An Archive of Early Jazz on 78 RPM
Sindhu Bhairavi (सिंधु भैरवी) is a warmly expressive and emotionally rich rāga often played at the end of concerts as a kind of grand finale.
Released as His Master’s Voice N.87538
Matrix OJE. 8500
Credits:
Ravi Shankar – sitar
Ustad Ali Akbar Khan – sarod
Kanai Dutta – tabla
Sārang (सारंग) is a bright luminous rāga associated with midday. It has a clear and open feel, evoking daylight and expansive natural environments.
The short timeframe of a 78 rpm record does not allow for the full thematic development of the rāga – so what we get is a tightly compressed summarized form. When Ravi Shankar recorded on LP starting in 1957 with “Music of India”, he would be able to expand these ragas to their natural length, and it was common for a single rāga to take an entire side of an LP.
I am not confident of this recording year – but it was in the mid 1950s to be sure.
Interestingly, Ravi Shankar’s debut recording was not as a virtuoso sitar player, but as a member of an Indian ensemble led by his brother, Uday. They recorded in NYC in 1937. Shankar (going by his full first name Ravindra) was a dancer in the group and played esraj.
Released as His Master’s Voice N.87538
Matrix OJE. 8537
Credits:
Ravi Shankar – sitar
Ustad Ali Akbar Khan – sarod
Kanai Dutta – tabla
Probably one of the most beautiful label designs in my collection – here we have a recording on the Lotus label, short-lived Indian label on the The Diamond Record Company of Bombay. Records on this label were manufactured by the National Gramophone Record Manufacturing Co., Ltd.
Recordings for this label were made electrically, so the sound quality is quite good. Pressing and shellac also appear to be very good quality. The label ceased operations in 1942.
The title on the A side “તોયે તમી હસી લ્યો” seems to be an encouragement to laugh/smile, despite something bittersweet that may have occurred.
The title on the B side “સહન કંધ કરતાં લીજો” seems to be a kindly request to please continue to carry a burden and endure a weight on your shoulders.
At 78 rpm, the disc sounded slightly sped up and did not cleanly correspond to a key that a harmonium of the time would have reproduced. At a little under 76 rpm, the disc centered on a Sa corresponding to Eb, which seemed to sound most natural and made the most sense. The slightly slower tempo also seemed to complement the nature of the meditative performance and poetic lyrical themes.
You can compare this transfer to a faster tempo transfer at
https://archive.org/details/a_20210718_202107/LOTUS+S+1005+D+1057+-+TOYE+TAMEN+-+MASTER+MURARI.mp3
Let me know what you think.
Likely recorded in Bombay, India circa 1937.
Released as Lotus S.1005
Credits:
Master Murari – vocals
Unknown Artists – harmonium (?), unknown instrument, tabla
These devotional Carnatic ragas are the perfect start to a Sunday morning
A – Pattividuvarathu (Manjiri)
B – Abhimana Menadu (Byagada)
Recorded in India circa 1932.
Released as Columbia LBE 61.
Matrices WEI 2378 / WEI 2380
Credits:
Mr. Palladam Sanjeeva Rao – flute
Unknown Artists – Harmonium, Mirdhangam
Today I fulfill a request from a friend of the channel – a disc from my collection of 78 rpm records on the Young India label – this series featuring songs from early Parbhat Film Company movies.
The films produced by Parbhat are from the very early era of Indian cinema. Parbhat was founded in Kolhapur in 1929, and made 45 films in its run through the 30s and 40s. In 1960, the Indian government acquired the defunct Parbhat studio and transformed it into the Film and Television Institute of India (FTII).
This record features songs from the Parbhat’s film Nandkumar = नंदकुमार, released in 1938. The film recounts the birth, childhood, and early antics of Lord Krishna.
The film was directed by Keshav Rao Dhaibar, produced by Jayashree Films. Both songs in this video were sung by Durgābāī Khoṭe ( दुर्गाबाई खोटे ) – better known as Durga Khote – an actress with a long prolific career in Hindi and Marathi cinema who performed in over 200 films – the last produced in 1983.
Warning: You will hear a small baby crying on side one. That is Krishna, being comforted by a maternal figure played by Durga Khote, who then sings to him. This first side, रुठ गये क्युं , seems to translate as “Why are you displeased?”
The second side, सुत है जगमें सबसे प्यारा , translates to “The Son – dearest in all the world.” Some very beautiful instrumentation and arrangement on this side, which features Durga Khote singing to “the world’s most beloved son.”
I think this may be one of the more beautiful labels of records in my collection – and is somewhat unique, as later discs in the MP series had a different design that featured a small photo of the primary vocalist on the label with the recognizable graphic from Prabhat’s title sequence featuring a dramatic silhouetted figure holding a large curved horn. I think perhaps only the discs featuring songs from Nandkumar had this exquisite design.
Recorded in India circa 1938.
Released as Young India MP 552.
Mx JF 1572 and JF 1573.
Credits:
Durga Khote – vocals
Sources:
https://www.imdb.com/title/tt0213922/
https://scroll.in/reel/679099/the-story-of-how-prabhat-studios-made-india-s-biggest-hits-of-the-1930s
https://www.youtube.com/watch?v=HRRGzC_n-l4
https://www.youtube.com/watch?v=RqtKe63Y-FM
https://www.linkedin.com/pulse/brands-lost-time-prabhat-film-company-dr-mohan-dewan-qs4rf/
Mr. Vithal Rao Korgaokar of Hubli is one of many of prominent harmonium artists who recorded in India during the 20s and 30s.
Side A, Pārkar Arj Suno, is a dusk raga (Puriya‑Dhanashree) that is serious and emotionally introspective.
Side B, Lāge Hridayī Hur‑Hur, translates loosely to “My heart flutters”, with the phrase “Hur‑Hur” (हुर हुर) expressing romantic longing and emotional agitation. Here, we have an evening raga (Yaman) that expresses devotion, purity, longing, and calm.
Believed to have been recorded circa 1925.
Released as His Master’s Voice P.17571
Credits:
Mr. Vithal Rao Korgaokar Of Hubli – Harmonium
Unknown Artist – Tabla
This home-recorded 78 rpm appears to feature Indian musicians playing what one knowledgeable commenter describes as “a very nice performance of a tintal gat in Raag Tilak Kamod on the sarangi, accompanied by tabla.”
It is labeled “Kathak” so I initially guessed it was the musical accompaniment to a Kathak dance. Not sure what the label refers to.
Recorded in Iowa City, Iowa – my guess at some point in the early-to-mid 1950s but perhaps later?
Transferred this for a pal. Kind of curious to know more about this one.
A digital transfer of both sides of a nice clarionet recording session by Gopal Chand Lahiri, about whom not much is known. The Bengali text on the label and production in Dum Dum, India indicates perhaps an artist from east India.
Side A (Mx. OC.838) is a Carnatic raag called Sindhu Bhairavi. This raag is “suited for lighter pieces” and expresses separation, sorrow, compassion, and devotion.
Side B (Mx. OC.839) is a ghazal (a type of love song originating in Arabic poetry). “The ghazal is always written from the point of view of the unrequited lover whose beloved is portrayed as unattainable.”
Recorded in India circa 1930.
Released as Twin FT.800
Credits:
Gopal Ch. Lahiri – Clarionet
Unknown Artists – harmonium, tabla
I was feeling a bit melancholic this week and steeping myself in the beauty of Indian music helped me process.
Here we have two raags from an Indian clarionet player from the early 1940s recorded on the indigenous Young India label – which released hundreds, if not thousands, of records in India from 1935 to 1955.
The first is labeled as “mixed” Kafi – meaning a variant of Raag Kafi that includes notes or phrases from other ragas. Raag Kafi is associated with the spring season and themes of love and longing.
Secondly we have Raag Tilang, which has a light and sweet nature that can evoke a lively or romantic mood.
Released as Young India DA 5510.
Credits:
Master Mohamad – clarionet
Unknown Artists – harmonium, tabla
A – मोरी खेदरिया ना ले = Mori Khabariya Na Le = “Don’t Take My Sorrows Away”
गांधारी ख्याल = Gandharee Khyal
B – मग में श्याम छुओ ना = Mag Me Sham Chhhuo Na = “Don’t touch me, Shyam, as I walk along the path.”
राग सोहिनी = Raga Sohini
The artist, Chhota Ram Das, can be seen on the sleeve shown in the upper left quadrant of Side A.
This is the only record on the Broadcast label I have in my collection. It is from the collection of renowned Indian music archivist and friend Suresh Chandvankar.
Released as Broadcast B 2137
Credits:
Chota Ramadass – vocals
Unknown Artists – harmonium and tabla