Space Records (7) – SP 4
Tracks:
A Raga Charukeshi
B Raga Jog
Digitised with: Project Essential II Turntable, Ortofon Red Stylus, recorded as WAV in Audacity (slight sound reduction + click removal) and then saved as 256kbps MP3.
Friday 19 January 2018
Jamaluddin Bhartiya Circa-1983 'Jamaluddin Bhartiya'
This is another LP by Jamaluddin, recorded in the Netherlands, presumably in the 80s. This is a lovely recording, personally Raga Charukeshi is one of my favourite ragas. The LP is in good condition, so some really good results with the digitisation. Enjoy. Unfortunately none of Jamaluddin's 4 LPs have interesting cover art... despite being really nice recordings all round.
Space Records (7) – SP 4
Tracks:
A Raga Charukeshi
B Raga Jog
Space Records (7) – SP 4
Tracks:
A Raga Charukeshi
B Raga Jog
Wednesday 17 January 2018
Jamaluddin Bhartiya Circa-1980 'Raga Yaman & Dhun'
This is an LP recorded in the Netherlands, presumably in the 80s. There are only 4 LPs of his ever released. The other recordings are also really nice: the 1980 'Two Ragas' on the Opus 3 Records label and 'Jamaluddin Bhartiya' on the Space Records label. Jamaluddin was a student of Ravi Shankar. He became known to audiences in Central Europe in the 1970s, when he temporarily settled in Amsterdam where he established a school for Indian music. He passed away in 2012 at the age of 83.
Label: Chappell - 6814365
Tracks:
A1 - Raga Yaman (Vilambit Gat In Teental)
B1 - Raga Yamal ( Drut Gat And Jhala In Teental)
B2 - Dhun ( In Mishra Mand In Keherwatal)
Label: Chappell - 6814365
Tracks:
A1 - Raga Yaman (Vilambit Gat In Teental)
B1 - Raga Yamal ( Drut Gat And Jhala In Teental)
B2 - Dhun ( In Mishra Mand In Keherwatal)
Digitised with: Project Essential II Turntable, Ortofon Red Stylus, recorded as WAV in Audacity (sound reduction on surface noise + click removal) and then saved as 256kbps MP3.
Monday 15 January 2018
Shamim Ahmed Rare Circa 1975 'Sitar'
This is a vinyl that I was trying to track down for a long time. It is a rare release from India. What makes it more mysterious is that the release year is unknown. I am guessing that it would be around 1975. Unfortunately there is a lot of surface noise, but until I ever find this LP again (if ever, and providing it's in good condition!) I'll just have to make do... Shamim Ahmed was one of Ravi Shankar's senior students. I have some other records from him that I will post in the future. Some are also rare and unfortunately also crackly. These recordings were never re-released or digitised.
Label: Polydor - 2450 009
Tracks:
A - Raga Bihag (Teen Taal)
B1 - Raga Lalit (Rupak Taal)
B2 - Dhun
Label: Polydor - 2450 009
Tracks:
A - Raga Bihag (Teen Taal)
B1 - Raga Lalit (Rupak Taal)
B2 - Dhun
Digitised with: Project Essential II Turntable, Ortofon Red Stylus, recorded directly as 256kbps MP3 and edited in Audacity (sound reduction on surface noise + click removal + Normalised to -2.0db) and then saved as 256kbps variable bitrate MP3.
Thursday 11 January 2018
Indian Classical Music Welcome
Firstly I would like to send a warm welcome to any visitors of this blog and those dedicated to Indian Classical Music - in particular North Indian Hindustani Classical. I started seriously listening to this music when I found a Ravi Shankar vinyl in a local store a few years ago. Although I had heard some Indian music in the past, this was really the turning point. My love for vinyl not only increased, but I found a speciality for my collection. I started learning more about the music and found the beauty in raga, all which have different 'flavours' or 'personalities'. This music now constitutes at least 80% of what I listen to on a daily basis - and unlike any other 'phase' or style of music I have been into in the past - the fascination has not worn off and I am convinced that I will be dedicated to Indian music for the rest of my life. Wherever I am, the sweet aura emanating from the tempura, the sound of the Sarod, Sitar or Bansuri will instantly calm me, and when the first tabla beats strike I begin to fall into a peaceful bliss.
To an untrained ear I can admit Hindustani classical music must sound all the same. Indeed as westerners we seek elements from our own music in Indian music and may be underwhelmed with what we hear, apart from the exoticism of the Indian instruments and their alluring timbres. Western music is mostly built upon foundations of harmony and chord progressions - which Indian music is not. Instead we are grounded in Hindustani music by a continuing tonic - usually sustained by the Tanpura, which also creates a meditative environment. This base note does not change throughout an entire performance and is usually customised to the range of the Instrument or Vocalist. Indian music is principally melodic and every note is relative to the tonic, also fundamental for accurate intonation of the intricate microtones not commonly employed in western 12 notes fixed octaves. As a result, this tonic, or base note, is constantly repeated. When the rhythmic repetition of this base note increases into a performance, we (of western music backgrounds) can often get distracted by this and conclude the music is too monotone. We don't understand why the same note is being played again and again... However, it is imperative to concentrate on the melody and notes of the raga for the real meaning and flavour of each raga.
Unlike Western music also, I think one is required to educate oneself about the music, learning all the key terms and basic philosophy of raga music. Though it is impossible to learn everything, and a deep understanding is only possible for musicians who learn a lifetime with their gurus, a good basis knowledge of the structure and elements of Indian Classical music will greatly improve the listening experience and stimulate further interest and fascination. The theory alone is an amazing topic and hobby to discuss.
Back to the purpose of this blog, many beautiful works by the Masters were never digitised to a respectable standard, or even at all. Many great albums only exist still on Vinyl. I have made it my mission to collect as many Indian Classical vinyls as I can to preserve this wonderful music and make it available to anyone else that shares this passion. Vinyl is inherently prone to damage, meaning a lot of this music will become lost without love and preservation. I commend other similar blogs such as 'oriental-traditional-music.blogspot.com', and 'flatblackandclassical.blogspot.com'.
I try to digitise the vinyls to a high standard. Being a little bit of an audiophile myself keeps my incentive to achieve best possible results with what I have. Unfortunately not every vinyl I have is in perfect condition, and even the ones that are will sometimes have surface noise, or unchangeable faults in the actual recordings (such as distortion). I will make most files available in 320kbps or 256kbps MP3's.
Thank you so very much,
Kirrin
To an untrained ear I can admit Hindustani classical music must sound all the same. Indeed as westerners we seek elements from our own music in Indian music and may be underwhelmed with what we hear, apart from the exoticism of the Indian instruments and their alluring timbres. Western music is mostly built upon foundations of harmony and chord progressions - which Indian music is not. Instead we are grounded in Hindustani music by a continuing tonic - usually sustained by the Tanpura, which also creates a meditative environment. This base note does not change throughout an entire performance and is usually customised to the range of the Instrument or Vocalist. Indian music is principally melodic and every note is relative to the tonic, also fundamental for accurate intonation of the intricate microtones not commonly employed in western 12 notes fixed octaves. As a result, this tonic, or base note, is constantly repeated. When the rhythmic repetition of this base note increases into a performance, we (of western music backgrounds) can often get distracted by this and conclude the music is too monotone. We don't understand why the same note is being played again and again... However, it is imperative to concentrate on the melody and notes of the raga for the real meaning and flavour of each raga.
Unlike Western music also, I think one is required to educate oneself about the music, learning all the key terms and basic philosophy of raga music. Though it is impossible to learn everything, and a deep understanding is only possible for musicians who learn a lifetime with their gurus, a good basis knowledge of the structure and elements of Indian Classical music will greatly improve the listening experience and stimulate further interest and fascination. The theory alone is an amazing topic and hobby to discuss.
Back to the purpose of this blog, many beautiful works by the Masters were never digitised to a respectable standard, or even at all. Many great albums only exist still on Vinyl. I have made it my mission to collect as many Indian Classical vinyls as I can to preserve this wonderful music and make it available to anyone else that shares this passion. Vinyl is inherently prone to damage, meaning a lot of this music will become lost without love and preservation. I commend other similar blogs such as 'oriental-traditional-music.blogspot.com', and 'flatblackandclassical.blogspot.com'.
I try to digitise the vinyls to a high standard. Being a little bit of an audiophile myself keeps my incentive to achieve best possible results with what I have. Unfortunately not every vinyl I have is in perfect condition, and even the ones that are will sometimes have surface noise, or unchangeable faults in the actual recordings (such as distortion). I will make most files available in 320kbps or 256kbps MP3's.
Thank you so very much,
Kirrin
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