T Viswanathan: South Indian Flute [WPS-21451] an LP released on the World Pacific Label in the US in 1969

Tanjore Viswanathan (born in Madras, India, August 13, 1927; died in Hartford, Connecticut, United States, September 10, 2002) was a Carnatic musician specializing in the Carnatic flute and voice. His brother was the mridangam player T. Ranganathan (1925–1987).

This is one of a series of LPs released on the World Pacific label. This label grew out of Pacific Records, which was a jazz label. Although there sometimes was a rare dud in their catalog, in general you can be pretty certain of a high level of musical and production qualities with any World Pacific release.

Side 1:
"Virabhoni" varnam in Raga Bhairavi in Kanda Ata Taal (oddly enough, not the concluding piece) (5:19)
"Garudaghamana" kriti in Raga Nagaswarali in Rupak Taal (14:09)
"Saramaira" song in Raga Behag in Rupak Taal (3:20)

Side2:
"Etijanmamiti" song by Thyragaraja in Raga Varali in Misra Chapu Taal (16:31)
"Paniyinvintuli" hymn in Raga Senjuruti in Kanda Duruvam Taal


T Viswanathan: flute
V Tyagarajan: violin
T Ranganathan: mridangam
V Nagarajan: kanjira
P Srinivasan: Tarboura
H Hiler: Sruti box

Equipment used in transfer: 

Preparation: Ultrasonic cleaning for 20 minutes in pure clean water, followed by a quick vacuum drying with a VPI 16.5 cleaning machine

Turntable:  Audio-technica AT-LP-1240

Cartridge: Shure M97x
Pre-amplification: Vintage refurbished Pioneer SX-780.

Recorder: Sony PCM-M10 at 24bit/44.1kHz resolution

24 bit 44.1 kHz FLAC file

(a higher resolution file than a CD - cannot be burned as a CDR)

16 bit 44 kHz FLAC

(a standard "CD quality audio file - suitable for burning a CDR)

320 kbps mp3 file

(an mp3 file with highest quality settings possible)

Manik Varma: [EMI ECLP 2313] an LP released in India in 1965

Up next is a solid album from Manik Varma (1926-96) a vocalist from the Kirana gharana which was founded by the great Abdul Karim Khan.

Accompaniment is by violinist VG Jog. The tabla player, as so often was the case in the past, was known only to those in the studio that day.

Side 1:
Raga Jog-Kauns with compositions in slow Ektaal and fast Teentaal

Side 2:
Raga Bhatiyar with compositions in slow Ektaal and fast Teentaal
Thumri in Raga Bhairavi

While transferring this album I noticed that it is in monaural sound -- so the files are half the regular size.

24 bit, 44.1 kHz FLAC file

(high resolution audio file)

16 bit, 44.1 kHz FLAC file

(standard resolution "CD quality" audio file)

320 kbps mp3 file

(highest possible resolution mp3 audio file)

Ravi Shankar: Sitar [EMI EASD 1502] an LP released in India in 1972

Here is a very nice collection of compositions by the great Ravi Shankar. Some people in the world of Indian Classical Music resent the continued popularity of Raviji. Even almost fours years after his death, his name can summon up tremendous amounts of energy and power. Oh, I could tell tales of how the merest mention of Raviji's name or the name of his Foundation has opened dozens of doors to concert promotors for particular musicians on tour in the U.S. Those tales will have to wait, especially because I am trying to stay incognito with this blog.

Needless to say, those not blessed with monikers such as "senior disciple of Ravi Shankar" or just "student of Raviji" can sometimes hold some inexplicable envy in their minds. I have sadly heard this envy in personal conversations. Also, brilliantly gifted musicians such as the great sitarist Vilayat Khan never (to my knowledge) publicly admitted to being impressed by Raviji's technical skills. However, there is more than just technical skills which can melt a heart or make a friend. There is a depth of emotion and richness of compositions in Raviji's playing which is evident to both newcomers and professionals alike. It is is this depth and richness which will allow him to continue to hold a spell on the world of Indian Classical Music for the remainder of my lifetime.

Here we have a release from EMI dating from 1972 featuring three new Ragas created by Ravi Shankar (admittedly by slightly altering existing Ragas). To me, it is interesting to note the difference in production values between this release and the jugalbandi double LP with Ali Akbar Khan which was released the same year on Apple Records. My inside source say a reissue of that famous double LP [with bonus additional music] is in the works. Otherwise I would definitely transfer that fine production!

Tabla is by the great and much-missed Alla Rakha.

side 1: 
Raga Kameshwari: Alaap - Jod - Gats in Japhtaal.

side 2: 
Raga Gangeshwari: Gat in Rupak Taal
Raga Rangeshwari: Gat in vilambit and drut Teentaal

I would like to note that you can hear a 60 second mp3 sample of what this LP sounded like as a raw transfer here and also an mp3 sample of the finished audio file here. This was certainly the worst sounding raw transfer I have worked with -- ironically with a perfect-looking LP which I believe was purchased as a "new" LP on a well known online LP site. I broke many of my rules of "pure-hearted audiophile transferring" but otherwise I would not have been able to present the transfer. Originally I simply gave up and handed the LP back to my good friend and fellow ICM student Nels. A few weeks later I changed my mind and gave it a try.

My discovery of the rather amazing program entitled ClickRepair, which allows one to listen live to what sound is being eliminated from the recording, has greatly changed my opinion of such programs. It is, as far as I know, the only program which allows one to perform this neat trick of auditing the material being removed and adjusting accordingly. It is available as a free, fully-functioning trial version with a 30-day trial period. I hope I don't sound like a commercial advertisement for the program, but I believe it has the chance to improve the way vinyl is transferred, with more music kept and more noise eliminated in the audio file.

24bit, 44.1kHz FLAC file  (444 MB)

(this is a high resolution audio file suitable for listening on computer or certain portable devices)

16bit, 44.1kHz FLAC file  (238 MB)

(this is a standard-resolution file suitable for burning a CDR)

320kbps mp3 file (110 MB)

(this is the highest-quality setting available when compressing audio to this popular portable format)

Ali Akbar Khan: Live in Eugene, Oregon. October 1983. [AMMP CS86-8] a cassette released in the United States in 1987

Here we have another in the series of cassettes which AMMP Music Productions (i.e., the AACM) released in the mid 1980s documenting the Ustad's collection of concert recordings. The story I have heard, not independently verified by any of the principals, is that Mary Johnson Khan began discovering boxes of reels of recordings of live concerts by her husband placed in odd locations in their home. Places like under a couch or in closets. She apparently decided to start to archive these recordings with the goal of eventually making them available to the public.

The first step of this was the two similarly-titled series of cassettes released in the 1980s under both the AACM and the AMMP banner.

On the first side of the cassette we have a jovial Ali Akbar Khan explaining what he'll play that evening. I will leave it up to you to hear his charming talk. Then an alap followed by gats in a closely related raga. The sound quality of the original tape seems quite good. Commercially produced cassettes can have the quality of their higher frequencies suffer a bit from the high-speed dubbing which predominiantes their manufacture. I have given the higher frequencies in these two sides a very slight boost (about 2 decibels between 9kHz and 13kHz or so). Nothing too noticeable.

My cassette set up will be detailed in a future post. I just wanted to remind listeners who are archiving their cassettes to read up on "azimuth adjustment" before they transfer the tape. This can make a huge audible difference that you can hear immediately as you change the azimuth.

Tabla is by the great Swapan Chaudhuri

side 1: Raga Hem Behag: alap and jod
side 2: Raga Bihag: gats in teentaal

24bit, 44.1 kHz FLAC

(high resolution file ideal for listening on computer or certain portable players)

16bit, 44.1kHz FLAC

(standard resolution file ideal for burning a CDR)

320 kbps mp3 file

(highest possible quality compressed file ideal for listening on a portable player)

Ali Akbar Khan: Live from Delhi, December 1981 [AMMP CS86-7] released on cassette in 1986 in the US

My final cassette post this weekend is one of a series of cassette tapes which were issued in the 1980s by Alam Madina Music Productions -- basically an in-house label of the Ali Akbar College of Music. This series was entitled "Live Concert Series," the tapes of which were chosen by the Maestro himself from his personal collection. I own five volumes of this series, although with one volume there are two cassettes and my retail source at the time only had one of them. There is a different series of live cassettes produced by the AACM ("Ali Akbar Khan: Live in Concert") which may have only been available to students or in person at the school. I have one volume (vol  XII -- but only in someone else's mp3 transfer), which is available on the internet if one looks hard enough.

In case you are wondering, "Alam" is the name of Ali Akbar Kahn's youngest son, a gifted and underrated sarod player who has only a few CDs to his name. Alam seems reluctant to go on long tours which would help his reputation, but does make short trips to play a single date or two. Alam is quite friendly and humble in person, with a relatively wide range of interests. He concentrates very hard on his instrument while playing in public, to the point where he makes little or no eye contact with the audience. That is fine with me, but I think it is atypical among ICM performers. I own five live recordings of Alam, recorded either by me or a relative of mine, all of which suffer from various setbacks -- so I don't think they will be shared here.

"Madina" is Alam's sister. The family-centered nature of the label is further shown by the names of Ashish Khan (AAK's oldest son) and Mary Johnson Kahn (Alam and Madina's mother) on the outer part of the J-card.

My understanding, from casual conversations with people who might have gotten certain details incorrect, that by January 1981 the great Swapan Choudhury had moved from Calcutta and was living in San Rafael and teaching at AACM. It's not clear why Swapan ji did not accompany Khansahib on this tour; I imagine it was because he had just moved to the US and wanted to devote his time to building the tabla program at AACM. Possibly there were personal issues which made performing in India at the time difficult.

The two pieces on this cassette almost sound like two different concerts (which could be the case). An alternative explanation for the differences in aural character between the two is that adjustments at the mixing desk were made during the show, which can often occur.

The first piece is an alap and jod section of Raga Miyan ki Malhar. This has a slightly dull upper end and some minimal distortion at the dynamic peaks. I would have though it was an issue with azimuth adjustment, but the fact is that the second piece sounds more full and with a crisp upper end in comparison. Because of the way cassettes are made, a cut had to be made in the longer piece so that the sides were about equal in timing. The first section of Raga Desh Malhar is on the same side of the tape as the entire alap and jod of Raga Miyan Ki Malhar, but sounds exactly like the rest of the raga on the other side of the tape. So it was not a case of one side of the tape being played with incorrect azimuth. I stitched together the longer piece in a way that is noticeable but not jarring.

Overall, it is an extremely enjoyable live performance from Ali Akbar Khan and tabla maestro Shankar Ghosh, who unfortunately died in late January of this year.

Ali Akbar Khan: Sarod
Shankar Ghosh: Tabla

Side 1: Raga Miyan Ki Malhar: alap and jod
Side 2: Raga Desh Malhar: gats in vilambit (slow) teentaal and medium jhaptal.

24bit, 44.1kHz FLAC file (791 MB)

(higher resolution audio file, 

suitable for computer and some portable devices)

16bit, 44.1kHz FLAC file (432 MB)

(standard CD-quality resolution, 

suitable for burning to CD)

320kbps mp3 file (166 MB)

(highest possible quality setting of a compressed file, 

suitable for listening to on portable player)