of 78 RPM records, weaver of multi-layered ambiences, improviser, annotator, jokester, traveler…” Bill Meyer, Dusted

Gramophone Effect

DeMillis

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