V/A : Festival National de la Jeunesse Nigerienne, Vol. 2 (198x - Agence de Coopération Culturelle et Technique)

V/A : Festival National de la Jeunesse Nigerienne, Vol. 2 (198x - Agence de Coopération Culturelle et Technique)

Flac + 320 mp3

Re-Ups 4: All Hallows Edition

Can't Stop, Won't Stop, with these endless ADrive re-ups. On the other hand, full of rigor mortis just like a tortoise, might be the better reference in terms of recent pacing around here, but I digress. The All Hallows season is upon us, and nows the perfect time for Nate Ashley's incredible Written in Blood horror music series, so I'd be doing us all a disservice not to mention that Nate's uploading newly upgraded 320 versions of his monstrous collection over at his brand new blog. Hold it now, hit it! 

V/A- Written in Blood *320 upgrades added all week @ Nate Ashley’s new blog

The Orlons- Not Me (1963)

 

Lao Damnoen Sai ลาวดำเนินทราย (Anonymous Thai Ensemble, Year Unknown)

THE PEACE!!- Black Power

Munir Bachir - Luth Solo "Oud" Recital A Geneve(Club du Disque Arabe 72505)

Baligh Hamdi- Le Monde Musical de Baligh Hamdi بليغحمدي

 

David Welsh- Blue Lightning Accent (1980)

Jimi Paulix (David Welsh)-Live at the House Compound (2010)

 The Residents- Diskomo / Goosebump [with Snakefinger] (1979)

Özel- Dance Into Your Sultan's Heart (El-Ay, 197?)

Dando Shaft- S/T (1971)

J.A. Caesar- Den'en Ni Shisu, Junreika & Jasumon

Warda- Esmaouni (1974)

Maria Dolores Pradera- Exitos de Maria Dolores Pradera

(V/A) Ibi Na Bo: 60 Africa 70 (Domino Sound 023 *Cassette)

Iyer-Subramanium-Iyer (Oriental Records 2xLP *1983, BGRP1027. 1028)

Aidan Coughlan- Observe The Sky/ Rhiannon

V/A- Persian Underground: Garage Rock, Beat and PsychedelicSounds from The Iranian 60's & 70's Scene (Persianna, 2010)

Omar Khorshid- Rhythms from the Orient

The F*****n' Flyin' A-Heads: Swiss Cheese Back/ Watching T.V.(1980)

V/A- Yellow Pills: Prefill (Numero 004)

Waza: Blue Nile- Sudan (Wergo)

Wire- 1976 Demo

Özkartal, Hüsnü Orkestrasi- Çağdaş Oyun Havaları

David Hykes - The Harmonic Choir : Hearing Solar Winds (1983 - Ocora 558 607)

'The Harmonic Choir was formed by David Hykes in 1975. An accomplished experimental filmmaker witha deep interest in traditional and sacred music, Hykes had already acquired broad familiarity with the music of West and Central Asia when he first heard the Hoomi singing (literally "throat singing") indigenous to western Mongolia, and the overtone chanting of Tantric Tibetan Buddhism. 

In the Hoomi tradition, singers produce fundamental tone in the bass or baritone range, and then by extremely precise modulation of the of the abdominal muscles, chest, and vocal apparatus - larynx, tongue, jaws, cheeks, and lips - project simultaneously a higher tone or tones, related in frequency to the fundamental tone by whole number ratios. These higher frequencies are called "overtones" or "harmonics". In producing harmonics, the voice acts like a kind of sonic prism, "refracting" sound along a frequency spectrum which extends upward from the fundamental tone.

...For David Hykes, the significance of the harmonic series as both a source and an aesthetic standard for musical composition lies in its organic lawfulness and proportion. His work begins at the point where a singer can articulate at will various harmonics in the series. From there, it moves towards a living research into the unexplored realms of sound made accessible by harmonic singing, where acoustical order can become truly iconic to what is at once a more universal world of number.

In many cultures, it has traditionally been the role of music to express a sense of the order of the universe - an order which man can aspire to understand and to look for in himself. As a "traditional" music of present-day culture, perhaps the singing of the Harmonic Choir can fulfill the same pupose.' (Theodore Levin, album notes)

'This recording was made in l'Abbaye du thoronet, a 12th-century Cistercian monastary in Provence, where I had previously brought the Choir in 1978. The simple harmonic geometry of the Abbey seemed perfectly proportioned to magnify the Choir's music and let it resonate within its sacred space. Working there was an incredible challenge: our sensations, our breathing, and even our thoughts and emotions became intensely amplified. We recorded most of the nights of August 6 and 7, and i wish to express my deepest thanks to Pierre Toureille and Michel Lepage and his crew for their sensitivity and earnestness in seeking with us the ideal results.' (David Hykes, album notes)

 Hermetic harmonics in choral a cappella. Recommended material for an hypnotic late night zone-out, drone-out. The new age is upon us. 2012, Quetzalcoatl, Oneohtrix Point Never, and so on. 

The Harmonic Choir have been a recent discovery for me. Turns out Hykes had scored Baraka and Meetings With Remarkable Men, both of which I'd enjoyed years ago, but had never looked too deeply into their soundtracks. It looks like Rootblog, among others, have upped some other prime offerings from Hykes & The Harmonic Choir. Now here I am, casting a fresh rip of this LP out into these interweb's Solar Winds. And while it had long been out of print, it has since come to my attention that a remastered version of Solar Winds is now available for purchase from the likes of CDBaby. And so, in the interest of promotion & courtesy (and of keeping this blog), the links below will be available here at GC for only the next two weeks. Enjoy.

David Hykes - The Harmonic Choir : Hearing Solar Winds (1983 - Ocora 558 607) 

*Links removed (see write-up, above)

Side 1

Part I : Rainbow Voice

Part II : Multiplying Voices at the Heart of the Body of Sound

Part III : Arc Descents - The Fall

Part IV : Gravity Waves

Side 2

Part IV : Gravity Waves (continued)

Part V : Lens by Lens

Part VI : Telescoping & The Flight of The Sun

Part VII : Two Poles; Ascent

Part VIII : Ascending and Descending

Super Djata de Bamako -- Vol. 2 (1983 -- Musique Mondial, MAD 004) *Flac

"Zani Diabaté, prominent guitar player in the Super Djata Band, one of the most popular bands from Bamako during the 1980s, joined the Ballet National in 1963, where he sang, danced and played guitar, kora, balafon and percussion. In his spare time, he would play in Harmonica Jazz, where he played harmonica, and later he formed the Ganoua Band with Daouda Sangaré on kamalen n'goni and on vocals, and with Maré Sanogo on djembé. In the early 1970s, the Ganoua Band was appointed the third National Orchestra of Mali (Formation C). When they were left without work, Zani and his fellow band members decided to switch to a private band which they named (Super) Djata Band. It was in 1974 that they started recording for Radio Mali.

The sound of Super Djata, based on the, compared to the mellow malinke sound of for instance the Rail Band, hard hitting Bambara rhythms and melodies, is highly coloured by the outstanding guitar playing by Zani Diabaté." (Musiques-Afrique)

Super Djata de Bamako -- Vol. 2 (1983 -- Musique Mondial, MAD 004) *Flac

Friends, you can still grab the (better sounding?) mp3 version of Super Djata's Vol. 2 at the invaluable World Service music blog. And, be sure to show some love over at WS, too...Not only for showing extraordinary taste and generosity in having shared our interweb's first best rip of Vol. 2 (and more!), but also for WRLDSERV's  own heartfelt personal insights and recollections about the life & career of Zani Diabaté & co.

Huge thanks to  DJ Cuica for lending out this platter that matters.  Djata truly brought this afternoon to life back here at the homestead. Heavenly sounds. 

Baden Powell- Baden : O Som de Baden Powell *1968 (Elenco, ME-48)

Baden. This handsomely designed Brazilian pressing, originally released by Elenco in 1968, serves up a distinctive handful of subtly produced bossa and samba outtakes that were recorded at Powell’s 1966 Tristeza on Guitar sessions. Lovely stuff. When compared, the overall vibe on Baden is clearly the more reflective of the two.

Baden Powell- Baden : O Som de Baden Powell(Elenco, ME-48)

Recorded 1966, released 1968

flac + mp3

1 Canto de Ossanha * (Baden Powell - Vinicius de Moraes) 6´53
2 Tristeza (Haroldo Lobo - Niltinho) 3´10
3 Manhã de carnaval (Antônio Maria - Luiz Bonfá) 3´00
4 Round about midnight * (Hanighen - T.Monk - C.Williams) 5´18
5 Invenção em 7 ½ * (Baden Powell) 5´00
6 Canto de Xangô (Baden Powell - Vinicius de Moraes) 4´32
7 Percussão e batuque ** (Baden Powell) 3´07
8 Lamento ** (Vinicius de Moraes - Pixinguinha) 3´27
9 Saravá (Baden Powell - Vinicius de Moraes) 3´25
10 Das rosas* (Dorival Caymmi) 5´26

(V/A) Let's Get Loose : Folk And Popular Blues Styles From The Beginnings To The Early 1940s (New World, 1978)

"[In the early 20th] century, professional traveling entertainers in the South, many of them women, began to incorporate blues into their stage acts. In 1912 the first blues sheet music appeared, and very shortly the blues moved into the mainstream of white popular music as well as southern white folk music. In 1920 the first blues record by a black vocalist appeared, initiating a flood of thousands of commercial recordings that continues today. These popularizing trends took place in a historical context of increasing migration of rural southern blacks to the northern urban centers. Blues have continued to flourish in the ghettos, mainly among people with strong and recent ties to the South. Hastened by the hit and star system of the record industry, a series of new performance styles grew up, containing elements that reminded the listener of the South but also reflecting the increasing sophistication and complexity of city life. Styles emanating from the cities had an influence on southern rural blues singers through records and through the recording artists' personal appearances, while at the same time the urban blues scene was nourished by a steady stream of new performers arriving from "down home." The blues on this album, all from commercial recordings, illustrate the major styles in which blues were performed from the turn of the century to the outbreak of World War Il. Side One contains styles already in existence at the advent of recording, including examples of early white folkand popular-blues styles. Side Two presents styles that developed or came into prominence largely after or as a result of commercial recording." (album notes excerpt)




Just scored a heap of these 70's New World Records LP comps from Mississippi Records, on the cheap. This one's sporting some prime cuts, and there's plenty more like this that are on the way. 

(V/A) Let's Get Loose : Folk And Popular Blues Styles From The Beginnings To The Early 1940s (New World, 1978) *320 mp3

+ Liner notes *PDF

A1      Yank Rachell, Sonny Boy Williamson, Washboard Sam & Alfred Elkins - PeacH Tree Blues
A2 Pillie Bolling – Brownskin Woman
A3 The Johnson Boys – Violin Blues
A4 Monarch Jazz Quartet Of Norfolk – What's The Matter Now
A5 Buck Mountain Band – Yodeling Blues
A6 Hattie Hudson – Doggone My Good Luck Soul
A7 Clara Smith – Let's Get Loose
A8 George O'Connor – Nigger Blues
B1 Tyus And Tyus – Dad's Ole Mule
B2 Rufus & Ben Quillian – Keep It Clean
B3 Scrapper Blackwell - & Leroy Carr  Blue Night Blues
B4 Walter Roland – House Lady Blues
B5 Harlem Hamfats – I'm Cuttin' Out
B6 Tommy McClennan – Deep Blue Sea Blues
B7       Big Bill Broonzy, Sonny Boy Williamson, Alfred Elkins & Blind John Davis - Love Me, Baby
B8 The Five Breezes  – My Buddy Blues