Quantic states in one of his important cumbia compilations that Colombia kept pressing 78s up until 1979 or so, because jukeboxes were so prevalent around the country. Los Gaiteros de San Jacinto – Candelaria (Colombia) Accompanied by what sounds like a mandolin, this was issued on the South African Envee label, which was associated with the Trutone label. Piano accompaniment by Lew Shilkret.Ībia Themba – Moody River Kwela (South Africa)Īn excellent example of a pennywhistle kwela piece from the height of the kwela craze, ca. However, on November 11, 1926, he cut this and three other energetic flute solos for the Victor company. Griffin, originally from County Roscommon, was usually listed on various record labels as “The 5 th Avenue Busman.” Besides being a real New York City driver on the 5 th Avenue bus line, he was primarily a singer of comic songs. John Griffin – Kitty’s Favorite (Ireland) 1935, and features Luperce Miranda on bandolim and Tute on guitar. Hell, none of them are common, and most of them are impossible. Most recordings by Pixinguinha are either with a band, or as a duo, such as his excellent recordings on saxophone with Benedito Lacerda’s band throughout the 1940s. But Pixinguinha also was adept at all kinds of music including samba, jazz, Brazilian song styles, and eventually became the bandleader for Victor records throughout the 1930s. Pixinguinha, originally from Rio de Janeiro, helped to popularize choro music, the jazz-influenced, deft, and highly syncopated music played mainly by flute, cavaquinho or bandolim, and guitar (though saxophone and light percussion are important as well). What can be said in a few sentences about these incredible musicians that does any of them justice? This certainly goes for Alfredo Viana, aka Pixinguinha (1897-1973), arguably the most important Brazilian musician of the first half of the 20 th century. It’s extremely difficult to track down instrumentals of this sort on 78. 1981) of Nawabshah was a master of the folk instrument. Ustad Misri Khan Jamali – Des on Alghoza (Pakistan)Ī rare relic of Sindhi instrumental music from the early 50s, featuring the alghoza ( alghoze, algohza, etc.), the double-flute played in Pakistan and northwestern India. I particularly like the sonorous recording space. The “vallåt” is traditionally a pastoral tune or herdsman’s song. At the same time, he also recorded a few short tunes on the local wooden flute, the spil åpipa, of which this is one. In the late 1940s, Swedish folk musician and music teacher Gudmundsson (1908-1979) went into the studio to record for Radiotjänst the first known commercial recordings featuring the Swedish bagpipes ( säckpipa). You can download the mix in its entirety at the end of the post, but here are some brief notes on the tracks. I blame the great Pixinguinha – after picking up one of his sought-after solo records on a trip to Brazil, and realizing that my glass-shattering (yes) Reeds collection will be coming out soon, I thought an international mix of flute music from 78s would be in order. I didn’t realize it would take this trajectory though, and become a full-fledged mix. I was planning on giving away something extra at the end of this year, as I’ve been pretty slow on updating the site for the past year or more.
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