VARIOUS - Indian Talking Machine Part Two: Instrumentals Gems From 78RPM ERA
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VARIOUS
Indian Talking Machine Part Two: Instrumentals Gems From 78RPM ERA
Sublime Frequencies US
gatefold LP + booklet Cat: SF 131Rel: 2 Mar 26
International Side 1 - Track 1. Indranil Bhattacharya (Sitar) C 1959 Side 1 - Track 2. Mahboob Ali (Shehnai) C 1939 Side 1 - Track 3. Amir Hussain Khan (Tabla) Madhavrao Alkutrar (Pakhawaj) 1950 Side 1 - Track 4. Rajamanickam Pillai (Violin) 1938 Side 1 - Track 5. Narayandas Mansukhram (Kashta Tarang) 1930 Side 1 - Track 6. Bundu Khan (Sarangi) C 1939 Side 2 - Track 1. T Balaram (Clarionet) 1935 Side 2 - Track 2. Ambade Brothers (Sitar & Jalatarang) 1936 Side 2 - Track 3. Hamid Hussain (Sarangi) C 1940 Side 2 - Track 4. Rahim Baksh (Been) 1909 Side 2 - Track 5. Vithal More (Sundri) C 1935 Side 2 - Track 6. Venu (Saraswati Vina) C 1910 Side 3 - Track 1. Imdad Khan (Sitar) 1904 Side 3 - Track 2. Allauddin Khan (Sarod) 1935 Side 3 - Track 3. Master Mohan (Kazoo, Jalatarang, Piano) C 1940 Side 3 - Track 4. Ahmedjan Thirkhawa (Tabla) C 1940 Side 3 - Track 5. Palladam Sanjeeva Rao (Flute) 1932 Side 3 - Track 6. Faqir Habib Khan (Vichitra Vina) 1938 Side 3 - Track 7. TN Rajaratnam Pillai (Nadaswaram) 1939 Side 4 - Track 1. Brahma Sri T Appadurai Aiyengar (Jalatarang) 1908 Side 4 - Track 2. Professor Kaukub (Sarod) 1909 Side 4 - Track 3. Master Soman (Dilruba) C 1932 Side 4 - Track 4. Mehta Braham Das (Harmonium) 1909 Side 4 - Track 5. Mr K Arumuga Mudaliar (Banjo Mandolin) 1929 Side 4 - Track 6. Sri Salil Kumar Mittra (Violin) 1945 Side 4 - Track 7. Professor Ghosh (Whistle) C 1925
Indian Talking Machine Part Two extends Sublime Frequencies' excavation of India's 78rpm era into purely instrumental territory, drawing from shellac discs cut between 1904 and 1959, when the three-minute limit of the format forced ragas, folk airs and virtuosic showcases into concise, incandescent bursts. Producer Robert Millis curates a sweep across Hindustani and Carnatic traditions: from the pioneering sitar recordings of Imdad Khan to the sarod gravitas of Allauddin Khan, the tabla eloquence of Ahmedjan Thirakwa, and rarer textures such as jalatarang, vichitra vina and even banjo-mandolin. The surface noise and mechanical grain of the originals are part of the atmosphere, situating the listener in the era of colonial studios, regional presses and itinerant maestros capturing lineage onto wax. Rather than presenting a museum piece, the set reveals a living network of styles at a moment of transition; courtly traditions adapting to recording technology, devotional forms brushing against early modernity.
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