Thursday, 30 June 2011

Hatem Askari Farahani - Radif Avazi Be Revayet-e Hatem Askari Farahani - Set of 4 cassettes - Iran

Hatem Askari Farahani  (Vocal)
Dr. Dariush Safvat (Setar)
Vocal Radif

"Two important lineages of vocal radif-ha exist.  The most influential and widely disseminated is that of Abdollah Davami (1891-1980), particularly as it was transmitted through his pupil Mahmud Karimi (1927-1984).  This radif is characterized by its cogency and (particularly Karimi’s) self-similarity: its dense transposition and recycling of  motives, tahrirs, and entire phrases.  The second line of vocal radif transmission is relatively little known.  The repertoire preserved by Hatam Askari Farahani (b. 1933) extends back through his teacher Seyyed Zia Rasa’i (a.k.a. Zakeri) to Seyyed Abdol Rahim, an influential and somewhat legendary master active at the turn of the 20th century.  Askari deliberately restricted his transmission of this very large repertoire to preserve its integrity from the abuses that can be associated with published radif-ha.  Askari finally recorded this radif but it remains unpublished as yet.  It is characterized by its large size due to the greater number of gusheh-ha, their lengthier duration, and the inclusion of rhythmic types that are normally only associated with instrumental radif-ha.  Askari’s nephew Farhad Farhani believed that the transmission of this radif included anecdotes describing the circumstances regarding the creation of particular melodies—a quasi-epic account of Persian music history (personal communication, 1998)."
From "Persian Vocal Music: Avaz" by Rob Simms

A short version consisting of parts of this vocal Radif was eventually published in Iran on 4 cassettes. This is the one we post here. There exist also complete recordings of Dastgah-e Mahoor on 6 cassettes or CDs and Dastgah-e Nava also on 6 cassettes or CDs. These were only distributed privately amongst students of Hatem Askari and are extremely difficult to get.

Volume 1:

Side 1:
Mahur (27:58)

Side 2:
Bayat-e Tork & Afshari (30:24)

Volume 2:

Side 1:
Shur (27:55)

Side 2:
Shur continued, Abu 'Ata, Dashti (29:22)

Volume 3:

Side 1:
Chahargah (29:46)

Side 2:
Nava (28:15)

Volume 4:

Side 1:
Homayun (28:24)

Side 2:
Bayat-e Esfahan, Segah (29:24)

Wednesday, 29 June 2011

Fattohxon Mamadaliev - Eslagil - Cassette from Uzbekistan - Tarona Records 2001

Great Master of the Maqom of the Ferghana Valley

Thanks to Zwan, the original uploader.
More Central Asian material can be found at Zhuzhu's blog.

Tuesday, 28 June 2011

Hayri Tümer - Flute en Turquie - Mystique Ney - Arabesques 9 - LP SONOPRESSE 2 S 062 53.232 (1979)

Hayri Tümer - Flute en Turquie - Mystique Ney -
Soufi - Recital à Istanbul - Arabesques 9 -
Anthologie phonographique du recital oriental
LP SONOPRESSE 2 S 062 53.232 (1979)

Side 1:
Introduction en Makam Hicaz (6:10)
Modulation par le Makam Rast (7:00)
Modulation en Makam Ferahfeza (3:00)

Side 2:
Modulation en Makam Segah (7:35)
Modulation en Makam Nikriz (4:00)
Conclusion en Makam Hicaz (4:15)

Monday, 27 June 2011

Sunday, 26 June 2011

Zaman Shawqi - Asseer Zulf - Afghan cassette, made in India

Side 1 (31:39)
Side 2 (31:44)

Ustad Mohammad Zaman Shawqi
(1.1.1925 - 15.8.1992)
Afghan-Tajik folk singer from Kabul

Saturday, 25 June 2011

Ustad Munawar Ali Khan - Punjabi songs: Pahadi & Kafi - LP ECSD 2584 (1979) - The Gramophone Company of India

Side 1: Pahadi
1. Bamna Daya Chorooa (6:59)
2. Lajoo Lajoo (7:31)
3. Raji Rehna Mari Bah Mani (7:23)

Side 2: Kafi
1. Sawan Boondaniyan Jhar Lawey (8:49)
2. Wey Miyan Toon Ranjhey (11:02)

Sarangi: Mohammed Sagiruddin Khan
Tabla: Wajid Hussain
Harmonium: Asad Ali

Tuesday, 21 June 2011

Ahmed Şahin (Ney & Vocal) - Hoş Sada - Örnek Ezanlar (Samples of Adhan) - Cassette from Turkey

Turkish cassette which gives samples of Adhan
(call to prayer) in different Maqams, preceded by
instrumental improvisations in the same Maqams.

M. Emin, A. Şahin & K. Korucu (Vocal)
A. Şahin (Ney), F. Karakaya (Kemençe), Ö. Özel (Tanbur)

The Call to prayer (Ezan, arabic: Adhan), which invites the Muslims into the Mosque for prayer (Salah), is since centuries a very important part of Turkish Islamic culture.
The call to prayer, which is done five times every day, was performed each time in a different Maqam.
In selecting the Maqam for the call attention is paid to the fact that certain times of the day have an effect on the human soul.
So the human being tastes at different times of the day different melodies of the call of prayer which gives nourishment to the soul.
Mehmet Ali Bakirci