30 Jan 2023

Egypt, Iran, Iraq & Turkey

Forgotten masterpieces, out-of-this-world improvisations from the 1920s and new responses.

'A feast of ominously jangling eastern and western strings, Honest Jon's latest offering pits Arab classical music from vintage 78s against specially commissioned contemporary responses, from psychedelic improvisation to country blues. Superbly stylish in conception and packaging, it shows that small independent labels can still be an inspirational force.'

'The archival finds are, without exception, phenomenal – and mesmerizing. The oud, the santour and spike fiddle dominate. There are other instruments, but without a little more familiarity with the region’s music traditions (of which three – Arabic,Turkish and Persian – are represented here), these are difficult to accurately identify. Honest Jon’s has intentionally foregone providing any notes, instead letting the listener engage directly with the pieces, all of them improvisational performances lasting about three minutes.'

'This is the fourth release in Honest Jon’s series of albums exploring the earliest 78s held in the EMI Hayes Archive. Open Strings is a dazzling selection of virtuoso string-playing from Egypt, Iran, Iraq and Turkey, all recorded in the 1920s, and pretty much unheard ever since.

In addition, Open Strings includes a disc of newly-commissioned responses to the themes in this music by underground luminaries committed to the drone such as Sir Richard Bishop of legendary Sun City Girls renown, West Coast psych-guitarist Ben Chasny aka Six Organs Of Admittance, UK folk-guitarist Rick Tomlinson aka Voice Of The Seven Woods, and Western Massachusetts’ raga-inspired duo, MV And EE. From resonant bow-drone, to frenetic fret-runs to delicate, circular acoustic musings to sitar fever-dreams, no matter the nationality, there is a resonance and truth in this music that is ancient, timeless and transcendent. Scorchers past and present, every one. Other artists include: Micah Blue Smaldone, Michael Flower, Charlie Parr, Bruce Licher, Paul Metzger, and Steffen Basho-Junghans.'

'A unique release from Honest Jon's, in that the first disc features beautiful instrumental recordings from throughout the middle east in the 1920's, while the second disc features modern responses from artists who I'm told fall into the "American Primitive" school in one way or another. These responses are often interesting, willing to take risks here and there, and rarely feel simply derivative.

The treasures for me though are featured on the first disc, with all recordings selected from the EMI sound archives. Songs are chosen and sequenced thoughtfully, with most showcasing virtuosic string musicianship while leaving space in the music, amounting to a mesmerizing and often meditative and hypnotic listening experience. Transfers sound wonderful, allowing the music and open spaces to truly feel open and atmospheric. Think of this as a fantastic middle eastern instrumental collection with a bonus disc of solid modern recordings. My only major critique is that no booklet is included to provide additional info or context, but the music does speak for itself.'

'Being explicitly interested in drawing connections between the traditional string music of the Middle East and modern American Primitivism, this compilation has an interesting approach, and of course the links are there, the influence is clear. What's probably most impressive about the collection is that both halves are equally impressive. The vintage recordings from Syria, Turkey, and Lebanon are well chosen and illustrative of the points the compilers are clearly attempting to make. Equally importantly, the contemporary tracks are not just clearly influenced by Middle Eastern music, they're also really good and the influence doesn't render them derivative.'

'Delving for a fourth time into EMI's Hayes Archive, Honest Jons trawl a treasure trove of old 78s from Egypt, Iran, Iraq and Turkey, all united by the theme of virtuoso string instrument performances. Originally recorded during the 1920s these revelatory selections have been all-but consigned to obscurity ever since, but now a whole new audience awaits the arresting talents of musicians like Abdul Hussein Khan Shahnazi, Kanoni Artaki and the incredible Nechat Bey - whose hypnotic bowing performance on 'Husseini Taxim' converges on the outright otherworldly. While so many of the finest collections of rare and archived music have often taken a broad cross-section of genres and cultural bases (Dust To Digital's Victrola Favourites would be a good example) Open Strings succeeds for being fairly specific and sourced from a sensibly narrow field. You never feel like a tourist listening to this music and by the time you make it through the whole set you'll feel considerably closer to a strand of instrumentalism that could so easily have remained shelved and unheard. Honest Jons go one step further by bringing in modern day artists to compose responses to the archive selections. The likes of Sir Richard Bishop, Charlie Parr, Voice Of The Seven Woods' Rick Tomlinson, Michael Flower and Steffen Basho-Junghans all put in outstanding performances, but its down to the imperious Six Organs Of Admittance and MV & EE to really harness the spirit of this music, the former by sheer force of virtuosity, the latter by exhibiting a particularly resonant understanding of Middle Eastern harmony. Superb.'

'Spectacoular 4LP box on Honest Jon's called Open Strings which features 2 LP's of 78's from the MIddle East circa the 20's (we're talking Egypt, Iraq, Iran, Turkey) and 2 LP's of more contemporary folks who are clearly inspired by such greatness. Thems being the likes of Richard Bishop (no longer calling him a sir as I don't believe the queen has chinned him with her sword), MV/EE, Ricky Tomlinson, Steffen Basho Junghans, Six Organs of Admitance, Micah Blue Smaldone, Michael Flower, Charlie Parr... the list goes on. To be honest it looks like the most exiciting thing I've seen in my life. I love old middle easten music and so far what I've heard sound great. I've not had chance to hear the 'compemporary ' albums yet but I will do tonight all being well. Exciting!! Fans of Sublime Frequencies, Alan Lomax etc take note. This is the fourth release in Honest Jon's series of albums exploring the earliest 78s held in the EMI Hayes Archive. Open Strings is a dazzling selection of virtuoso string-playing from Egypt, Iran, Iraq and Turkey, all recorded in the 1920s, and pretty much unheard ever since. In addition, Open Strings includes a disc of newly-commissioned responses to the themes in this music by underground luminaries committed to the drone such as Sir Richard Bishop of legendary Sun City Girls renown, West Coast psych-guitarist Ben Chasny aka Six Organs Of Admittance, UK folk-guitarist Rick Tomlinson aka Voice Of The Seven Woods, and Western Massachusetts' raga-inspired duo, MV And EE. From resonant bow-drone, to frenetic fret-runs to delicate, circular acoustic musings to sitar fever-dreams, no matter the nationality, there is a resonance and truth in this music that is ancient, timeless and transcendent. Scorchers past and present, every one. Other artists include: Micah Blue Smaldone, Michael Flower, Charlie Parr, Bruce Licher, Paul Metzger, and Steffen Basho-Junghans.'

Mark Ainley

Mark Ainley is one of the current owner's of Honest Jons and started Honest Jons Records in 2001 with Alan Sholefield. Also known for his compilation work for Soul Jazz.

'Mark Ainley of Honest Jon’s deserves accolades for putting together brilliant compilations. His work digging through the stacks at EMI results in rich, lush visions of foreign lands, compilations uncluttered with over-produced mimicry of classic sounds or slick synthesized genre mock-ups. While Open Strings: Early Virtuoso Recordings From the Middle East, and New Responses is no exception, there is a twist: the entire second disc is music performed by modern artists in response to the old classic recordings. Honest Jon’s took a 20-song mix of classical string music -- performed by artists about whom we know nothing other than their names -- and circulated it to some of the most amazing modern purveyors of string music from the West. With no real provisions, Honest Jon’s simply asked the artists to listen to the disc and craft a musical response. Truly an experiment, the results are disparate, beautiful, and thought-provoking.

We are left with two distinct yet subtly interrelated CDs to evaluate. The first disc, Early Virtuoso Recordings From the Middle East, is nothing short of breathtaking. However, since Honest Jon’s isn’t giving us any clues (no liner notes, a deliberate move), we are only left to speculate about the artists, their instruments, their stories, their songs. All 20 tracks on the first disc are between three and four minutes long, and all of them have an immediacy that makes me believe they are cut from much longer compositions or improvisations. It's possible that some of the songs are derived from typical forms or compositional structures, as they seem to follow defined scales within a certain timeframe. However, I don't pretend to be an expert scholar on Middle Eastern music, and without proper context, to surmise about the exact nature of these songs might conspire to injustice.

Rather, it seems prudent to think of these 20 tracks as statements, with the whole serving as a vision. There is variation from track to track, but to an untrained ear, the whole thing might just sound like ragas. Close listens reveal that some tracks drone, while others scatter about like roaches hiding from flickering lights. Sami Chawa’s “Eerabi Fil Sahra” features a sad funereal tone, whereas Haigo’s “Shushtar” has a lighter atmospheric quality, as if a bow were being drawn across clouds wound into yarn, held by a spindle on a distant horizon. Nechat Bey, the most prolific featured artist with five tracks, tells dense musical tales with floating and sinking scales. Tempo is never constant. Unpredictability is key.

This is where we find clearer lines being drawn between disc one and disc two. Disc two, New Responses, is like a Who’s Who of bad-ass string players from the underground of the past 30 or so years -- Paul Metzger, Richard Bishop, Ben Chasny (as Six Organs of Admittance), Charlie Parr, Bruce Licher (Savage Republic), and MV & EE all contribute. There’s a lot of variation. Paul Metzger’s banjo, strung in the style of a sitar, winds through a bizarre and intense path for 13-plus minutes, whereas Rick Tomlinson’s satire-bordering “Surfin’ UAE” is not as kitchy as you might think. Michael Flower, in a more densely packed cloak of sound, weaves a seemingly pointless but subtle, deliberate stoned crawl from moronic groaning to tinkling timbre. Charlie Parr’s work on the resonator is masterful.

Many of the modern new responses seem more or less typical of each performer's dominant style; there aren’t many deviations from their typical work. However, the experiment does seem to prove that there is an underlying current between these new string masters that can be tied into Middle Eastern virtuosity. But was the influence already there, and if so, was it subconscious or deliberate? Or perhaps, as it seems in the case of Six Organs, the artist chilled out with the album and then just straight-up busted out a track influenced as strongly by the old Middle Eastern masters as the last 50 years of avant-garde string-playing in the West? This is all part of the experiment, and it also part of the fun of listening to the album.

Some critics have responded that certain elements of the second disc are "predictable," but then again, after having listened to over an hour of 1920s string recordings, what would you expect from the second disc? Sonic booms? If you are already familiar with the artists on the New Responses disc, then you can probably accurately guess how their tracks will sound. It's also likely that those who were featured on the second disc probably didn’t treat the assignment like it was their chance to play for the Ghost of Gandhi, Queen Elizabeth II, and one trillion dollars. This doesn’t dilute the power of the disc in my mind. It's not necessarily groundbreaking, but it's a grade-A listen, and I haven’t seen this good of a mix of string players on one disc since A Raga for Peter Walker.

I recently had the privilege of spending a day at Boston’s Museum of Fine Arts. Not one to be particularly interested in the works of the European masters of old — Flemish portraits of aristocrats with their hunting dogs — I instead found myself spending more time in the musical instruments room than any other. Here I found exquisite examples of some of the more esoteric stringed instruments of the world, along with curious brass instruments of old and amazing banjos built in Ireland. But it was the exotic Middle Eastern strings — oud, kamancheh, santur — that evoked the most wonder, for I couldn’t help but imagine how these instruments would sound in the hands of a master. That MFA visit happened just two days prior to my receiving this amazing new Honest Jon’s comp. What a coincidence that I would be so privileged to discover the range of sound and timbre possible through the plucked, struck, or bowed open-stringed instruments of Persia, Turkey, and Arabia after having seen wondrous and beautiful examples of each.' -Chizzly St. Claw

'This new release from Honest Jon's is a bipartite package. The first part contains twenty recordings of 'mostly 1920s' plucked and bowed instrumental solos recorded in various 'Middle Eastern' countries. These, like previous Honest Jon's issues in the same series, are culled from the massive archives housed in EMI's gargantuan subterranean vaults. The second part, of which more later, contains a series of improvisations by living musicians from the Anglo-American cultural nexus, putatively inspired by and reflective of the material in the first part. The package is sold either as a double CD or a 4-LP package.

In the review which Honest Jon's themselves choose to quote on their website, there is an assertion of intentionality in their having abstained from printing information on the artists and recordings, with the intent of saving listeners from being deprived of the freshness of experience, I quote:

'Honest Jon's has intentionally foregone providing any notes, instead letting the listener engage directly with the pieces, all of them improvisational performances lasting about three minutes.'

This disinterest in identifying the origins of the pieces in the name of pure aesthetic experience is no simple matter of respect for the listener. I have at least two major gripes here. Firstly, Honest Jon's disqualify the listener, by making the assumption that she/he is incapable of making the choice of engaging 'directly' or not, given the choice, and furthermore depriving her/him of the opportunity of perhaps satisfying their curiosity after the event of listening. Secondly, one need only to consider one's reaction if one were a Welsh music lover who had bought an ambitious Chinese- or Brazilian-produced compilation using precious and unique equivalents of the EMI archive material, recorded in the various countries of Europe, in which Albanian, Dutch, English, French, German, Greek, Irish, Italian, Lithuanian, Polish, Portuguese, Scottish, Spanish and Welsh recordings (to name but a few examples) were lumped together as 'European' and in no need of further specification.

Honest Jon's can be considered to have a shouldered a humanitarian task by taking on the EMI archives, a global heritage of world-wide sound recordings extending from the beginning of the 20th century, to which access is shamefully over-guarded by the record mogul. They are discharging this task in a spirit of the chic, the cool, and then, adding insult to injury, they are depriving interested people all over the world, paying customers to boot, of the kind of information which makes further searching and/or researching possible.

To give an introductory summary - the first part of the Open Strings release - as one CD or two LPs - contains 20 tracks played on stringed instruments by 13 different musicians from, in terms of geographical origins, Egypt, Persia, Syria and Turkey. The musicians have a more varied background than this might suggest: Armenian, Greek-Rom, Muslim Turkish, Syrian Orthodox, and perhaps more to be revealed.... two pairs of the musicians were probably brothers, and one invented his instrument. Their backgrounds are, at least to this reviewer, often very interesting from both historical and musical points of view. Of the twenty tracks, one can safely say that all but two (i.e. tracks 18 & 20) consist of improvisations played by musicians well-versed in the 'learned' musical traditions of their region. Their improvisations are, like those of the raga systems of classical Indian music, formed within living systems which offer implicit rules and implicit freedoms. In the countries of the former Ottoman Empire this living system was called 'maqam'. This term refers to what we call modes, ie. groups of pitches, pitch relations and typical phrases and melodic motions which, in a specific maqam, employ a limited choice of the possible pitches contained within the octave. In Persian music the corresponding general term is 'dastgah'. The two 'folk' exceptions are also the least improvisatory pieces, both being dance tunes.  The word 'havasi' is Turkish for dance.

When I bought the Honest Jon's Iraqi release Give Me Love I was painfully disappointed by the murderous digital mastering which had removed all traces of vitality and room acoustic from the recordings, making it, at least for me, very difficult to listen to and almost impossible to genuinely enjoy. I took the trouble to write a long letter to Honest Jon's, to which they didn't reply. I am less negative about the sound on the first CD of Open Strings than I was about Give Me Love. There isn't the desperate attempt to deny that these recordings were actually made by earlier recording processes which entail a degree of mechanical surface noise at the very best of times. I am even narcissistically tempted to wonder if they clandestinely took my letter to heart. However, as in the previous case, most of these archive discs are in such pristine condition and clearly most often pressed in acoustically favourable material, that they would hardly need any noise treatment whatsoever apart from the occasional pops, which can be removed without affecting the rest of the sound at all. But overall I have no major gripes here - one exception being the dull transfer of Tambouredji Osman Pehlivan's Anadol Kachik Havassi, which is markedly inferior to the transfer made by Jonathan Ward on his website www.excavatedshellac.wordpress.com . Jonathan has naturally had a used copy at his disposal, but has retained the upper frequencies faithfully, offering the listener the opportunity to hear the scintillating timbre of the thinly wire-strung Turkish saz which is sadly absent from the Honest Jon's transfer.

There is also an inexplicable repeat - track 15, Kementchedji Alecco's Kurduli Hidjazkiar Taxim, was also included in Give Me Love

If I'm not mistaken there is confusion in track order; tracks 1 & 3, and 18 & 19 respectively, being inverted.

Then there is the question of transliteration of names originally written in Arabic or Persian script. I can't claim to have any specific expertise on this matter. However, my experience while researching every one of the thirteen different artist names given on the first CD has been that Honest Jon's have made no effort whatsoever to transliterate according to current or previously employed transliterations. The result is that though several of the musicians are, or were, famous within their cultures, most of them are not traceable on the web under the names given them by Honest Jon's except on links referring to the Honest Jon's release. In order to trace information, one has to be knowledgeable, imaginative and experimental, and to have experience of the idiomatics of transliteration, for example that in Persian the name Hossein is neither pronounced nor transliterated as Hussein.

For the uninformed and curious listener, the identity of both performers and instruments is thus potentially a source of considerable confusion.

As to the word used for the improvised prelude in a named mode, which many of these performances are: the Arabic word for this is variously transliterated as taqassim, taqsim, taxim and taksim; the first two in Arabic contexts, the third in other non-Arabic and non-Turkish contexts, and the fourth in modern Turkish contexts, as the Kemalist version of the latin alphabet eschews the letter 'x', otherwise often used in modern transliterations of Kurdish. The word is not used in Persian music, where the terminology is more complicated; this is a matter into which I will not delve here for reasons of space and limited knowledge.

There is a further confusing issue. Whether by chance or coincidence, there are only three plucked gut string recordings, one of an oud solo, two of qanun solos. The rest are either bowed metal- or gut-strung instruments - kemancheh, violin, and a mysterious instrument reminiscent of, but not identical with, the bowed tanbur known in Turkish as yaylı tanbur - or plucked metal-strung instruments - tar, tanbur, and a very rare instrument, reputedly invented by Arap Neş'et Bey, and known by the names of Neşetkâr or Şerâre. This latter curiosity is played by its inventor, in oud-style, on four cuts. It took me hours of research and correspondence to begin to get clarity on the identity of this musician and his instrument - work which I would normally expect to be done by the person reissuing the material.

Three years after this review was initially published, I gained access to a catalogue of about fifteen thousand Turkish 78 rpm recordings, organised by record label and catalogue number. There I discovered that the instrument I have listed in the track list as neşetkâr was apparently identified by the name şerâre on the record labels. Eric Ederer informs me that as far as he knows there was, however, never any difference, other than name, between the neşetkâr (literally 'that which brings into being', or 'that which manifests') and the şerâre (literally 'spark'). It would furthermore seem that among the 24 entries for sides recorded by Arap Neş'et Bey in the above-mentioned catalogue, Honest Jons managed to select the only four sides recorded by Arap Neş'et Bey when playing this instrument of his own invention, all the others being identified as taxim played with oud. Which raises the question of whether track 12, played on a bowed instrument, was actually played by Arap Neş'et Bey at all, or in fact by another musician. The bowed instrument here is almost certainly not the yaylı tanbur as is has been known from the early 1950s, pioneered by Ercüment Batanay - i.e. a cümbüş body with a tanbur neck - as the cümbüş itself first appeared the same year Arap Neş'et Bey died, i.e. 1930. Tanburi Cemil Bey made a few acoustic recordings playing a bowed 'ordinary' tanbur in the second decade of the 20th century, some of which have been reissued, but it is still difficult to say with certainty which instrument is to be heard on track 12 of Open Strings, and by whom it is played. It would of course be of interest to see a scan of the record label itself. Unfortunately, as part of the intentional facelessness of the production, no such images appear in the package.

So to the music itself. To avoid confusion, before embarking on further discussion I give the track sequence with names of artists and track titles as given by Honest Jon's. I have, though, myself added in brackets the name of the instrument I believe to be used on each track, and, to the best of my knowledge, the country of origin or ethnicity of the musician. Here is perhaps the right place to point out that 'country of origin' and 'ethnicity' are concepts which, though perhaps tragically self-evident today, in our post-Empire, post-WWII, post-Yugoslavia world, were not used for self-definition at the time all these artists were born and raised. With the exception of the Persian Abdol-Hossein Khan Shahnazi (as Persians transliterate his name) and the Persian-Armenian Haigo, all these musicians were born in various parts of the Ottoman Empire at a time when the nation-state ideal was still relatively young, and when religion was both a defining parameter of belonging, and the defining parameter of the level of a person's citizen status. It is often difficult or impossible to know from a name if an Ottoman citizen was a member of the Armenian, Greek, Jewish, Muslim Turk or Rom communities.

1 Bahkesirli Fuat Bey - Nigris Taxim (tanbur - Turkey)
2 Moustapha Bey Rida - Taxim Hugaz Kar Wahda (qanun - Egypt)
3 Abdul Hussein Khan Shahnazi - Homayoun (tar - Persia)
4 Tanbouri Ibrahim Bey Adham - Taxim Hidjaz (tanbur - Turkey)
5 Sami Chawa - Eerabi Fil Sahra (violin - Syria)
6 Abdul Hussein Khan Shahnazi - Bidad (tar - Persia)
7 Haigo - Shushtar (kemancheh - Armenia)
8 Abdul Hussein Khan Shahnazi - Mofhalef Segah (tar - Persia)
9 Sami Chawa - Taxim Nahawand Wahda (violin - Syria)
10 Nechat Bey - Adjem Achiran Taxim ('şerâre' - Turkey)
11 Nechat Bey - Hidjaz Taxim ('şerâre' - Turkey)
12 Nechat Bey - Husseini Taxim (unknown instrument - perhaps bowed 'Neşetkâr'? - Turkey)
13 Nechat Bey - Yeghia Taxim ('şerâre' - Turkey)
14 Kanoni Artaki - Soultanigiah (qanun - Turkey)
15 Kementchedji Alecco - Kurduli Hidjazkiar Taxim (kemenche - Turkey)
16 Nechat Bey - Rast Taxim ('şerâre' - Turkey)
17 Oudi Yorgho - Seghiah Taxim (oud - Turkey)
18 Tambouredji Osman Pehlivan - Anadol Kachik Havassi (saz - Turkey)
19 Abdul Hussein Khan Shahnazi - Mavaraounnahr (tar - Persia)
20 Mehmet And Ahmet Balki-Oglu - Aydin Oyun Havassi (violin - Turkey)

Track 1: A slip of the eye over the undotted Turkish letter 'ı' has led to the name of the musician being incorrectly spelt. He was in truth Balıkesirli Fuat Bey (c 1890-1940) renowned musician, composer and magistrate, named after his city of origin, Balıkesir, in the Marmara area. Here he gives us a fine example of a classical Ottoman tanbur taksim in makam Nikriz, a musical structure using approximately the pitches of a minor scale with a raised fourth, major sixth and minor seventh. The tanbur is a very long and narrow-necked lute with seven or eight wire strings, either four pairs, or three pairs and a single string. It has 53 or more tied frets, ideally giving the complete range of microtonal pitch possibilities used in the Turkish makam system. It is played with a plectrum.

Track 2: The website www.zamanalwasl.net/forums/archive/index.php/t-725.html gives the following: '...  the famous non-professional Egyptian qanun player Mustafa Bek Ridah (Mustafa Rida (1890-1952)...was also a composer, but most of all he was a prominent activist in promoting musical culture. In particular, he played an important role in the organisation of the first congress of Arab music in 1932 during which he recorded a great deal of the classical repertoire along with Darwish Al-hariri, 'aziz 'uthman, Dawud Husni and Muhammad Najib.' The name of the instrument is usually transliterated with an initial 'q' in Arabic contexts, but with a 'k' in Turkish and Greek contexts. The qanun is a plucked zither- or psaltery type of instrument with about 70 gut strings, played placed on the lap, or on a table, using fingerpicks of, for example whalebone, fastened by a ring, on both index fingers. Again we hear a taqsim, an improvisation within a given mode, or maqam.

Tracks 3, 6, 8, 19: The tar player Abdol-Hossein Khan Shahnazi was the brother of Ali-Akbar Khan Shahnazi; the brothers learned from their father Agha Mirza Hosseingholi.

The picture depicts Agha Mirza Hosseingholi and his young son Akbar Khan Shahnazi in 1912. The tar is one of the central instruments of Persian classical music, and variants are also played in Azerbaijan and other Central Asian countries. It is a long-necked lute with three pairs of wire strings, a figure-of-eight shaped body carved out of a single piece of mulberry wood, and a soundboard of thin, tightly stretched lambskin. It has 25 to 28 adjustable gut frets, and is played with a brass plectrum mounted in a small ball or bead of beeswax.

Both Shahnazi brothers played the tar. Abdol-Hossein was the teacher of Farhang Sharif (1931-), a fine tar player who was included on both the Barenreiter-Musicaphon and the Philips-UNESCO Iran LPs. His playing on the four selections here demonstrates what sounds to me as an experimental and daring approach, in a musical culture which in the later part of the 20th century seems to have perhaps been hampered by a degree of rigid authoritarianism. The piece called Mavaraounnahr begins with an unusual use of parallel fourths, perhaps recalling the two-stringed setar, but the continuation soon reveals that it is played on a tar.

Track 4: Musician not yet identified - a further example of a classical Ottoman tanbur taksim, here in makam Hidjaz, the modal form most stereotypically associated with 'oriental' music, with a minor second and major third in the lower tetrachord.

Tracks 5, 9: Sami Chawa (or Sami El Shawwa) was a Greek Orthodox Syrian-born violinist whose recording career seems to have spanned about half a century from the first decade of the 20th century to the 1950s. The first of the two solos here includes a fascinating 'storm scene' with ascending and descending glissandi. Sami Chawa used various violin tunings, often somewhat lower than the modern Western standard tuning.

Track 7: The kemancheh player known simply as Haigo, was among the musicians who recorded Persian music in 1939 in Beirut and Aleppo, for the Syrian SODWA label. Haigo is an unequivocally Armenian name. The Persian kamāncheh is a quite different instrument from the kemence played by Kementchedji Alecco on track 15. The kamāncheh is the spike fiddle of Iran, Armenia (k'emanch'a), Azerbaijan (also kamancha) and Georgia (kemanche). This instrument has a spherical body built of tapering wooden sections or carved in one piece; the type used in popular music may have a cone-shaped body open at the back, or be made of a spherical gourd. It is often decorated with mother-of-pearl and bone. The bridge rests on a circular sound-table which is made of animal membrane or fish-skin. The rounded neck is fixed to a spike which passes through the body and acts as a support for the instrument; the total length is usually 65 to 90 cm. Formerly the kamāncheh had three silk strings, while the modern classical instrument has four metal strings attached to wooden pegs.

Tracks 10-13, 16: This artist was a hard nut to crack. To get from 'Nechat Bey' as given on the Honest Jon's package but nowhere else, to 'Arap Neş'et Bey' (?-1930) took me a while. This musician appears to have 'invented' the instrument on which he recorded, which was called Neşetkâr or Şerâre and which was described as having a cümbüş neck on a lafta body. The lafta is a kind of fretted Turkish lute with a wooden soundboard. However things aren't even that simple; listening to the tracks on the Honest Jon's issue one hears clearly that this is a skin or parchment soundboard, whereas the photograph of Arap Neş'et Bey included in the Kalan CD Masters of Turkish Music - Ud shows an instrument with a wooden top. Eric Ederer has worked out a convincing account of the tuning used here: from the bass upwards B E a d e a.

There was in fact a fair amount of luthier experimentation going on in Istanbul in the late 1920s and early 1930s. There were at least two short-lived instruments constructed and played during this period, known as the ahenk, and the neşetkâr or şerâre. The former figures in the oft-used photograph (see below) depicting an Ottoman Greek trio of musicians: the Stromnitsa-born violinist Dimitris Semsis, the Armenian oud player Agapios Tomboulis (Hagop Tomboulian), and the Istanbul-born Jewish singer Roza Eskenazi, who years later converted to Christianity. In the photo in question Tomboulis is depicted holding an instrument which cannot be anything but an ahenk. It seems unclear whether a true neşetkâr has survived.

Finally, the cümbüş was patented in 1930, the year of Neş'et Bey's death. See: www.rootsworld.com/turkey/cumbus.html The idea was to make a robust and cheap instrument which could be modified by attaching various necks to the same body, so that it could be played as an oud, or a tanbur, or various other instruments. It became an established group of instruments made by a particular family which still has a shop and workshop in Istanbul, and is the only one of these experiments to survive as more than a rare curiosity. Part of its success is due to its immediate approval by Kemal Atatürk, the founder of the modern Turkish state, who even gave it its name, which means 'fun'.

All this is perhaps uninteresting to some, but given that the only hitherto reissued sides (on the above-mentioned Kalan CD) by Arap Neş'et Bey are of such inferior sound quality that it is impossible to discuss the nature of the instrument played, and that he was perhaps the only person to play, or at least record, on the instrument, one could perhaps expect more from the publisher than giving an inveterate reviewer hours of work to even get basic facts about what he's listening to.

Track 14: The Ottoman-Armenian musician known as Kanuni Artaki Candan-Terziyan (1885-1948) was famous both as composer and kanun player, and can also be heard on the Traditional Crossroads CD Istanbul 1925.

Track 15: Kementchedji Alecco is further a example of the confusion sown by Honest Jon's. The taxim Kurduli Hidjazkiar included here was also included on Give Me Love, though there it was only given as 'Taqsim'. However, the Give Me Love LP package was graced with a label scan of the disc side containing the taxim in question. Give Me Love was defined as Iraqi recordings. However, Kementchedji Alecco was neither Iraqi by birth or domicile. He was in fact the celebrated kemence player Aleco Bacanos (1888-1950), the brother of the oud virtuoso Udi Yorgo Bacanos represented on track 17 as 'Oudi Yorgho'. These two celebrated brothers were born into a distinguished Greek-Rom musician family in the town of Silivri, in Silivri province, nowadays a popular bathing resort area on the Sea of Marmara, and active in Istanbul/Constantinople. The Bacanos brothers were classic examples of the cosmopolitan/multi-ethnic character of Ottoman art music, where musical talent transcended ethnicity in determining a musician's standing and career possibilities. The brothers Bacanos (the name could well be rendered as 'Badganoss' in an idiomatic British transliteration) were in their turn related to another pair of brothers, Lambros and Paraşko Leondarides, both players of the same instrument as Aleco. Lambros, who settled in Greece, was in fact the most recorded kemence player in the Greek discography of the 1930s-50s, often accompanying such famous singers as Roza Eskenazi and Andonis Dalgas. The kemence played here is a vertically held, wooden-bodied, three-stringed bowed lyre similar to the Cretan lyra. The strings are not pressed down onto a fingerboard, but touched laterally by the surface of the left hand fingernails. It was introduced into Ottoman classical music in the latter part of the nineteenth century, possibly by an Ottoman Greek musician known as Vasilaki Efendi, also known as teacher and inspirer of the famed Tanburi Cemil Bey.

Track 17: 'Oudi Yorgho' was, as explained above, the celebrated Greek-Rom oud virtuoso Yorgo Bacanos (21.09.1900 - 24.02.1977). The selection here, Seghiah taxim, is in fact the finest sounding transfer of his early work I've ever heard. The oud, or Arab lute, has a long history. It has been fretless for approximately two centuries, but was previously fretted. It has five or six courses of gut or nylon strings, all double except for one, and is played with a plectrum traditionally made from an eagle's feather. With its large carvel-built body, relatively short neck and sharply retroflected pegbox, and its often delicate decorations, it is after the Indian sitar perhaps the most familiar 'oriental' string instrument in the West today, and is the ancestor of the whole family of Western lutes which came to Europe with the Moors more than a millennium ago. A unique detail on this particular record is a clearly audible octave string pair, a phenomenon otherwise unknown on the oud, at least to this writer.

Track 18: Tamburacı Osman Pehlivan (1847 - 1942) is, as his dates reveal, a real blast from the past. The then 81-year-old Osman Pehlivan's wonderful version of the spoon dance was recorded in Istanbul by engineer Edward Fowler on matrix number 7-219429 in (ca.) July 1928, and released on the HMV disc AX 853, as Jonathan Ward tells us in his generous and masterly blog: http://excavatedshellac.wordpress.com/

In the photo we see the musician with his instrument and behind, just left of him, Bela Bartok. The saz is a generic word for a family of fretted long-necked lutes with carved wooden bodies and wooden soundboards, of varying size and stringing. All except the smallest, cura saz, have three sets of double or triple strings and are played with a plectrum. The saz has traditionally been a true 'folk' instrument played both by peasants and by the kind of wandering minstrel, often of some specific religious or mystical persuasion, known as asik.

Track 20: The possibly fraternal violin duo of Mehmet and Ahmet Balki-Oglu has hitherto proved difficult to trace definitively. There was a Balcioglu (meaning son of the honey-seller) Mehmet Efe from the Aydin area - perhaps it's he and his brother or son or cousin or father? Sweetly played in a tantalising triple metre, this tune, by its name, would seem to hail from that very western Asia Minor district, once an area mainly populated by Greeks, who even managed to get an edict passed during Ottoman times restricting the settlement of Muslims in the area.


The newly recorded contributions on the second CD are, to my heart and mind, a major catastrophe. It would appear that Honest Jon's have chosen a group of contemporary players of string instruments, mainly guitarists, both electric and acoustic, and asked them to listen to selected tracks and record their musical responses. An assortment of mainly Anglo-Americans has then committed the kind of travesty of plucked string musicianship which the late John Fahey, among others, laid the ground for. The common denominator is the use of combinations of 'oriental' scale forms, predominantly the scale often known as 'Hidjaz', and various plucked-string sonorities, in what are, in my opinion, self-aggrandising, more or less aimless musical meanderings, based on more or less superficial impressions of the kinds of musics represented in the archival part of the release. I could perhaps understand this being done in the 1960s, when non-Western musics were beginning to become available to Westerners on a larger scale.  But almost half a century later? Give me a break! This is a striking example of anachronistic colonial ethnocentricity, and unashamed, albeit unconscious, contempt for other cultures. One might even call it an anachronistic example of 'orientalism'.

I can't for the life of me fathom what was going on inside the minds of the authors of this release when they made this choice. I wonder what they actually think they achieve by juxtaposing the work of mostly classically trained musicians from the various countries of the so-called Middle East with the teenage gibberish of contemporary Western dilettantes. Perhaps the sorry truth is that they don't know any better. I must say that I feel desperate when I read the mainly positive reviews of this release from reviewers who ought to possess at least the modicum of musical knowledge necessary to be able to make at least some of the vitriolic comments I have committed in this diatribe, perhaps at slightly less lethal pH-levels.

Finally - a reviewer is supposed to give their readers a hint as to whether it might be worth their while to acquire the object reviewed. As those who have managed to put up with this diatribe this far will have noticed, I am ambivalent. For those interested in hearing fairly decent transfers of mint archive copies of various Middle Eastern string players from approximately the late 1920s-early 1930s, there isn't in fact much to choose from. But the presumptive buyer has no choice but also to pay for the other half of the package, which I at least regard as unmitigated garbage. And of course the reader inspired by this review will be have the opportunity to be infinitely better informed as to what they are listening to than the buyer who hasn't read it. A further point is of course that many of these tracks are of very great potential interest and value to people outside the affluent West, from the specific cultural spheres represented. Unfortunately they are less likely to stumble over this material, as the artist names are consistently irregularly transliterated and unidentified as to origin and instrument. This in itself is an insult to the present-day members of these cultures.

Some of the information on instruments is culled from The New Grove Dictionary of Music and Musicians. I have not recorded all the innumerable websites through which I was obliged to surf to arrive at some of the identifications presented.

I would like to thank Eric Ederer and Jonathan Ward for their both generous and friendly participation in the research on this review. The opinions expressed are, however, naturally only my own.'

Tony Klein - 10.9.09

Various – Open Strings: Early Virtuoso Recordings From The Middle East, And New Responses

Label: Honest Jon's Records – HJRCD39
Format: 2 x CD, Compilation
Country: UK
Released: 2009
Style: American Primitivism, Turkish Classical Music, Arabic Music

Disc 1: Early Virtuoso Recordings From the Middle East:

1.1 Abdul Hussein Khan Shahnazi - Homayoun 3:13
1.2 Moustapha Bey Rida - Taxim Hugaz Kar Wahda 3:16
1.3 Bahkesirli Fuat Bey - Nigris Taxim 3:34
1.4 Tanbouri Ibrahim Bey Adham - Taxim Hidjaz 3:59
1.5 Sami Chawa - Eerabi Fil Sahra 2:57
1.6 Abdul Hussein Khan Shahnazi - Bidad 3:34
1.7 Haigo - Shushtar 3:36
1.8 Abdul Hussein Khan Shahnazi - Mofhalef Segah 3:35
1.9 Sami Chawa - Taxim Nahawand Wahda 3:03
1.10 Nechat Bey - Adjem Achiran Taxim 3:16
1.11 Nechat Bey - Hidjaz Taxim 3:20
1.12 Nechat Bey - Husseini Taxim 3:17
1.13 Nechat Bey - Yeghia Taxim 3:20
1.14 Kanoni Artaki - Soultanigiah 3:20
1.15 Kementchedji Alecco - Kurduli Hidjazkiar Taxim 3:20
1.16 Nechat Bey - Rast Taxim 3:17
1.17 Oudi Yorgho - Seghiah Taxim 3:21
1.18 Abdul Hussein Khan Shahnazi - Mavaraounnahr 3:17
1.19 Tambouredji Osman Pehlivan - Anadol Kachik Havassi 3:31
1.20 Mehmet Balki-Oglu & Ahmet Balki-Oglu - Aydin Oyun Havassi 3:12

Disc 2: New Responses:

2.1 Sir Richard Bishop - Olive Oasis 3:22
2.2 Micah Blue Smaldone - Mortissa 4:19
2.3 Michael Flower - Lake of Fire 6:29
2.4 Charlie Parr - Paul Bunyan's Fall 10:38
2.5 Six Organs of Admittance - Goat, Thorns and Brick 3:23
2.6 Bruce Licher - Mesopotamia 4:27
2.7 Paul Metzger - Emel 13:20
2.8 Rick Tomlinson - Surfin' UAE 3:55
2.9 Steffen Basho-Junghans - Improvisation 6 7:54
2.10 MV + EE - You Matter, Sometimes 4:26 

Artwork [Woodcuts] – Katharina Immekus
Compiled By – Jamie Tugwell, Mark Ainley
Design – Will Bankhead
Engineer [Sound Restoration] – Andy Walter

Disc 1 consists of early, mostly 1920s recordings from Egypt, Iran, Iraq and Turkey, transferred from original 78s in the EMI archive with sound restoration at Abbey Road Studios.

Disc 2 consists of new commissions in response.

30.01.2023 - 20.02.2023

29 Jan 2023



DEEP immersion into the world of early Persian music, expertly excavated, compiled and presented by Honest Jons..

نگذار کسی تو را قضاوت کند – نخستین صفحات ضبط شده موسیقی ایرانی

سابقهٔ ضبط صفحه از نوازندگان و خوانندگان ایرانی به سال ۱۲۷۷ شمسی در لندن و محل کمپانی گرامافون باز می‌گردد. نخستین ضبط‌ها در ایران نیز یک سال پیش از امضای فرمان مشروطیت، سال ۱۲۸۴ شمسی و با آغاز فعالیت‌های کمپانی گرامافون در تهران انجام شد.

ایران و بسیاری از کشورهای خاورمیانه از بازارهای اصلی ضبط و پخش صفحه برای کمپانی‌های خارجی به شمار می‌آمده‌اند؛ بخش عمدهٔ این صفحه‌ها امروز و همچنان در بایگانی‌های به جامانده از ادوار مختلف ضبط صفحه به دور از دسترس همگانی نگهداری می‌شوند. از جمله بزرگترین این بایگانی‌ها، یکی آرشیو شرکت ای- ام- آی است که اخیراً منبع انتشار یک مجموعه نفیس، ویژهٔ موسیقی ایران در سال‌های پیش از جنگ جهانی دوم قرار گرفته است.

Let No One Judge You ( نگذار کسی تو را قضاوت کند ) عنوانی است. که نشر موسیقی آنست جان (Honest John) در لندن، با برداشتی آزاد از مفهوم یکی از ابیات حافظ- که وعظ بی عملان واجب است نشنیدن – برای این مجموعه برگزیده است.

این مجموعه نفیس به صورت دو سی‌دی موسیقی و در قالب یک آلبوم- کتابچه اواسط دی‌ماه سال گذشته منتشر شده‌است. و سی و چهار قطعه را در برمی‌گیرد.

بخش اعظم قطعات، آوازی هستند؛ منتخبی از سید حسین طاهرزاده، ملوک ضرابی، منتخب‌الذاکرین، پروانه، رضاقلی خان نوروزی، اخترخانم، جواد بدیع‌زاده، ایران‌الدوله هلن، ادیب خوانساری و روح‌انگیز. قطعات غیرآوازی هم تنوع کم‌نظیری دارند. تکنوازی تار ضبط شده در تفلیس، تکنوازی تار از عبدالحسین شهنازی و مرتضی خان نی‌داوود. و چند قطعه که در ذکر مشخصاتشان به این که همراه با ارکستر شاهی نواخته شده‌اند اشاره شده‌است.

Great Quality for authentic music over 100 years old!

'Living in New York among many people of Persian/Iranian descent, I was curious of the music. The music is very alluring and stirring. The liner notes articulate a rich history of music in Iran. I enjoy listening to this very distinct music that one can see, has influenced contemporary world music. I recommend this collection for world music audiophiles.' -M. Dumont

Captivating, 34-song anthology of Early Recordings From Iran painstakingly restored from 78s at Abbey Road studio in London.

'Ravishingly beautiful, achingly precious songs and instrumentals, ranging from two performances by the Royal Court Orchestra in 1906 — with futuristic, overlapping trumpets and exquisite clarinet improvisation — through to a hauntingly soulful Hafez setting by Moluk Zarrabi of Kashan, from 1933. There are eight selections from more than three hundred recordings made in 1909 above the Gramophone Company offices in City Road, London EC1, by the travelling Persian Concert Party — with chimes, castanets and rattles lighting up its rueful, imploring, besotted love-songs. ‘I am crazy with envy of the dress asleep in your arms and the oils rubbed into your skin.’ 

The backbone of the collection is a set of powerful performances by women, in defiance of the social stigma attached to professional musicianship. A singer calling herself simply Helen turns in some boozy Hafez wisdom: ‘Keep your cards close to your chest. Kiss nothing except the lips of your beloved and the rim of a cup of wine. Let no one judge you.’ The great Jewish tar-player Morteza Ney-Davud is featured as soloist and accompanist, besides a series of staggering improvisations by Abd-ol-Hoseyn Shahnazi, and an anonymous, red-raw tar solo from the South Caucasus, captured in Tiflis in 1912.'

'The mighty Honest Jon's Records brings in the new year with an exquisite and highly awaited set of long-lost gems from the most obscure Iranian recordings dating back to the beginning of the twentieth century. Much like the gorgeous "To Scratch Your Heart" release from a few years back, this stunning collection of ethnic music is easily some of the most tasteful compilations you will ever set your ears on. "Painstakingly restored from 78s at Abbey Road", the music moves from one mystical dimension to another, giving us a detailed snapshot of what was going on back then in cities like Tehran. Trumpets, clarinets, enchanting voices, improvisational strings and a significant swell of nostalgia wrap this winner of a compilation up into what will most likely be one of the most important chronologies of music available today.'

Stunning collection of Iranian music from the first third of the 20th century

'Continuing their trawl through the Gramophone Company's Middle Eastern archives, Honest Jon's presents a stunning collection of Iranian music from the first third of the 20th century. Beginning with a 1906 recording of the Royal Orchestra, where western instruments play Persian scales, this two-disc set is a heady journey into old Tehran. There are some incredible instrumental improvisations here, but most remarkable are the female voices. These recordings were made at a time when Iranian women were for the first time accepted as musicians, without the connotations of prostitution which had stigmatised them before. From the 1906 recordings we have the gutsy elastic alto of Reza-Qoli, and from 1925, remarkable settings of the poet Raheb by Moluk Zarrabi, accompanied on tar by the Iranian Jewish musician Morteza Ney-Davud. Parveneh sings mournful love songs, accompanying herself on the setar, a scratchy three-stringed lute which is the Iranian ancestor of the sitar.' -Stewart Smith

The Iranian singer Ruhangiz, who appears on “Let No One Judge You.”
Credit...Honest Jon's Records

'The Gramophone Company, of Britain, set up shop in Iran in 1906. It marketed records in Tehran from then on, but made them only intermittently, because of the practical difficulties of transporting heavy equipment and fragile blank discs on camel back. And so on “Let No One Judge You: Early Recordings From Iran, 1906-1933,” a two-CD set from Honest Jon’s that you may find yourself quickly lost in, you have the beginnings of the Iranian indigenous-music recording business, at first in droplets, and then by the late ‘20s in marathon recording sessions. These songs, many with voice and just one instrument (clarinet, violin, flute, the long-necked lute called the tar) used the collection of traditional melodies known as the radif. They are powerfully skilled and ghostly, and the best of them are by women, during a time when female entertainers were widely mistrusted or assumed to be prostitutes. Ruhangiz, heard here, became famous, and eventually worked for the National Radio. But better to the point of devastating are several tracks from a singer named Iran-od-Dowleh Helen, about which little seems to be known. One three-and-a-half minute solo-voice track by her — it has no title except “Delkash, Eraq,” the names of the modes it uses — keeps pausing, luxuriously, as if the singer is simply recalibrating, without looking at the clock; then her voice stretches out, bends, and pulsates in specific odd-meter rhythm.' -Ben Ratliff

'Ravishingly beautiful, achingly precious songs and instrumentals, ranging from two performances by the Royal Court Orchestra in 1906 — with futuristic, overlapping trumpets and exquisite clarinet improvisation — through to a hauntingly soulful Hāfez setting by Moluk Zarrābi of Kāshān, from 1933. There are eight selections from more than three hundred recordings made in 1909 above the Gramophone Company offices in City Road, London EC1, by the Persian Concert Party. Unrest at home had compelled the group to travel in order to record, paying its way with shows in Baku, Constantinople, Vienna and Paris. Its music is a striking, experimental combination of European and Iranian elements, impressionistic and exotic, with chimes, castanets and rattles. There is an arrangement of traditional Persian music for pipe-­‐organ; and rueful, imploring, besotted love-­‐songs. A setting of Rāheb’s poetry by Moluk Zarrābi is drawn from 136 titles recorded at 1925 sessions in Tehran, when Iranian women were for the first time concertedly accepted as serious professional musicians, without the connotation of prostitution. Such was the social stigma borne by musicians, especially female, several of our singers hid their identities behind partial or assumed names. ‘Parvāneh’, for example, ‘Butterfly’ — represented by her interpretations of Sa‘di and Hāfez, with self-­‐accompaniment on setar, a three-­‐stringed lute (‘seh’, three; ‘tar’, string), Iranian ancestor of the Indian sitar: ‘I am the slave of love…’ And Helen, with some boozy Hāfez wisdom: ‘Keep your cards close to your chest. Kiss nothing except the lips of your beloved and the rim of a cup of wine. Let no one judge you.’ Moluk Zarrābi — together with Qamar-­‐ol-­‐Moluk Vaziri — featured on more than half the 1925 recordings. On her return to the studio the following year, she was accompanied on tar by Mortezā Ney-­‐Dāvud, amongst the country’s most acclaimed musicians and composers of all time, from the Jewish community of Tehran. (It sounds like another stupendously gifted Iranian Jewish musician — Yahyā Zarpamjeh — accompanying Akhtar.) Alongside one of these duets, two of Ney-­‐ Dāvud’s solo recordings from the same sessions are instrumental highlights of this epic set, besides a series of staggering improvisations by Abd-­‐ol-­‐Hoseyn Shahnāzi, sublime ney and kamancheh playing by Mehdi Navā’i and the Armenian Hayk, and an anonymous tar solo from the South Caucasus, captured in Tiflis in 1912, red-­‐raw and rocking. The four 180g LPs are presented in two gatefold sleeves inside a heavy card slipcase, with a 12”-­‐square, 20-­‐page, saddle-­‐stitched booklet on art paper. The music was restored from 78s at Abbey Road studio in London.'

Various – Let No One Judge You: Early Recordings From Iran, 1906-1933

Label: Honest Jon's Records – HJRCD69
Format: 2 x CD, Compilation
Country: UK
Released: Feb 4, 2014
Style: Persian Classical Music, Persian Folk Music 

1.1 Ebrāhim & Royal Orchestra - Bidād (Homāyun) 2:44
1.2 Rezā-Qoli & Akbar - Gavri (Shur) 3:15
1.3 Seyyed Hoseyn Tāherzādeh & Habibollāh Moshir-Homāyun - Bayāt Esfahān (Homāyun) 2:59
1.4 Seyyed Hoseyn Tāherzādeh & Akbar - Darāmad (Homāyun) 3:13
1.5 [unknown artist] - Tar Solo 3:03
1.6 Moluk Zarrābi - Darāmad, Dād (Māhur) 3:33
1.7 Parvāneh - Mansuri (Chahārgāh) 3:35
1.8 Parvāneh - Zābol, Mokhālef (Segāh) 3:52
1.9 Abd-ol-Hoseyn Shahnāzi - Mokhālef (Segāh) 3:35
1.10 Akhtar - Bayāt Esfahān, Bayāt Rāje' (Homāyun) 3:48
1.11 Javād Badi'zādeh - Morgh‐e Bi‐Āshiān / Afshāri (Shur) 3:30
1.12 Irān‐od‐Dowleh Helen - Bidād (Homāyun) 3:29
1.13 Moluk Zarrābi - Dashti (Shur) 3:22
1.14 Montakhab-oz-Zākerin - Qafqāz I (Segāh) 3:35
1.15 Montakhab-oz-Zākerin - Qafqāz II (Segāh) 3:34
1.16 Abd-ol-Hoseyn Shahnāzi - Darāmad (Homāyun) 3:33
1.17 Hayk - Shushtar (Homāyun) 3:39

2.1 Qoli & Royal Orchestra - Abu-'Atā (Shur) 2:52
2.2 Seyyed Hoseyn Tāherzādeh & Akbar - Qafqāz (Segāh) 3:18
2.3 Seyyed Hoseyn Tāherzādeh & Hoseyn Darāmad - Bayāt Rāje' (Navā) 3:14
2.4 Seyyed Hoseyn Tāherzādeh & Akbar - Afshāri (Shur) 3:09
2.5 Asadollāh & Rezā-Qoli - Shahnāz (Shur) 3:19
2.6 Rezā-Qoli, Bāqer, Akbar & Moshir-Homāyun - Nā Dideh Rokhat / Bayāt Esfahān (Homāyun) 3:03
2.7 Abd-ol-Hoseyn Shahnāzi - Māvarā'-an-Nahr (Rāst‐Panjgāh) 3:31
2.8 Irān-od-Dowleh Helen - Darāmad, Dād, Khāvarān (Māhur) 3:02
2.9 Irān-od-Dowleh Helen - Delkash, 'Erāq (Māhur) 3:23
2.10 Adib Khānsāri - 'Erāq (Māhur) 3:33
2.11 Irān-od-Dowleh Helen - Golriz (Shur) 3:29
2.12 Ruhangiz - Darāmad, Zābol (Segāh) 3:31
2.13 Akhtar - Hejāz (Shur) 3:37
2.14 Mortezā Ney-Dāvud - Bayāt Esfahān, Bayāt Rāje' (Homāyun) 3:39
2.15 Mortezā Ney-Dāvud - 'Oshshāq, Bayāt Esfahān (Homāyun) 3:39
2.16 Moluk Zarrābi - Darāmad, Zābol (Chahārgāh) 3:10
2.17 Abd-ol-Hoseyn Shahnāzi - Bidād (Homāyun) 3:37 

Artwork By – Sandhya Ellis, Will Bankhead
Compiled By – Mark Ainley
Engineer [Sound Restoration], Mastered By – Andy Walter
Liner Notes – Mark Ainley, Mohsen Mohammadi
Mastered At – Abbey Road Studios

29.01.2023 - 19.02.2023

28 Jan 2023



'This collection is a wonderful glimpse into old Iraqi folk music.'

'Priceless collection of early recordings from the Levant, taken from old shellac 78's and masterfully compiled by Honest Jons.'

'For anyone interested in high-quality historical recordings, Give Me Love... is a true gem for such connoisseurs. This compilation features music from the Iraq region and it is completely void of contemporary electronic beats and arrangements. However, the music was first recorded in the 1920's for 78 rpms. The sound clarity is superb throughout the CD. This is Arabic folk music that features characteristic, male and female vocals and the violin, zurna, lute, and various percussion. Some of the music is from Kuwait and Bahrain. 20 musicians are featured. The music of a classic era in Kurdish history is not to be missed. It is a real treat to discover early, recorded music. Do yourself a favor and enjoy the flavorful tastes and sounds of the Middle East with Give Me Love: Songs of the Brokenhearted...' ~ Matthew Forss

Give Me Love: Songs of the Brokenhearted: Baghdad, 1925-1929 is the second in Honest Jon's series of albums exploring the earliest 78s held in the EMI Hayes Archive. 

'In the mid-1920s, The Gramophone Company -- soon before it became EMI -- employed two or three Europeans to criss-cross Iraq. They logged regional demographics, assessed the German competition, and checked out the scores of record shops and hundreds of musical venues. In Kerbala, its man fearfully disguised himself as an Arab. This was the groundwork for three sessions, conducted in Baghdad in the second half of the decade, which produced nearly 1,000 recordings. Business was good -- the first group of records, though deemed aesthetically unsuccessful by the company, immediately produced 12,000 sales through just two outlets in the city. Drawing on the full range of these Baghdad recordings, this is a wondrous, deeply poignant glimpse of social living since obliterated, in which ethnicities, faiths and traditions appear woven richly together, however precariously. There is dance music featuring Arab folk singers from the countryside, backed by professional Jewish musicians in Iraqi styles popularly termed "Egyptian," perfected in nightclubs where the first duty of the secular women singers on this album was prostitution. Also including some Arabic word-play, in a nod to the musical form of the Arabic mawwal, a Hebrew hymn is kick-started with a cry of "Allah!," most likely from one of the Jewish performers. There are pieces from Bahrain and Kuwait, sometimes mixed together in one performance; the different dialects are far-flung. There are beautiful, high, and lonesome Kurdish violin improvisations and some unaccompanied circular breathing on a zourna so unearthly it seems to cross late Coltrane with Sun Ra. All the songs are characterized by searing emotion and crises of feeling, many by erotic urgency. As with the other titles in the series, the recordings have been startlingly restored at Abbey Road; they are presented here with full translations, rare photographs, and notes -- including an extensive interview with a citizen of Baghdad throughout this period, who knew many of the musicians here personally.'

'In the mid-1920s, The Gramophone Company sent representatives into Iraq to investigate the indigenous music found in its record stores and performance halls. Their research laid the foundation for sessions that produced almost 1,000 recordings. The selections on this disc, restored from their original 78s, present a compelling multicultural portrait of Iraq that is all but forgotten today.

Rural Arab folk singers, Kurdish violinists, professional Jewish musicians, and prostitutes share equal billing. Various ethnicities, faiths, and dialects intermingle in a delicate balance that seems impossible by today's standards. This disc reveals a different side of Iraq from the more festive Choubi Choubi! released by Sublime Frequencies a few years back, one perhaps more somber but also more poignant.

Even without the album's title, the intense, passionate yearning for love or at least some sort of comfort comes through in this music, whether in the pained vocals of Hdhairy Abou Aziz's "Wenini" or the Kemani Noubar's lonesome violin on "Taqsim." Although the historical value of this collection is important, the virtuosity of the musicians is the real highlight. Blazing runs and hypnotic drones form the background of Badria Anwar's "Lega Taresh Habibi" while polyrhythmic hand drums work with pleading vocals to entrance the ear on Said El Kurdi's "Aman Aman Zakko." Sayed Abbood's voice in "Shlon Aslak" encompasses a vast emotional and aural landscape, commanding attention with every breath.

Not understanding the languages in which these songs are sung has its drawbacks at times, slowing some of the album's flow and tiring the ear in places, but that's almost to be expected on a collection of this breadth and length. The bulk of the material is an exciting hybrid of cultures that blends styles and beliefs in expressions of emotional crises and longing.'

Collecting recordings of small ensembles found in and around Baghdad in the late 1920s, this compilation sheds light on a misunderstood region whose recent history obscures its cultural legacy.

By Joe Tangari

'The Iraq War is a cataract in our understanding of the nation of Iraq and its modern history. It clouds the way we view and think about the country to the extent that we in the United States are blinded to anything beyond the violence of the last few years and the atrocities of the Saddam Hussein era. The obscuring effect of recent events leads me to believe that Honest Jon's Give Me Love might be the most important archival compilation of the year. Outside of a very small number of performers, including oudist Munir Bashir and jazz musician Amir ElSaffar, very little Iraqi music has ever made an impact internationally. Indeed, for most of the 20th century the popular music of Iraq and most of the rest of the Arab world lived completely within the shadow of Lebanese and especially Egyptian artists.

This compilation, then, represents one of a precious few attempts to provide a clear window into the cultural life of a widely misunderstood place-- the Iraq of the late 1920s, during a period of British hegemony in the region that began when the Ottomans were driven out of Mesopotamia during the First World War. The Gramophone Company and its subsidiary His Master's Voice-- HMV today-- were the first major companies to make recordings in 1925. (In the pursuit of record buyers' money the world over, Gramophone unwittingly provided one of the greatest cultural services of the 20th century by sending its recording engineers across the globe to document local musics-- I'd give a lot to be allowed several weeks in a hypothetical Gramophone vault.) Others quickly followed, including Polyphone, Baidaphon, Odeon, and Columbia, but all the recordings included here are drawn from HMV's nearly 900 78 rpm sides, all made from 1925 to 1929.

When approaching this compilation, it's important to remember something that's true of records from all eras: the recording medium is a part of the music. In today's studio, you might have 64 tracks, 20 different kinds of microphones, and an infinite amount of extra gear your can pile onto a record. Then, they had a mechanical recording device with a horn that the musicians had to be carefully arranged around to get the right mix of sounds. The dawn of electrical recording was right around 1925; by 1926, it was the norm in most of the world. But the liners here state pretty plainly that most of these records were made without microphones, and I frankly don't know enough of the difference to argue the point. What I can tell you is that this disc is nearly devoid of the surface crackle of 78s, and the sound is very clear. But one shouldn't expect a modern range of frequency response, as the low-end of performances rarely registered well on 1920s recordings.

What you will hear are impassioned performances, instrumental and vocal, from some of the most well-regarded performers in Baghdad of the era. Most of them are Jewish-- for various reasons, Iraq's religious minorities dominated the country's music prior to the 1950s, when the vast majority of Christians and essentially all the Jews fled. This exodus began during World War II after a pro-Nazi coup d'etat and subsequent pogrom. Audiences were split by gender-- public performances for men by women were looked down upon, and many, though not all, female singers were recruited from brothels, which was another barrier to respect. The few recordings by women included here have same melismatic fire as their male counterparts, though, and nearly every track has the characteristic Iraqi slowness that makes the country's music distinct in spite of obvious Egyptian, Persian, and Indian influences. The other caution for modern listeners is not to expect the kind of hook-filled instant gratification we're used to today-- this is music you need to soak in and feel, from the aching love songs to the frenetic instrumental taqsims.

The ornamental vocals mask often straightforward lyrics, which translate to phrases such as "I wait for my lover on tenterhooks," "Since you left me my eyes are on the brink of shutting down for good," and "Short of dying, how can I get you out of mind?" Songs of the brokenhearted indeed. The instrumentation consists of small ensembles, with violin, oud (an Arabic lute played with a fluttering, staccato technique), mutbij (a wooden double flute with a wailing, nasal tone), qanun (a type of zither) and hand percussion. Some songs include small choirs positioned far from the horn. This was an urban type of arrangement, and many rural songs were transposed to these ensembles for recording purposes-- it's important to note that these weren't field recordings, but rather popular music recordings intended for a very competitive marketplace.

I have a few small issues with the compilation itself as a package-- while the liner notes paint a vivid picture of 1920s Baghdad and provide substantial background, they also don't include any recording notes for individual tracks, or even Gramophone catalog numbers, which is the kind of information collectors of this music like to have. There's also no real account of the reasoning behind the track selection-- out of the 900 available, why these, in this order? Sometimes knowing the compilers' organizing principle can be illuminating. Those concerns aside, though, this is a compelling peek at the soul of Iraq that's been so long obscured to us by the fog of war.'

'In the last decade, the reissue game has grown from an eccentric hobby into a full-blown business. No longer is a compilation of exotic tunes dug up from far-flung regions of the map an occasional surprise, it’s an ubiquitous happening. In any given week, you can drop that hard-earned paycheck on a reissue of a rare soul group arranged by Charles Stepney barely heard on its original release in 1970; a compilation of ‘60s Turkish freakbeat psych never before available stateside; impossible to find recordings of an Arabic instrument with 70+ strings threaded across a sound box made of wood and fish skin; or a retrospective of early-’90s UK dance records compiled by a revered ragga jungle DJ. And that’s just on the front page of the Honest Jon’s Record Shop website.

Now that decades-old Nigerian funk bands have become as widely heard as contemporary Seattle indie rock bands, our ears are gradually being attuned to more exotic sounds. The majority of these reissues are extremely accessible, but they are also allowing listeners everywhere to be exposed to genres, regions and cultures that otherwise are unreachable due to geographical, financial and cultural boundaries. This is obviously good. And it is leading to releases unthinkable in any other setting. For example: the latest from the Damon Albarn-helmed Honest Jon’s imprint, Give Me Love: Songs of the Brokenhearted – Baghdad, 1925-1929.

To most Western ears, Middle Eastern music has never been an easy pill to swallow. Instrumentation, tone, scales, harmony and rhythm differ to such a degree, that most first-time listeners would probably have little patience for the region’s traditional music. Now add nearly a century’s difference of cultural evolution to the mix, and you have a truly challenging listen. But this compilation – culled by Mark Ainley, responsible for an impressive number of Honest Jon’s and Soul Jazz releases – has a motif that transcends nearly every culture: the emphatic emotional resonance of lost love.

Besides the usual incentives for purchasing an Honest Jon’s reissue – the impressive packaging, remastering (this time care of Abbey Road), and liner notes, which includes an interview with a Baghdad citizen from the period who knew some of the musicians involved – Give Me Love offers a glimpse into an era of Iraq when ethnicity and culture intertwined symbiotically. In fact, as the liner notes state, “the music collected here is diverse, sometimes syncretic.” The musical traditions of Iraq, Bahrain, Kurdistan and Kuwait sit side by side, and in some cases overlap. And the 22 cuts included are pulled from around 900 sides recorded by the Gramophone Company over four sessions in Baghdad from 1925-1929. They are sonic artifacts left over from a burgeoning record industry trying to expand into new, unexplored markets.

As stated before, to unaccustomed ears the music may not be completely accessible on first listen. Once you dig through the liner notes, though, the setting in which the music was crafted begins to take shape, and a whole new dimension is added to the sonic elements. These are heart-wrenching ballads; torch songs amplified by trying geographical conditions, impending political conflicts and oppressive living situations.

Take, for example, Sayed Abbood’s “Shlon Aslak.” His voice wreathes with only oud and violin accompaniment. The song scrapes along with little discernible rhythmic or melodic progression, but the emotion is undeniable. The exact depths of that emotion though is only revealed in the translation of the lyrics:

“Short of dying, how can I get you out of my mind?
My agonising pain and my cries go on and on.
Everyone except me is asleep.
I toss and turn; sleep eludes me.”

It’s a moving piece as one comes to understand the meaning behind it. The listener can’t help but be buried in the emotional weight of the lyrics and Abbood’s matching croon. The music may be foreign, but the sentiment certainly is not.

There are many other discoveries to be made during this rare insight into early 20th century Iraqi culture. The stories of the musicians known, the setting in which the recordings were made, the interwoven cultures and musical styles, and even pictures from the era are revealed within the immaculate packaging. And most importantly, it humanizes the region to those of us who only know its tumultuous contemporary setting. Everyone has felt the pain of unrequited love; it is one of the very few feelings each and every one of us can relate to.'

By Michael Ardaiolo


La richesse de la musique iraquienne est issue d’une longue histoire mouvementée. Ses traditions remontant jusqu’à l’ère Abasside (+/- 750 à 1250), période ou le Moyen-Orient était contrôlé par un vaste empire établi à Baghdad, intègrent également plusieurs éléments hérités de la culture de l’empire Ottoman, de la musique perse et plus tardivement de la musique populaire du Liban et de l’Égypte. Avec la compilation Give Me Love : Songs Of The Brokenhearted, la compagnie Honest Jons trace un portrait de la musique populaire mélancolique enregistrée en Irak pendant les années 1920, une époque où la plupart des musiciens professionnels de Baghdad étaient d’origine juive. Les pièces présentées sur cette compilation sont un échantillon de quelque 900 chansons enregistrées pour le compte de la compagnie Gramophone/EMI entre 1925 et 1929 et qui étaient destinés aux magasins de disques iraquiens sous la forme de 78 tours.

Dans le monde arabe, la langue est véritablement au cœur de la culture et la poésie y est une des formes d’art, sinon la forme d’art la plus respectée. La musique quant à elle, est plus accessoire et sert, via ses modes musicaux, ses orchestrations et ses tempos, à établir des ambiances qui mettent en valeur le texte ainsi que la performance d’un chanteur ou d’une chanteuse. Souvent, les pièces sont improvisées et/ou prennent la forme de chansons à répondre où chacun des couplets est suivi d’une reprise instrumentale de la mélodie par l’orchestre. Les orchestrations sont généralement assez simples et comprennent des instruments à cordes comme le violon et le oud, un cousin du luth, traditionnellement associé à la musique du Moyen-Orient, des instruments à vent et des percussions. Les rythmes sont simples, répétitifs et les tempos modérés permettent à la voix de bien être mise en évidence ; les variantes provenant principalement des intonations et des tremolos dans la voix du chanteur.

À écouter :

Le ton de Give Me Love : Song of the broken hearted est définitivement mélancolique et à première écoute, les chansons peuvent sembler similaires. Les gens d’Honest Jons ont cependant eu l’amabilité d’inclure des traductions, des résumés ou encore de courtes explications permettant de mettre en contexte et d’apprécier les subtilités de chacune des 22 chansons de ce disque. La pièce Min Fergetak Lilyom / Since The Day You Left est une chanson assez simple où un homme se sent ignoré par celle qui l’a laissé. Typique, efficace et preuve que la peine d’amour est un de ces sujets universels et intemporels.

I haven’t slept since the day you left.
You were away for five days, it felt like a thousand.
Ohhhh, ohhhhh.
You walked past with your nose in the air, you never said hello.
Accursed by your love, I am not worthy of greeting.
You walk past with your nose in the air, you’re not interested in me.
My undoing was to tall for a beautiful, dark woman.

Les Rythmes Étranges

Various – Give Me Love: Songs Of The Brokenhearted - Baghdad, 1925-1929

Label: Honest Jon's Records – HJRCD35
Format: CD, Compilation
Country: UK
Released: 2008
Style: Arabic Folk Music, Sawt, Arabic Classical Music

1. Mulla Abdussaheb - Ya Yumma Weya Baba 3:19
2. Sayed Abbood - Min Fergetak Lilyom 3:54
3. Dahi Ben Walid - Soubhanak Allah 3:32
4. Sultana Youssef - Khouthni Bthemmetak 3:32
5. Salim Daoud - Abuthiyya 3:48
6. Khedayer Bin Kessab - Taqsim 3:17
7. Mulla Seoud El Koweity - Anouh Ithal Hathy 3:32
8. Said El Kurdi - Kassem Miro 3:37
9. Siddiqa El Mullaya - Wehak El Kab Walkossein 3:23
10. Hdhairy Abou Aziz - Fahasboukom Hatha 3:27
11. Kemani Noubar - Taqsim 3:27
12. Badria Anwar - Lega Taresh Habibi 3:37
13. Said El Kurdi - Aman Aman Zakko 3:31
14. Siddiqa El Mullaya - Ma Tehenn Alayya 3:27
15. Sayed Abbood - Shlon Aslak 3:54
16. Kementchedji Alecco - Taqsim 3:18
17. Salim Daoud - Abney Eqdah - Part 1 3:37
18. Salim Daoud - Abney Eqdah - Part 2 3:38
19. Hdhairy Abou Aziz - Wenini 3:31
20. Sultana Youssef - Malek Ana 3:30
21. Badria Anwar - Ahis Ras Eddelil 3:31
22. Saleh Ibrahim - Taqsim 3:31

Compiled By, Liner Notes – Mark Ainley
Design – Will Bankhead
Liner Notes – Yeheskel Kojaman
Liner Notes [Translated By - 'abney Eqdah'] – Sara Manasseh
Liner Notes [Translations By] – Hassan Ramadan, Honest Jon's Records
Mastered By – Andy Walter

Thanks to the EMI Hayes Archive.
Mastered At – Abbey Road Studios

28.01.2023 - 18.02.2023