Month: January 2016

Zohra Bai (of Agra) – Dadurwa Bolay Mor Shor Karat – Zila

I’m very happy to host another guest post from my friend Robert Millis, who has a beautiful new release out featuring all manner of amazing Indian 78s (caveat: I worked on it, and am gladly biased). Rob will be appearing this Saturday, January 30, in Los Angeles, at the Velaslavasay Panorama (a unique and wonderful venue) and I’ll be second banana, playing some ear-piercing 78s in the gazebo. Please come by – tickets are almost sold out.

Robert Millis:

I would have loved to include a track by Zohra Bai in my Indian Talking Machine book/CD set recently released on Sublime Frequencies, but her records are scarce and highly coveted by collectors in India. I finally received one through a friend after the book was put to bed so I am using this Excavated Shellac guest post as a supplementary entry to my book.

In the book I relate a brief story of driving in a car in India while a tape of Zohra Bai was being played. One passenger (a musician) in the car kept turning mid-sentence to sing along with the tape, repeat an ornamentation or marvel at her technique. It was as if he was having two conversations, one with the present and one with the past. That was my introduction to her work, and it left a strong mark on me.

The first thing you notice about this record on its faded and stained label is that it is credited to “the late” Zohra Bai, and indeed it was issued after her death which occurred in 1913, though there is some speculation that she may have died in 1911, as the word “dead” was noted on her HMV contract possibly in that year (that’s some stiff upper lip British efficiency for you). Zohra Bai was born in 1868 and so died far too young, and the world was robbed of a unique and powerful voice.

She recorded 3 times for the Gramophone Company from 1908-1910, making a total of 78 recordings. She was under an exclusive contract and paid Rs 2500 per year. Outside of this, as with many early recording artists, not much is known about Zohra Bai: some say she was part of the courtesan tradition and was a dancer and performed in the courts of North India. Experts claim she learned from Ahmad Khan, a famous sarangi player, and hence you can hear the sarangi in her voice. Collectors assert she was beautiful, claiming you only have to listen to her voice to know this must have been true. There are two photographs of her, though neither has been proven beyond a doubt to actually be her. What is known is that her voice helped define the Agra gharana (style or school) in Indian classical music and that she was an enormous influence on Faiyaz Khan, Ustad Bade Ghulam Ali Khan and even perhaps Abdul Karim Khan, all stalwarts of the Hindustani classical tradition. To many, no higher honor can be paid to her than to say she influenced such singers.

This track was recorded in Delhi in 1910 by George Walter Dillnutt, but not issued until 1919. It is a thumri. Thumri’s are often referred to as “light classical” works. But here “light” in no way implies a less complicated form of music that might require less training or talent. It is simply that in such music more liberties can be taken with the raga, more melodic invention is “allowed” than in the stricter dhrupad or khyal styles, of which it is also said Zohra Bai was a master. This piece is a Zila, which means at least two ragas–including all their associated rules and moods–are interwoven by the performer during the performance. Thumri usually revolve around the erotic love stories of Krishna, and are usually told from the woman’s point of view.  In this piece, Zohra laments how frogs (dadurwa) and peacocks (mor) are making so much noise (shor) that she is frightened. She is alone in the monsoon rains, unable to endure the longing she feels for her lover.

At the end you can hear her announce herself (as many vocalists did at this time in India), almost as if she is signing her work, making sure we know who was singing. This practice was common in India during the early recording era, with some artists going so far as to provide their address. But listen closely, it sounds almost as if she says “Zohra Bai died in Agra” You can hear this same phrase on several of her other recordings.  Maybe she says something else, or maybe she had been mis-taught the English. Or are these recordings actually not her, but someone paying homage? Perhaps she is singing from the beyond. The mystery around this will never be solved, just as the facts of her life will never really be known. Another ghost haunting shellac grooves. But what a legacy of recordings left behind. Had she died a few years earlier we might not have had even this much.

Zohra Bai – Dadurwa Bolay Mor Shor Karat – Zila

Thanks to Suresh Chandvankar of the Society of Indian Record Collectors. Also musician Keshavchaitanya Kunte who helped with the translation of the bandish (lyrics). And, in absentia as always, Michael Kinnear for all the discographical work.

 

 

 

 

 

 

 

 

 

“Is this Zohra Bai?”

Notes
Label: Gramophone Company (HMV)
Issue Number: P 4023
Coupling Number: 8-13990
Matrix Number: 13684o

Singers of New Caledonia – Retokengo; Yeretiti

The modern history of the Oceanic islands that comprise the present-day French collectivity of New Caledonia has in many ways been the stuff of brutality and exploitation. Plundered for its sandalwood, used as a penal colony, exploited for its nickel reserves, seized upon for land tracts by settlers, enmeshed in the sugarcane slave trade, revolts, murder – this is the wretched stuff of colonization the world over. On top of it all, like many other areas with tribal cultures, the islands had a history of documented cannibalism, no doubt creating ghoulish imagery of crazed “natives” in the minds of the rest of the world.

Then came the missionaries. In much the same way that virtually every other land-hungry nation on earth attempted to tame indigenous populations, religion was an important component for control. When it comes to traditional music, however, things are complicated.

Before World War II, recordings from islands of the Polynesia, Micronesia, and Melanesia, were few and far between, and recorded almost entirely by ethnographers. One major exception was of course the music of Hawaii, which was an international craze and brought many outstanding performers to wide, cross-over acclaim, and helped to popularize a kind of Polynesian sound, however real or manufactured. Another exception would be the few dozen discs of Maori music recorded by Columbia Records in New Zealand. Some music by Tahitians also appeared on a few commercial discs, as well. By and large, however, early recordings of traditional music from islands in Oceania were either non-commercial discs recorded and issued privately for posterity or scholarly consumption, or were discs recorded at their home-bases by major labels and private institutions on the occasion of a major ethnographic event, like the Colonial Exposition in Paris in 1931, where many Pacific Islanders traveled to participate and record.

Christian missionaries began appearing in New Caledonia from the 1840s. Missionaries typically placed restrictions on what could be sung and banned ceremonial activities, such as dancing. Group singing, so long as it was in the familiar harmonies of Christian hymns, was usually encouraged. As such, early recordings of this kind are heavily mediated by outside musical influence, by their recording circumstance, and the weight of cultural interference.

Yet, in many cases, they are all we have as examples of traditional songs from this time period. It’s difficult to resist their easy charm, sweetness, and how they reside between the familiar and unfamiliar. In New Caledonia, the Kanak people adopted some of their communal songs to this Protestant hymn form. By the end of World War II, after decades of strain, relations were warming between New Caledonians and the French, perhaps in part because of their important assistance to the Allies during the war. In 1946, New Caledonia officially became a French overseas territory. Today’s selections were made at that pivotal time.

Thanks to a 1946 article by a music student in the Journal de la Société des océanistes, we know something about these recordings. They were not, in fact, recorded for the more well-known Musée de l’Homme in Paris, and in fact were recorded under the auspices of a group called Lettres et Arts d’outre-mer (Humanities and Arts of the French Territories), at the Pathé studios in Paris on November 8, 1945, and issued privately as a two-record “tirage limité” (limited edition) as is written on the label. The recording sessions were organized by a Ms Humbert-Sauvageot and featured a group of indigenous, New Caledonian soldiers who were members of the heralded Battaillon du Pacifique. The choir consisted of: Mahe Warawi (farmer, descendant of the chief Henri Naisseline), Robert Wayawidri (farmer), John Willi (fisherman), Dick Bouama (navigator), Jules Kakou (trader), Emmanuel Dogo (farmer), Auguste Kaalo (pearl fisherman), Boae Kielle (farmer), Leack Schleitz (fisherman), and Pierre Tiaou (farmer), all from either Maré Island, or the main island (Grand Terre).

I’ve included both sides of the record. They sing two traditional songs. “Yeretiti,” the 2nd song here, is also known as “La poulpe et le rat” (The Octopus and the Rat), and is apparently an old folkloric tune sung by warriors. “Retokengo” is a song for competition by teams, and is sung as players take the field. It looks to be more frequently titled “Ilo” and a rough transliteration of part of the song was made in ’46:

(First verse)
Reto kengo ana awane
Ejebetchi mené guéritene
Tchogouro natane tcho kani butch
Dadené kazorino dékadé

(Refrain)
Ilo, ilo, keedje dékotcho hueté (repeat)
Tcho ko koé mé gada

A French translation was included as well – and although I suspect it too is inaccurate, I’ve translated it to English:

Let’s unite, dear brothers
To play against our opponent
For it is the union that is the strength
The country is counting on us to save his honor
Play, do not lose heart
Play, do not despair,
Play, and be confident
Because the force is in unity

 

Singers of New Caledonia – Retokengo; Yeretiti

 

Notes
Label: private (Lettres et Arts d’Outre-mer)
Issue number: n/a
Matrix number: 2400-1/2402-1