Folk Music from Western India: Part 7

Various Artists – Thar The Great Indian Desert

The people who inhabit the vastness of The Thar Desert of Rajasthan are rich in cultural diversity and unique in the respective music styles they perform in. Numerous communities some of whom are the Bheel, Dholi, Langa, Bhopa, Meerasi and Meghwal etc espouse musical abilities belonging to multiple genres and including various instruments like Algoza, Suranda, Been, Satara, Rawanhatta, Chang, Bansuri, Ghunghroo, Dholak, Khartal, and Manjeera etc. These communities are vital to the cultural image of the region as each is a distinct hue and thereby a defining polarity of its richness. The semi-classical instrumental renditions are therefore enthralling by way of the depth of art that is brought forth and the passion with which one generation after another is eager to train in and take the tradition further. 

Various Artists – Tribal Rhapsodies

This album ‘Tribal Rhapsodies’ attempts to capture the essence of some indigenous tribes of Rajasthan the cultural complexity of whom is on the verge of extinction as an interconnected world cannot incorporate quaint realms without transforming them and at times unrecognizably so. The tribes such as the Meenas, Saharias, and Bheels bring to their music a particular understanding of how their lives and their forefather’s existence was fashioned by the ecology they have inhabited over centuries. This compilation of tribal music showcases their celebration of love, peace, marriage, childbirth, and death. The tribal instruments featured on the album: Mashak, Nagadi, Jhanjhar, Madal, Dholaki, Chimta, Chhota Dhol, Rawanhatta etc. are symbolic of a rustic yet evolved understanding of sound and rhythm.

Various Artists – Udja ri Kurjan

Folk songs acquire their beauty from addressing things, events and relationships typical to the context they emerge from and in weaving them into the thematic. From region to region there is never a moment lacking in surprise as one discovers such a varying set of things that are sung of that it is impossible to predict what the next context might bring to the fore. A migratory bird phenomenon is one of such themes and is seen expressed in a plethora of folk songs across Rajasthan. Kurjan is demoiselle cranes who annually visit specific locations in the state and their extensive journey, arrival and departure have long inspired songs of love, longing, and separation. Women address the bird and tell her to take their messages to their husbands in far away lands. At times she complains that even though the bird flies away every year it keeps the promise of coming back the following year but such is not the case with her lover who hasn’t made a visit in a long time.  Romance, hope and impending joy are palpable in all renditions. 

Various Artists – Unheard Punjab

This album presents authentic music from across Punjab that is unheard of and unknown to the wider audience. Some rare songs belong to traditions that are on the verge of extinction and others belong to new evolving genres and styles that may go on to be popular in the future. ‘Unheard Punjab’ features some of the most accomplished artists of Punjab such as Raza Khan, Sharif Idu, Gurmej Raja, Saida Begum, Shaadi Ram, Hardev Singh and many more. Each artist featured in this album has his or her own individualistic style belonging to genre such as Sufi and Sikh Dhadhi, Sufi Kalam, Qawwali, Kafi, Jangam, Kavishri and Folk song. The dialects used in the songs are Malwi, Majhi, Doaba, Pwadhi and Hindi spoken in various parts of the region. Paradigms of legendry love stories, Sufi Kalams, devotional songs, narrative and celebratory songs form the repertory of this album.

Another Truly Great Collection of Indian Folk Music

Readers of this blog will have noted over the years the frequent references to a Jaipur based record label by the name of DeKulture. And that for a short time I had a semi-commercial tie up with the company. Sadly, nothing much came of this collusion though I have no doubt at all that it is me feeling the more sad. DeKulture was probably glad to see the back of me.

You have also been unable to escape my regular ravings about a massive collection of Pakistani music issued in 2006 by Shalimar Recording Company of Islamabad known as Music Pakistan. I had no business links with the company but am lucky to be a friend of the former Managing Director of SRC, who was the one who gifted me the collection.

Both of these collections are worth their weight in gold and must be sought out by anyone who has even a casual interest in South Asian music. In terms of musical styles the DeKuture collection is focused exclusively on the capturing some of the many folk musics of Western India especially those found in the states of Gujarat, Rajasthan and Punjab. And the packaging of the DeKulture CDs is simply the best I’ve ever come across. Most come lovingly wrapped in an individual box wrapped in colourful cloth. In many, a thin booklet that documents some details about the performers and the style of music or the instruments being played is included. Each CD is not only full of authentic, passionately performed folk music but doubles as a gorgeous birthday or holiday gift for someone who still loves collecting physical media. I encourage you to go their website and buy as many as you.

In the spirit of this blog which is all about spreading the ‘love’ of music from South Asia and the diaspora, I am going to share this collection with you over the next several posts. It truly is something worth collecting and dipping into frequently. Who knows how long such music will be available? Or peformed?

Amreek Singh Zakhmi – Gurbani

The term Gurbani is derived from the two words ‘Guru’, meaning ‘Teacher’, and ‘Bani’, meaning ‘Message’. It refers to the writings and passages of Sikh holy scriptures which have been written and compiled by the ten Great Gurus of Sikhism. This genre of music has developed and evolved for more than five hundred years. Since the very beginning of the Sikh tradition, music has been an integral part of devotional practices, to the extent that each Gurbani has a prescribed Raag to which it must be sung. The Great Sikh Gurus were also musicians and each promoted a variety of styles, instruments, and techniques within the Gurmat Sangeet (Sikh musical tradition). Performed by Amreek Singh Zakhmi and group, this album is a sampling of this musical heritage. The Harmonium and Tabla are used as accompaniments for the soulful renditions.

Balvinder Mast – B Mast

The Hindi term ‘Mast’ translates to `cool` or `fun` and it is this essence that is truly embodied in the artist, Balvinder Mast. A singer/musician from Manjitha, Amritsar, he has been making heads turn, not just in Punjab (India), but also the worldwide. Proficient at playing both the Harmonium and the Tumbi, his open throated vocals add a rustic feel to his performances. He performs mainly in Majha and Doaba, (Punjabi dialects) and his repertoire ranges from traditional Punjabi folk songs at festivals to spiritual Sufi works when at Pir’s dargah (saints shrine). The ambiance of this album, ‘B. Mast’, is one of celebration and contains a number of excerpts from some of the most widely known legendary Punjabi love stories.

Dr. Gurnam Singh – Shabad

Shabads, or Holy texts, are sacred to the Sikh tradition. Written and compiled by the Great Sikh Gurus, the true meaning and impact of the Shabads are lost without the accompanying devotional music (Kirtan) to which they must be sung. The tradition of singing the Shabads with the Kirtan is referred to as the Gurmat Sangeet and it is this musical form which forms the base of most Sikh prayers. Dr. Gurnam Singh, an expert in the Gurmat Sangeet tradition has been working towards the revival of this genre through both, his performances and the innumerable initiatives he has begun. In this album ‘Shabad’, Dr. Gurnam Singh and his learned group of performers present a detailed and authentic rendition of the Gurmat Sangeet tradition.

Various Artists – Lounge in Punjab

The term ‘Lounge’ is not usually associated with Punjabi music, the general perception being that Punjabi music is loud, rhythmic and energetic. Indeed a majority of Punjabi genres such as Bhangra, Malwai Giddha, and others are based on loud drumming accompanied by an innumerable number of instruments; however, a number of other lesser known genres have a far gentler feel. Using fewer instruments the objective of these genres is to invoke emotion, create ambiance or aid a spiritual connection. This album presents lounge music of a completely different kind, ethnic in its origin, featuring instruments such as the dilruba, vanjali, taus and even the tumbi and harmonium.

Unheard: Punjab

One of the best collection of north Indian (mainly Punjabi, Rajasthani and Gujarati) music to have been released in recent years is from the Jaipur-based company Dekulture.

The series of 20+ CDs are beautifully recorded and for the most part field recordings that capture the very much living (but under threat) folk music culture of north western India.  The CDs themselves are gorgeous ornaments in their own right. Beautiful photographs, sparse but informative text and in many cases cloth covers that must make these some of the unusual CDs ever marketed.

All of this should have made them massive hits for collectors of world folk music but alas it seems Dekulture has stopped producing them and very few have ever been sold.  Or at least much fewer than is deserved.

Today we share a collection of Punjabi folk music called UNHEARD PUNJAB.

This album presents authentic music from across Punjab that is unheard of and unknown to the wider audience. Some rare songs belong to traditions that are on the verge of extinction and others belong to new evolving genres and styles that may go on to be popular in the future.

‘Unheard Punjab’ features some of the most accomplished artists of Punjab such as Raza Khan, Sharif Idu, Gurmej Raja, Saida Begum, Shaadi Ram, Hardev Singh and more. Each artist featrued in this album have their own individualistic style belonging to genres such as Sufi and Sikh dhadi, Sufi kalam, qawwali, kafi, jangam, kavishiri and folk musiic. The dialects used in the songs are Malwi, Majhi, Doaba, Pwadhi and Hindi spoken in various parts of the region. Legendary love stories, Sufi kalam, devotional, narration and celebration songs also forms a repertory of this album. (Liner Notes)

There is some truly amazing music here. My favorite is track 6 Lakh Lakh Vadai by Gurumukh.  After some singing comes a truly stunning half-shouted conversation between two men which is full of the same passions you hear in the preaching of African American preachers in the deep south of the United States! A genuinely fascinating interlude! Love it!

Enjoy!

Track Listing:

01 Mirza – A Love Story /Sharif Idu

02 Ajnajami/Gurmej Raja

03 Gam Hai Ya Khushi/Raza Khan

04 Ja Ve Ja Jutheyan/Saida Begum

05 Vaar/Dhadhi Jathan

06 Lakh Lakh Vadai/Gurmukh

07 Shiv Parivar Ki Aradhna/Rajendra

08 Puran Bhagat Ki Kahani/Shaadi Ram

09 Na Khandya Noo Jarde/Hardev Singh

19042020UnPunj

 

Tribes Lost and Found: Shye Ben Tzur, Johnny Greenwood and the Rajasthan Express

Johnny Greenwood and Shye Ben Tzur

India and Israel have a long tangled history. In modern days there has been conflict with India taking a tough pro-Palestinian position. While it took a while for Independent India to reconize the state of Israel in 1950 official relations were cool if not suspicious until the early 1990s.

Today, in this age of xenophobic nationalism and strident anti-Muslim feeling, India and Israel are enjoying a ‘warm bilateral relations’ that sadly (IMHO) included lots of arms trading and general sharing of information on how to oppose the Muslim peoples in their countries and regions.

But go back several centuries and you’ll find that India has been a friendly land of exile and refuge for Jews fleeing upheavals in the Middle East since at least the 1st Century CE. A substantial Jewish community established itself in and around the coastal city of Cochin in the southern state of Kerala in the early years of the last millennium and until recently was a vital part of local society. Most Cochin Jews have emigrated or died off and today the Jewish population is estimated to be around 5000, most of whom live in Mumbai.

In the northeast a small group of people claim to be one of the lost tribes of Israel, the Bnei Menashe, and practice Judaism but no one gives their claim credibility. Still, Jewish Indian friendship is as ancient as the hills (there is some historical evidence that Jews and Hindus were trading with each other several centuries before Christ) and Jews have distinguished themselves in all sorts of industries and fields in modern India.

Shye Ben Tzur is an Israeli musician who fell in love with Indian music after seeing Zakir Hussain and Hariprasad Chaurasia in concert in Jerusalem. Over the past decade or more he’s issued a number of records of interpretative Indian music including the rather ambitious labor of love Junun, the subject of this post.

Teaming up with Radiohead’s Johnny Greenwood and a group of traditional Rajasthani musicians dubbed The Rajasthan Express, Ben Tzur serves up a solid tasty thali of qawwali (sung in both Urdu and Hebrew!) and brass band stomps that will get your heart throbbing and (at times) toes tapping.

All in all this is a delightful double disc that fits very nicely into any collection of Indian folk music.

Track Listing (Pt. 1)

1-01 Junun

1-02 Roked

1-03 Hu

1-04 Chala Vahi Des

1-05 Qalandar

1-06 Eloah

Part1

2-01 Julus

2-02 Allah Elohim

2-03 Ahuvi

2-04 Azov

2-05 Junun Brass

2-06 There are Birds in the Echo Chamber

2-07 Modeh

Part2

Field Recordings: Sufi Songs from Sindh and Punjab

I see its been quite a while since the last post. Indeed, my posts have become as infrequent as Halleys Comet over the past many months, not due to any slackening of interest or desire in music but rather through a necessary focus on a whole bag of other projects and issues. But in the past few weeks I’ve come into possession of some excellent South Asian music which I’m looking forward to sharing.

First off the rank is a small collection of field recordings from Sindh and Pakistani Punjab. Billed as ‘Sufi music’ this majmua’h is more accurately a sampler of folk music from those ancient fabled lands. The performers are all relatively unknown beyond the districts in which they live or wander and their performances are completely natural, raw and uninhibited. As the singer Fatah Daudpoto says in his introduction to Aa Mil Yaara (Track 4) ‘I’m a folk singer and folk music is direct. Not mechanical or digital.’ Which is similar to the adamant statement (and album title) of the old blues guitarist Mississippi Fred McDowell ‘I do not play no rock n roll’.

These recordings are made on site, live and several of the tracks include ambient sounds and whisperings from those in the crowd.  In many instances, especially tracks like #9 and #6, I am reminded of the soundtrack to the wonderful film Latcho Drom, about gypsies and their music. These songs have that same electric ‘chaos barely under control’ feeling.  My only complaint is that most of the tracks are too short which clearly is a decision made by the producers of the album and not the artists themselves who were barely allowed to pick up a head of steam.

Still, a wonderful little collection to add to your collection of South Asian/ Pakistani/ Punjabi/Sindhi folk music.

Track Listing

1 Intro – Damadam Mast Qalandar [Ustad Aacher and Party]

2 Jo Tera Gham Na Ho [Kalyam Sharif Qawwali Troupe]

3 Aahe Arman Ajeebon [Meeh Wasaiyo]

4 Aa Mil Yaara [Fatah Daudpoto]

5 Sur Rano [Latif Sarkar]

6 Sehra [Basheer Haidari and Nazira Bano]

7 Aarfana Kalaam [Shazia Tarannum]

8 Mahi Yaar Di Gharoli Bhardi – Raag Jog [Babu]

9  Shah Jo Raag [Sain Juman Shah and Fakirs]

10 Ayman Kalyan Raag [Ghulam Arshad]

11 Kalaam of Bulle Shah [Unknown]

SUFI