The Jasmine Isle: Javanese Gamelan Music [Nonesuch, 1969] FLAC/320 kbps

A1. Pangkur (Gender Solo) 3:03
A2. Tjatrik (Gamelan) 6:13
A3. Tjatrik II (Gambang Solo) 1:07
A4. Bendrong (Gamelan) 2:51
A5. Sembung Gilang (Gamelan) 2:28

B1. Senggot (Gamelan) 4:34
B2. Bendrong II (Gambang Solo) 1:35
B3. Sigromangsah (Gamelan) 2:44
B4. Kebo Giro (Gamelan) 1:32
B5. Liwung (Gamelan) 6:00

Master Musicians Of Java Recorded By Suryabrata & David Lewiston

'Jasmine and the exotic, subtle sounds of the orchestra called gamelan are inextricably linked in the life of Java, Indonesia's most populous isle. Sacred musical instruments, religious offerings, dancers, brides-all are decorated with jasmine. And where there is jasmine, there is the music of the gamelan: at religious ceremonies, at the theater, at popular entertainment. The rich, intricate texture of the Javanese gamelan is in sharp contrast to the extrovert brilliance of gamelan gong kebjar, found on the neighboring island of Bali. This record presents instrumental versions of pieces well known in Java' ~ liners

When musique lovers talk of Gamelan music, they generally refer to Balinese Gamelan music, some important types of which came from Java to Bali around 14th or 15th century after Islam had taken root in Java. In the Western world, Balinese Gamelan music is more popular and more known than Javanese Gamelan. Although Balinese music has obvious similarities with Javanese, it as well evolved quite differently from it.

The term 'gamelan' is a Javanese word meaning 'orchestra,' referring to the instruments that make up the ensemble. Although we find similar types of music and ensemble all around Southeast Asia, as in Thailand and Cambodia, for example, gamelan music as it is known today is particular to four nearby islands: Java, Madura, Bali, and Lombok.

This is a sublime recording of Javanese gamelan in the 'loud' style [mainly bronze]. This is not to say the pieces are loud: they form exactly the kind of rippling, smoothly flowing sound for which the Javanese gamelan is famous. The complexity is just somewhat less daunting, consisting of the skeleton melodic line carried by the sarons. The bonang, bonang panerus & peking form patterns on top of it, the piece is supported by the gongs & kenong and led by the kendang.'

an olde friend reminded me of this one recently & it's oh so sweet. Javanese Gamelan sorta sounds like the sizzurp slurpin step sister to the Balinese variety. likewise love dem crickets in the background. i decided to have another weekly theme here at der warbler, at least where my posts are concerned. expect several Indonesian treats in thee forthkommen daze.

in extremely rare circumstances, owl upload FLAC fer someone. this thyme it's only cos i goofed & falsely advertised the original post of this mess as 320 when in fact it appears to have been a lowly 192 rip :) who cares rite? anyhu, as much as i despise repeating myself, here goes a mufuggin 320 upgrade. it might even sound better too. the fuccin FLAC is fer fluc-elitist erik, so enjoy it punk

Lemhadong Collective ~ Women Artists of Lake Sebu [Buda]

Lemhadong Art Collective Members:
Fingguy Flang, Tunding Maguan, Luming Tuan, Lundi Langon, Minga Maguan, Mina Tungan, Melun Malungal, Neyet Mindal, Blina Tuhitum, Mundi Baai, Anay Maguan, Asita Ralla



'The Tboli are an Indigenous Cultural Community of the Philippines. They live in small mountains surrounding Lake Sebu, in the Cotabato Cordillera, Southern Mindanao. Their territory went through spectacular transformations during the past decades. Until the 1950's, this region was entirely forested. Its inhabitants lived in small hamlets surrounded by temporary gardens, in the heart of the forest which fed them. Their fine knowledge of the vegetal and animal world impregnated their imaginary and their arts.

The massive immigration of farmers from other regions of the Philippines disrupted the territory. This sudden transition was detrimental to the Tboli, many of whom lost all access to land and now live in utter precariousness. The musicians of Lemhadong are all Tboli, and it is the Tboli cultural heritage they wish to share through this record project.

Tudbulul, the mythological hero, lived alone with his family in a forest site called Lemhadong. One day, he organized a concert in which he gathered all the known music instruments and played them one after the others with his sisters. It attracted many inhabitants of the forest, who were delighted and decided to stay and live together with Tudbulul : this is how was founded the Tboli nation.

The musicians and artisans of the Lemhadong collective all reside in the village of Dekolon, on a hill overlooking Lake Sebu. They don't know how to read nor write, and survive day by day through small jobs. They learned music by observing the adults when they were children. No-one ever taught them, except sometimes a fairy appearing in their dreams. As a matter-of-fact, Tudbulul's concert didn't gather only humans : the fairies, custodians of the forest, were also attracted, and they were so enthralled by music that since then, they have been helping learning musicians by appearing in their dreams to encourage them. According to the Lemhadong artists, their musicianship has a lot to do with these wild fairies fond of music.

The general esthetics of Tboli music is vibrant, light and quick, with melodic patterns repeated like the geometric patterns used in the art of weaving. The many instruments are always played solo. The combination of several instruments as well as the association of voice and music are almost absent. The main instruments are the hegelung lute, the tubular zither sludoy and the klintang and smaggi metallophones, surrounded by a variety of small instruments : flutes, jaw harps & reedpipes. Though the instruments are played by many, singing - half declaimed and always as a soloist - is only practiced by recognized authors and performers.

Tboli music displays a large palette of sounds which follow each other without ever mingling, and Lemhadong's album reflects this particularity by taking the shape of a rich sound itinerary moving from one sound to another. The record Women artists of Lake Sebu is a sound portrait of the Lemhadong collective, and more generally the ecologic, social, musical and imaginary world of the Tboli. The soundwork takes the shape of a continuous mix associating music and sounds of the daily environment. To preserve authenticity, the recordings were made entirely on location, in the bamboo houses, the gardens and other places linked to the practice of music.

Through the album, we can hear the boat gliding on the lake, the lushness of insects, the gallop of the horse, the laughters of guests at a party, and many other snapshots plunging the listener at the heart of the Tboli world, making it possible to grasp the music in the context from which it came out.' ~ altamira

Recording, mixing, text and photographies : Boris Lelong

this one is a stunner. the recordings are lush & resonant with a variety of indigenous flora & fauna permeating every single traque. superb in every imaginable way. we can thank this guy for these adorable sonic portraits of everyday livin', tboli style

Bruitset Ambiances d'Afrique 1 [ocr23] & 2 [ocr32] 7"ers ~ field recordings by Charles Duvelle & Michel Vuylsteke

a pair of off the wall nature sound 7"s from afrique, buried deep in the early ocora catalogue & never re-issued. totally essential frog, bird & rooster-scapes. surely not to be missed if ya dig that sorta thang. 320 vinyl rips. we never had it so good.
gawd bless our hero, op